…Every inch of her incredible, pliable body falls into the most perfect shapes... More than any other dancer she reveals both the absolute rigour of her training and an instinctive dignity and musicality that is all her own.
Ms Lopatkina performed the role of the sensual gypsy girl with an incredible sense of her own worth. The laconism of her gestures is something any orator in the State Duma would be envious of – they expressed so precisely all the emotional moods. Ms Lopatkina’s regal mien flowed through every turn of her body. Neither did the sharp and famous “Plisetskaya-like” soaring of the legs in their determined and strong-willed battements disturb the ideal harmony: they were imbued with a softness and almost even a tenderness of enchanting femininity.
A great dancer of the present-day who has come to embody the concept of “Russian ballet”.
Born in Kerch.
Graduated from the Vaganova Academy of Russian Ballet (class of professor Natalia Dudinskaya). Joined the Mariinsky Ballet in 1991.
Principal Dancer since 1995.
Repertoire at the Mariinsky Theatre includes:
Giselle (Myrtha, Giselle); choreography by Jean Coralli, Jules Perrot and Marius Petipa, Le Corsaire (Medora); production by Pyotr Gusev after the composition and choreography of Marius Petipa,
La Bayadère (Nikia); choreography by Marius Petipa, revised version by Vladimir Ponomarev and Vakhtang Chabukiani,
"Paquita" Grand pas (Soloist); choreography by Marius Petipa,
The Sleeping Beauty (Lilac Fairy); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
Swan Lake (Odette-Odile); choreography by Marius Petipa and Lev Ivanov, revised version by Konstantin Sergeyev,
Raymonda (Raymonda, Clémence); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
Michel Fokine’s ballets The Dying Swan, The Firebird (Firebird) and Schéhérazade (Zobeide),
The Fountain of Bakhchisarai (Zarema); choreography by Rostislav Zakharov,
The Legend of Love (Mekhmeneh Bahnu); choreography by Yuri Grigorovich,
Leningrad Symphony (the Girl); scenario and choreography by Igor Belsky,
Pas de quatre (Marie Taglioni); choreography by Anton Dolin,
Carmen-Suite (Carmen); choreography by Alberto Alonso,
George Balanchine’s ballets Serenade, Symphony in C (II. Adagio), Jewels (Diamonds), Piano Concerto No 2 (Ballet Imperial), Theme and Variations, La Valse, Scotch Symphony and A Midsummer Night’s Dream (Titania),
In the Night (3rd movement); choreography by Jerome Robbins,
Roland Petit’s ballets Le Jeune Homme et la mort and The Death of the Rose,
Goya Divertissement (Death); choreography by Alberto Alonso,
Anna Karenina (Kitty); choreography by Andrei Pokrovsky,
The Nutcracker (Pavlova and Cecchetti, fragment); choreography by John Neumeier,
Alexei Ratmansky’s ballets Anna Karenina (Anna Karenina), The Little Humpbacked Horse (Tsar Maiden), Le Baiser de la fée (Fairy) and Le Poème de l’extase,
In the Middle, Somewhat Elevated; choreography by William Forsythe,
Hans van Manen's ballets Trois Gnossienes, Variations for two couples and 5 Tango's, Le Grand Pas de Deux; choreography by Christian Spuck
and Marguerite and Armand (Marguerite); choreography by Frederick Ashton.
She was the first performer of one of the two solo roles in John Neumeier’s ballet Sounds of Empty Pages (2001).
Has toured with the Mariinsky Ballet throughout Europe, the USA and Asia.