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
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.
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 I went to Moscow, I felt I was relearning Swan Lake - which was written for the Bolshoi - and being immersed in a tradition and history I had never experienced. It took a while to adjust to living there and learning the language, but now I have lots of friends. I get the best of two completely different worlds.
Ballet is certainly appreciated in New York, but it has been a part of the Russian culture, history and heritage for hundreds of years, so it's much more instilled in the Russian blood.
I love the dancers in the Bolshoi, but all of my Moscow friends are outside the company. A friend introduced me to Vika Gazinskaya, a well-known Russian designer. I met her group. The rest is history.
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.
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.
When stress sets in, and pressure, I focus.
I stopped acting Romeo and just became Romeo.