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Natalia Makarova Poster

Biography

Jump to: Overview (3) | Mini Bio (1) | Spouse (1) | Trivia (21) | Personal Quotes (11)

Overview (3)

Date of Birth 21 November 1940Leningrad, RSFSR, USSR (now St. Petersburg, Russia)
Birth NameNatalya Romanovna Makarova
Nickname Natasha

Mini Bio (1)

Natalia Makarova was born on November 21, 1940 in Leningrad, RSFSR, USSR as Natalya Romanovna Makarova. She is known for her work on Variety and Virtuosity: American Ballet Theatre Now (1998), The Kennedy Center Honors (2012) and Swan Lake (1982). She has been married to Edward Karkar since 1976. They have one child.

Spouse (1)

Edward Karkar (1976 - present) (1 child)

Trivia (21)

Was romantically involved with Mikhail Baryshnikov.
She was awarded the Laurence Olivier Theatre Award in 1985 (1984 season) for Best Actress in a Musical for "On Your Toes".
Fell for famed Royal Ballet dancer Anthony Dowell. She danced with him and felt a romantic connection to him. Unfortunately, because of his sexual preference, he could only offer her friendship at best.
When dancing at the Hamburg Ballet, she asked boy wonder Patrick Bissell from the ABT to be her partner. After the performance, he slashed his wrists.
During a rehearsal she had with fellow dancing legend Rudolf Nureyev, he had gotten angry at her and during a particular pas de deux, he simply let her fall. Makarova was furious, "I will never dance with that man again.".
Considered by all who saw her dance to be the best of the twentieth century. Because of her perfect body, her grace and charm, she was believed to the most idealized and envied ballerina in the world at that time.
Gold Medal from Second International Ballet Competition in Varna, Bulgaria, 1965.
Named honored artist of Russian Federation, 1969;
She is a great admirer of the art of Botticelli and is a painter herself.
Won a Tony as Best Actress in a Musical, for her performance as Vera in the 1983 Broadway revival of the Rodgers and Hart musical "On Your Toes".
Many ballerinas have admired her thin svelte body so much, they had starved themselves in order to achieve her body type.
Became the first ever Russian artistic exile to be invited back to dance in her native land.
In 1980, she staged the first full-length U.S. production of "La Bayadere", making ABT the first western company to acquire this work.
Her reunion with the Kirov Ballet took place in London on August 6, 1988 when she danced an excerpt from Swan Lake with the company.
In her native homeland of Russia, her name was banned for many years.
Her first public appearance (at age eleven) was somewhat diminished by her inability to maintain proper timing with the other members of the corps.
When she was in London with the Kirov, Makarova was assigned the title role in "Giselle," a character she had already danced to acclaim during her commencement performance in Leningrad. Dance critics heaped praise like "the supreme test of the actress-dancer" (Arlene Croce) London's critics hailed her as "one of ballet's most promising new performers, and New York City's critics seconded that appraisal. The New York Times's John Martin was particularly impressed with Makarova's poise in the slow movement, or adagio, which he described as "breathtakingly beautiful."
Despite all her talent she developed in the West, in all of her interviews, Makarova always said that it was thanks to the Russian school of ballet that she had become the ballerina she was. Limited range and political oppression aside, their dedication to the sport has always turned out the finest dancers.
She has worked with such choreographic talents as George Balanchine, Jerome Robbins, Mikhail Baryshnikov and 'Maurice Bejart'.
In 1980, she had her very own dancing troupe for a while called "Makarova and Company," following another stint with the ABT. She insisted that her company would provide dancers with "proper training" and present audiences with a sampling of Soviet-style ballet. She programmed works ranging from classical ballet by Petipa to modern ballet. But the critics more or less scathed it in publications. The New Yorker and Village Voice expressed displeasure with her self-manned artistic venture. New Yorker's Croce noted that the entire enterprise "had all the earmarks of a popular showcase," and the Voice's Deborah Jowitt contended that "rich trappings alone can't sustain [ballet]," adding that the works were simply "vehicles for the dancers." But like Baryshnikov, after her troupe folded, she continued dancing for herself.
Recipient of the 2012 Kennedy Center Honors. Other recipient that year were Buddy Guy, Dustin Hoffman, David Letterman, and the rock band Led Zeppelin, comprising John Paul Jones, Jimmy Page, and Robert Plant.

Personal Quotes (11)

(On dancing with Anthony Dowell): "We had such chemistry. He's so strong".
(On dancing with Mikhail Baryshnikov): "He suits me. It's like a marriage".
It's a hard life... but if I could, I would do it all again.
Even the ears must dance.
When I joined the ABT, my contract specified that I would be given brand new ballets. Nothing like that ever happened.
I want to be free... free to develop my art.
Dancers, many dancers today can do so much technically. You can give them steps that are complicated, then more complicated, pyrotechnical - and they can execute these steps to perfection. But to do simple steps with a pure classical line, that is truly difficult.
It is a matter of achieving harmonious beauty, which is perhaps the most difficult thing to comprehend, to accept. The dancers here are very good, but I don't think they have been taught that way. But they are open, and very willing to learn.
It was unimaginable to speak onstage, especially in English - even now. Not because of my speaking ability, but because of ... my legs.
(When she returned to the Kirov Ballet and danced with 'Konstantin Zaklinsky'): "It was emotional ecstasy backstage. I was so nervous I was shaking, shaking like I have never done before. I wanted this moment for 18 years. I never dreamed I would be able to dance with the Kirov so soon".
To look back all the time is boring. Excitement lies in tomorrow.

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