David Hallberg
David Hallberg
David Hallberg is an American classical ballet dancer. He is a principal dancer for the Bolshoi Ballet and American Ballet Theatre, and became the first American to become a principal dancer with the Bolshoi in 2011. Hallberg was invited by Sergei Filin, Bolshoi Ballet's artistic director to join as either a guest artist or principal. Part of his decision to join was made, in part, to dance with ballerina Natalia Osipova with whom he has danced previously...
NationalityAmerican
ProfessionDancer
Date of Birth18 May 1982
CountryUnited States of America
David Hallberg quotes about
I sew my own shoes. Other male dancers don't, but I like it one way, and I've learned to do it that way.
I've been interested in art and fashion for as long as I can remember because they are so visual. I am fascinated by the idea of visual creation from the ground up, which is a challenge in ballet when the audience has seen every show of yours, every other principal that you've shared a role with, and every different production.
Bejart is almost never performed in New York City; critically, he just gets attacked here.
I've always questioned the way dancers, myself included, must do the same role year in and year out. It's important for me to be able to say to myself, 'O.K., I don't want to be a prince anymore. I want to put on a leather jockstrap and pose.'
Russians are very discerning about ballet. They're very opinionated about what classical ballet is.
Every company has its style, and that's what makes the Bolshoi so impressive: their attack on jumps or their attack on choreography.
Every company has its own texture, vocabulary, and singular place in dance history, and I have always wanted to share my perspective of these world renowned institutions.
To be honest, my partner Natasha is my inspiration. She is who I reference when searching for my role. I don't emulate what she does, but her interpretation of Giselle is so fragile and sensitive and so tender. It constantly inspires me. And I feel like it's the other way around. We have a great rapport together.
I think I'm the same dancer everywhere. But I've learned a lot with Bolshoi - the history of the theater, the technique of the theater, different nuances in my technique.
When stress sets in, and pressure, I focus.
I stopped acting Romeo and just became Romeo.
New York at times runs me dry because there's so much to do. There's never enough time to do everything. It's nice to have the balance in Moscow.
No one around me was obsessed with Fred Astaire except for me. It just snowballed, really. I started with tap lessons. When I didn't have tap shoes, I taped nickels on the bottom of my penny loafers.
Because of the way I'm built, I constantly have to strengthen. This is sort of a ritual: I put on my tights first, and right when I'm about to put on my costume, I get down on the floor, and I plank.