A Quote by David Hallberg

Russians are very discerning about ballet. They're very opinionated about what classical ballet is. — © David Hallberg
Russians are very discerning about ballet. They're very opinionated about what classical ballet is.
I'm a classical ballet dancer, and at the end of the day I want to be with American Ballet Theater, performing classical ballets.
I started ballet in my early 20s. I studied for about ten years. Ballet is probably the one of the hardest things I've done, almost like MMA. People don't give it a lot of credit and think it's easy but it's very difficult. For an athlete, you use muscles you really don't use and ballet is something I really respect.
I started ballet in my early 20s. I studied for about ten years. Ballet is probably the one of the hardest things I've done, almost like MMA. People don't give it a lot of credit and think it's easy, but it's very difficult. For an athlete, you use muscles you really don't use, and ballet is something I really respect.
It's very difficult for me to do fund raising for my own organization if I'm working for other companies because sponsors will say, 'Well, hey, man, if she's doing a ballet for Ballet Theatre, we'll give money to Ballet Theatre.'
When I was filming in Budapest for ITV's 'Titanic,' I realised I'd never been to the ballet before so decided to see a production of 'Giselle.' I went on my own. As it was my first ballet, it was a very bizarre and interesting experience but very enjoyable.
I had classical training at London's Royal Ballet School, and my first job was with the Semperoper Dresden ballet company in Germany.
I actually was a ballet dancer - I studied ballet from three until 13 - but like very seriously, that's what I wanted to do. I wanted to be a contemporary ballet dancer. I wanted to go to Juilliard.
I think American Ballet Theatre is setting that standard now for classical ballet, that you can dream big, and it doesn't matter what you look like, where you come from, what your background is.
I was a very rotund child with short hair, and for some reason, I always had black ballet shoes. I was like the Wednesday Addams of ballet.
In 1998, Vanity Fair asked me to write a big piece for them on the 50th anniversary of the New York City Ballet. My life, to a great extent, had been spent at and with the New York City Ballet, and I decided to try it. It was very scary, writing about something I loved so much and had such strong opinions about.
My parents were passionate about the ballet. They always played ballet music at home.
So many people report to be contemporary dancers, and they're not. They are sort of jazz dancers that feel like they're throwing a bit of classical in there. I mean, a true contemporary dancer has got ballet as their base and classical ballet, and that is their base. And then they choose to extemporize on that and go into a contemporary world.
I knew I wanted to be a ballet dancer, but what kind, I wasn't sure. My two dream companies had been New York City Ballet and American Ballet Theater.
My first ballet class was on a basketball court. I'm in my gym clothes and my socks trying to do this thing called ballet. I didn't know anything about it.
I'm very flower-like. I love classical music. I go to ballet and I cry. There's nothing so beautiful.
I was sent to ballet classes when I was a little girl. I wasn't very good, but it's that thing where little girls always try ballet, or whatever.
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