Things are not going perfectly in a rehearsal of the Grand Pas de Deux from Helgi Tomasson’s Nutcracker, and San Francisco Ballet principal Maria Kochetkova is not happy. A running leap onto the shoulder of partner Gennadi Nedvigin lands acceptably, but merely okay doesn’t satisfy Kochetkova.“I just have to find a way…one, two, three, four,” she counts almost to herself, calculating how many steps she needs to take. They try again, and with unerring aim, she sails into place.
You might think that would be that, but as Nedvigin rehearses his solo, Kochetkova slips on a sweater, pauses to gaze out a window at the view of the War Memorial Opera House and then proceeds to repeat those same four steps over and over again, fine-tuning them even more.
Young and energetic, with porcelain features that belie the steely security of her technique, 25-year-old Kochetkova is part of a new generation of principals at SFB. She seems even slighter in person than she does on film: She dances this same pas de deux on SFB’s Nutcracker DVD. In the hallway, with no makeup and strands of hair escaping a loosely tacked high bun, Kochetkova could easily be mistaken for one of the school’s students. But once she begins to dance, her face—indeed her whole body—lights up with the unmistakable glamour and refinement of a ballerina. Even in the most complex variation, she breathes purity into every step, moving with both assurance and poetry. Each arabesque looks delicately spontaneous yet solidly secure. Her jumps ricochet off the floor with barely a sound. The only hint that any of this is difficult is her heavy breathing—and you must be very close to hear it.
Young and energetic, with porcelain features that belie the steely security of her technique, 25-year-old Kochetkova is part of a new generation of principals at SFB. She seems even slighter in person than she does on film: She dances this same pas de deux on SFB’s Nutcracker DVD. In the hallway, with no makeup and strands of hair escaping a loosely tacked high bun, Kochetkova could easily be mistaken for one of the school’s students. But once she begins to dance, her face—indeed her whole body—lights up with the unmistakable glamour and refinement of a ballerina. Even in the most complex variation, she breathes purity into every step, moving with both assurance and poetry. Each arabesque looks delicately spontaneous yet solidly secure. Her jumps ricochet off the floor with barely a sound. The only hint that any of this is difficult is her heavy breathing—and you must be very close to hear it.
Read more about Maria Kochetkova at A Free Soul | Pointe Magazine
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