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
Certainly, when you train as a classical dancer, you are very much influenced by 'Giselle.' You see it all the time; you start to learn the steps a little.
With Bolshoi technique, the movements are quite large, the jumps are big, and I'm a tall dancer, so I've learned to use my height more, to elongate my moves, jumps and positions. I'm physically using my body more to my advantage.
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.
Bejart is almost never performed in New York City; critically, he just gets attacked here.
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.
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.
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.
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.
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.
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.
I stopped acting Romeo and just became Romeo.
I will never stop questioning. I will never stop wanting more and discovering other things and wanting to do other things. That will always be a part of me, and it's something I've come to terms with.
Many dancers are content with the repertoire they're given. Others are dissatisfied but don't know why. Then there are a few like me that are curious and grab at everything. Can that curiosity thrive in the ballet world, or should it exist elsewhere? That's the eternal question.