Performances and Repertoire
Lopatkina excels in classic and dramatic roles. She is a perfect example of the Russian (Kirov) school with long limbs, great strength and a classical purity of line, as well as noted musicality.
Her repertoire includes: Giselle (Giselle, Myrtha), Le Corsaire (Medora), La Bayadère (Nikia), Grand pas from Paquita, The Sleeping Beauty (Lilac Fairy), Swan Lake (Odette-Odile), Raymonda (Raymonda, Clemans), The Swan, Schéhérazade (Zobeide), The Fountain of Bakhchisarai (Zarema), The Legend of Love (Mekhmeneh Bahnu), Leningrad Symphony (The Girl), Pas de quatre (Маria Taglioni), Serenade, Piano Concerto No. 2 (Ballet Imperial), Symphony in C (2nd Movement), La Valse, Jewels (Diamonds), In the Night, The Nutcracker (highlights: Teacher and Pupil), Le Jeune Homme et la Mort, Goya-Divertissement, Le Baiser de la Fee (Fairy), Le Poeme de l´Extase, In the Middle.
Read more about this topic: Ulyana Lopatkina
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“This play holds the season’s record [for early closing], thus far, with a run of four evening performances and one matinee. By an odd coincidence it ran just five performances too many.”
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“At one of the later performances you asked why they called it a “miracle,”
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“The best joke-tellers are those who have the patience to wait for conversation to come around to the point where the jokes in their repertoire have application.”
—Joseph Epstein (b. 1937)