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Time Magazine
a day ago
- Entertainment
- Time Magazine
The Top 10 Most Famous Ballets of All Time According to AI
This article is published by a partner of TIME. Ballet is one of the most enduring and enchanting art forms the world has ever seen. From its origins in the lavish courts of Renaissance Italy to its refinement in France and Russia, ballet has mesmerized audiences for centuries, and many timeless ballets continue to stand out and leave their mark. These performances have captured imaginations across generations and are celebrated for their intricate choreography, stunning music, and compelling storytelling. What makes a ballet truly iconic? It's not just the dance steps. It's a combination of music, artistry, costumes, and the ability to tell a story without uttering a single word. These ballets have transcended time, culture, and language, drawing fans into fantastical worlds filled with passion, tragedy, and wonder. From tragic swan maidens to fairytale kingdoms, these works represent the best of ballet's potential to create unforgettable experiences. So, whether you're curious about which productions deserve a spot on your must-see list or you're already reminiscing about your favorites, we've got you covered. Here are the top 10 most famous ballets of all time—selected based on research assistance from ChatGPT and a former professional ballet dancer—that continue to captivate audiences worldwide. 1. Swan Lake (1877) No list of famous ballets would be complete without 'Swan Lake.' Composed by Pyotr Ilyich Tchaikovsky and first performed in 1877, it tells the story of Odette, a princess transformed into a swan by an evil sorcerer's curse. Odette's only chance at freedom lies in true love, but her hopes are dashed when the sorcerer's daughter, Odile, deceives Prince Siegfried. This timeless masterpiece is known for its emotional depth, intricate choreography, and the iconic white swan and black swan roles danced by the same ballerina. Premiere: March 4, 1877, at the Bolshoi Theatre in Moscow Choreographers: Originally Julius Reisinger; later reimagined by Marius Petipa and Lev Ivanov. Signature Scene: The mesmerizing "Dance of the Little Swans." Notable Character: Odile, the dark and cunning black swan. Famous Music: Tchaikovsky's hauntingly beautiful score. Cultural Impact: Has become synonymous with ballet itself and is often featured in films, commercials, and pop culture. 2. The Nutcracker (1892) Tchaikovsky strikes again with 'The Nutcracker,' a ballet that has become a holiday tradition worldwide. The story follows young Clara as her Nutcracker doll transforms into a prince, leading her on a magical journey through the Land of Sweets. Along the way, she encounters the Sugar Plum Fairy and a variety of delightful characters who dance in her honor. The ballet's vibrant, festive imagery and unforgettable music have made it a staple of the Christmas season. Controversies Surrounding The Nutcracker and Other Ballets While The Nutcracker remains beloved, it has also faced criticism for its portrayal of certain ethnic dances, such as the Arabian, Chinese, and Russian variations, which some argue perpetuate outdated stereotypes. These sections, often performed with exaggerated or culturally insensitive gestures and costumes, have prompted discussions about reimagining these moments to better reflect respect and authenticity. Similarly, other classic ballets like 'La Bayadère' and 'The Golden Cockerel' have been scrutinized for their depictions of non-European cultures, often through the lens of exoticism. These issues highlight the challenge of balancing historical fidelity with modern sensibilities in a way that honors the art form while fostering inclusivity and respect. 3. The Sleeping Beauty (1890) 'The Sleeping Beauty' is another Tchaikovsky classic, first performed in 1890. Based on Charles Perrault's fairy tale, it tells the story of Princess Aurora, who is cursed by the evil fairy Carabosse to prick her finger on a spindle and fall into a deep sleep. Only true love's kiss from Prince Désiré can awaken her and break the spell. This ballet is celebrated for its grandeur, stunning costumes, and demanding choreography, especially Aurora's iconic solos. Premiere: January 15, 1890, at the Mariinsky Theatre in St. Petersburg. Choreographer: Marius Petipa. Famous Scene: Aurora's breathtaking "Rose Adagio." Notable Character: Carabosse, the villainous fairy. Famous Music: Tchaikovsky's lush and sweeping orchestration. Legacy: Known as one of the most technically challenging ballets for dancers. 4. Giselle (1841) 'Giselle' is the quintessential Romantic ballet, first performed in 1841. It tells the tragic story of Giselle, a peasant girl who falls in love with Albrecht, a nobleman disguised as a commoner. When Giselle discovers Albrecht's engagement to another, she dies of a broken heart. In death, she joins the Wilis, ghostly spirits of betrayed brides who force men to dance until they perish. Despite her heartbreak, Giselle protects Albrecht from their vengeance. Premiere: June 28, 1841, at the Paris Opera Ballet. Choreographers: Jean Coralli and Jules Perrot. Famous Scene: The ghostly Wilis' haunting dance in Act II. Notable Character: Myrtha, the Queen of the Wilis. Famous Music: Composed by Adolphe Adam. Cultural Influence: Often cited as one of the greatest Romantic-era ballets. 5. Don Quixote (1869) Based on Cervantes' novel, 'Don Quixote' brings joy, energy, and Spanish flair to the stage. First performed in 1869 with music by Ludwig Minkus, it follows the adventures of Kitri and Basilio, two lovers whose relationship is opposed by Kitri's father. With the eccentric Don Quixote and his loyal squire Sancho Panza entering the mix, hilarity, and romance ensue in this vibrant production. 6. Romeo and Juliet (1938) Sergei Prokofiev's 'Romeo and Juliet' brings Shakespeare's tragic love story to the ballet stage. First performed in 1938, the ballet follows the passionate yet ill-fated romance of Romeo and Juliet. Their love blossoms in defiance of their feuding families, the Capulets and Montagues, but ends in devastating tragedy. Premiere: December 30, 1938, in Brno, Czechoslovakia. Choreographer: Leonid Lavrovsky (original production). Famous Scene: The poignant Balcony Scene. Notable Characters: Romeo and Juliet. Famous Music: Prokofiev's "Dance of the Knights." Storyline: Stays true to Shakespeare's classic tragedy. 7. Coppélia (1870) 'Coppélia' is a lighthearted ballet filled with humor and charm. Premiering in 1870, it tells the story of Franz, a young man infatuated with a mysterious girl named Coppélia. When his fiancée Swanilda discovers that Coppélia is merely a lifelike doll created by Dr. Coppélius, she devises a clever plan to teach Franz a lesson. Premiere: May 25, 1870, at the Paris Opera Ballet. Choreographer: Arthur Saint-Léon. Famous Scene: Swanilda's comedic imitation of the doll. Notable Character: Dr. Coppélius, the eccentric toymaker. Famous Music: Composed by Léo Delibes. Tone: Known for its lighthearted and comedic storyline. 8. La Bayadère (1877) Set in exotic India, 'La Bayadère' tells the tale of Nikiya, a beautiful temple dancer, and her ill-fated love for Solor, a noble warrior. Betrayal, jealousy, and tragedy unfold, leading to the dreamlike "Kingdom of the Shades," where Nikiya's spirit haunts Solor for eternity. Premiere: February 4, 1877, at the Bolshoi Theatre. Choreographer: Marius Petipa. Famous Scene: "The Kingdom of the Shades." Notable Characters: Nikiya and Solor. Famous Music: Composed by Ludwig Minkus. Visuals: Stunning use of white tutus in a dreamlike setting. 9. Serenade (1934) 'Serenade,' choreographed by George Balanchine in 1934, is a landmark work that blends classical ballet tradition with Balanchine's emerging neoclassical style. Created as a teaching piece for his students at the School of American Ballet, it was his first ballet choreographed in America and remains one of his most celebrated works. Set to Tchaikovsky's Serenade for Strings in C, the ballet explores themes of beauty, emotion, and the interplay between music and movement. Premiere: March 1, 1935, in New York. Choreographer: George Balanchine. Famous Scene: The opening tableau of dancers with arms raised toward the sky, bathed in soft blue light. Notable Features: A seamless blend of narrative suggestion and abstract choreography. Famous Music: Tchaikovsky's lush and lyrical Serenade for Strings in C. Style: A quintessential example of neoclassical ballet, emphasizing purity of movement and musicality. 10. Firebird (1910) Stravinsky's 'Firebird' combines folklore and fantasy in a bold and colorful production. Premiering in 1910, it tells the story of Prince Ivan, who encounters the magical Firebird in a dark, enchanted forest. With the Firebird's help, Ivan defeats the evil sorcerer Kashchei and frees his prisoners, including a princess he falls in love with. Conclusion on Top 10 Ballets These ten ballets represent incredible artistry, storytelling, and musical brilliance in the world of dance. Each production, whether brimming with tragedy, magic, or humor, offers audiences an experience that lingers long after the curtain falls. From the emotional complexity of 'Swan Lake' to the holiday charm of 'The Nutcracker,' these works have left an indelible mark on ballet history. Whether you're a seasoned ballet lover or just beginning to appreciate this classic art form, these timeless performances are worth watching and revisiting. They remind us of the beauty of movement and music, and how powerful stories can be told without a single spoken word. Of course, opinions on what makes the best art or entertainment can vary, and everyone's perspective is unique and important. This list represents what ChatGPT has come up with, but ultimately, art is subjective, and each person's preferences and interpretations are what make the conversation around it so rich and diverse. Related Articles: About the Authors: Richard D. Harroch is a Senior Advisor to CEOs, management teams, and Boards of Directors. He is an expert on M&A, venture capital, startups, and business contracts. He was the Managing Director and Global Head of M&A at VantagePoint Capital Partners, a venture capital fund in the San Francisco area. His focus is on internet, digital media, AI and technology companies. He was the founder of several Internet companies. His articles have appeared online in Forbes, Fortune, MSN, Yahoo, Fox Business and Richard is the author of several books on startups and entrepreneurship as well as the co-author of Poker for Dummies and a Wall Street Journal-bestselling book on small business. He is the co-author of a 1,500-page book published by Bloomberg on mergers and acquisitions of privately held companies. He was also a corporate and M&A partner at the international law firm of Orrick, Herrington & Sutcliffe. He has been involved in over 200 M&A transactions and 250 startup financings. He can be reached through LinkedIn. Dominique Harroch is the Chief of Staff at She has acted as a Chief of Staff or Operations Leader for multiple companies where she leveraged her extensive experience in operations management, strategic planning, and team leadership to drive organizational success. With a background that spans over two decades in operations leadership, event management at her own start-up and marketing at various financial and retail companies. Dominique is known for her ability to optimize processes, manage complex projects and lead high-performing teams. She holds a BA in English and Psychology from U.C. Berkeley and an MBA from the University of San Francisco. She can be reached via LinkedIn.
South China Morning Post
22-03-2025
- Entertainment
- South China Morning Post
Why Swan Lake's Odette-Odile role is so punishing, and how 3 ballet dancers took it on
Rehearsing Swan Lake a few weeks ago in a sweaty studio, trying to iron out some last-minute kinks, ballet dancer Unity Phelan stopped just before launching into the famed 32 fouettés – those crowd-pleasing whiplash turns on one leg performed by Odile, the devious Black Swan. Advertisement 'No fouettés today – save them for tonight,' directed Kathleen Tracey, Phelan's coach at New York City Ballet (NYCB). Dancer and coach agreed: preserving Phelan's precious leg muscles took priority over rehearsing the fiendishly difficult move. Phelan was a few hours away from performing the dual role of Odette and Odile for the second time, four days after her debut. It is a goal she had had since childhood. Achieving it at age 30 was a bucket-list moment like no other – witnessed by friends, family, 'all of New Jersey' (her home state) and a few thousand others. It was also probably the most physically challenging feat of her career. Phelan rehearses for her role as the Swan Queen. Photo: AP Many across the world know Swan Lake, the most iconic of all ballets. Far fewer know just how hard the main ballerina role is to perform. As graceful and ephemeral as it appears, Odette-Odile is a dancer's Mount Everest, requiring stellar technique, prodigious training, uncommon stamina, emotional resilience – and even carb-loading. Advertisement The ballerina dances virtually non-stop for two-and-a-half hours, with a quick intermission for refuelling. The toughest part comes toward the end – when she is most tired – with trickster Odile unleashing a dazzling display as she misleads the prince in a tragedy of mistaken identity. Even before she gets to the dastardly fouettés – the word means 'whipped' in French – the dancer has to huff and puff just to make the entrance.
Yahoo
12-03-2025
- Entertainment
- Yahoo
Fluttering arms, aching calves, bursting lungs: 'Swan Lake' is a ballerina's Mount Everest
NEW YORK (AP) — Rehearsing 'Swan Lake' a few weeks ago in a sweaty studio, trying to iron out some last-minute kinks, ballerina Unity Phelan stopped just before launching into the famed 32 fouettés — those crowd-pleasing whiplash turns on one leg performed by Odile, the devious Black Swan. 'No fouettés today — save them for tonight,' directed Phelan's coach at New York City Ballet, Kathleen Tracey. Dancer and coach agreed: preserving Phelan's precious leg muscles took priority over rehearsing the fiendishly difficult move. Phelan was a few hours away from performing the dual role of Odette and Odile for the second time, four days after her debut. It's a goal she'd had since childhood. Achieving it at age 30 was a bucket-list moment like no other — witnessed by friends, family, 'all of New Jersey' (her home state) and a few thousand others. See for yourself — The Yodel is the go-to source for daily news, entertainment and feel-good stories. By signing up, you agree to our Terms and Privacy Policy. It was also probably the most physically challenging feat of her career. Many across the world know 'Swan Lake,' the most iconic of all ballets. Far fewer know just how hard the main ballerina role is to perform. As graceful and ephemeral as it appears, Odette-Odile is a dancer's Mount Everest, requiring stellar technique, prodigious training, uncommon stamina, emotional resilience — and even carbo-loading. The ballerina dances virtually nonstop for 2 ½ hours, with a quick intermission for refueling. The toughest part comes toward the end — when she's most tired, of course — with trickster Odile unleashing a dazzling display as she misleads the prince in a tragedy of mistaken identity. Even before she gets to the dastardly fouettés — the word means 'whipped' in French — the dancer has to huff and puff just to make the entrance. There's 'hardly enough time to get to the back wing, and then you're back out,' Phelan explains. 'You're so exhausted and you have to run back out and keep going.' So exhausted that at dress rehearsal, she remarked to another dancer as she raced to her entrance: 'Man, I'm questioning all my life choices right now!' She was kidding, of course. Phelan was one of three lucky NYCB ballerinas tapped to debut the role this past season, a new generation of swan queens discovering the ecstasy and the agony in one of ballet's toughest gigs. You can't give up on yourself For Mira Nadon, swan queen glory has arrived early, at 23. The fast-rising ballet star became a principal dancer in 2023, the first Asian American female principal in the company. Her wunderkind reputation was only enhanced with her debut as Odette-Odile this season, which had many in the audience marveling at her technique and artistry. Nadon, like Phelan, says the role was always her dream — not that she thought it would come so soon. 'Of all the full-length ballets,' Nadon said in an interview, 'this is the one that I most identify with, and really hoped to get to do one day.' Even in the rarefied air of being a principal at a top company, it's not a given that you get to dance a role like this. NYCB ballerina Sara Mearns famously got the part at 19, when she was still in the corps de ballet, and continued to dance it this season, along with fellow longtime star Tiler Peck. But many never get the chance. The last time the company ran its full-length 'Swan Lake, choreographed by Peter Martins, was five years ago, just before the outbreak of the coronavirus pandemic. A later run was canceled due to COVID-19 concerns. So Nadon was thrilled when she was told in the fall that she'd be donning the swan feathers. During the busy 'Nutcracker' run over the holidays, she began working with her coach, Rebecca Krohn, to learn the steps and 'have them settle into my body.' It is that muscle memory, dancers say, that often saves them when things are tough. And like any athlete, Nadon spent the season building up stamina so that it would be at peak form for 'Swan Lake.' Even so, the role was a challenge. 'You have to accept that you will be tired, and you just have to push through it and trust yourself,' she says. 'Because when you have something that is so taxing, it's a little bit mental. You can't give up on yourself. You have to really believe that you can do it.' Your mind wants you to stop It was that very self-belief that Miriam Miller says she had to fight for. 'I kind of thought it was off the table, like I wasn't really going down that route,' says Miller, 28, who became a principal just weeks before her 'Swan Lake' debut. She said she never saw herself as a great turner, or able to master some of the Black Swan's tricky footwork. 'It has every single ballet step in the book,' Miller says of the iconic ballet. 'In White Swan, it's so delicate and we strive to be perfectly placed and thoughtful about all the in-between steps … so that takes a different effort,' she says. 'Then you have 25 minutes (for intermission), you have to do a quick change, you have to change your shoes, you have to eat, you have to just kind of reset.' And that's just the physical part. 'It takes a lot of mental strength and self-awareness,' Miller adds. 'You're fully depleting yourself in every single way.' Somehow, she triumphed over her own doubts, and sounded exhilarated the morning after her debut, despite the throbbing muscles. 'It's hard sometimes to go out onstage and not let your mind take over,' Miller says. 'Our bodies are inherently lazy and our mind is also lazy, and so it wants to tell you. 'Stop, you're exhausted, just give up.' If there is something I'm proud about, it's that I didn't let those thoughts interfere with the performance.' Carbo-loading, electrolytes, bananas and protein bars Miller laughs when hearing the anecdote that actor Natalie Portman, prepping for her 'Black Swan' movie role, subsisted on carrots and almonds to get in ballerina shape. In real life, dancing that role without serious fueling? 'She would have been dead on the floor,' Miller said. To fuel her own body, Miller carbo-loaded like a marathoner and took electrolytes and energy supplements ahead of the performance. During the show itself, she snacked on a peanut butter protein bar and a banana. For Nadon, it was a sandwich beforehand, then electrolytes, yogurt and a banana during intermission. For Phelan, it was half a banana during the break, plus packing in carbs and protein the day before and remembering to eat well on performance day, a marathon that began with morning class and then rehearsal, attended as always by her cavalier King Charles spaniel, Pippin. 'You're nervous, so you're not very hungry,' Phelan says. 'But you have to make sure you eat because otherwise, you won't have anything in you to help.' Whatever they ate, it worked. Now, they're left with memories like the moment the lights went up during curtain calls and Phelan could finally make out some faces. 'It was completely full, people were standing and I was hit with a wave of, 'Oh my God, there were 2,500 people watching this! And they liked it.'' And they're left with something else, too. Aches, everywhere. 'I've definitely never been this exhausted after a show,' quips Miller.
The Independent
12-03-2025
- Entertainment
- The Independent
Fluttering arms, aching calves, bursting lungs: 'Swan Lake' is a ballerina's Mount Everest
Rehearsing 'Swan Lake' a few weeks ago in a sweaty studio, trying to iron out some last-minute kinks, ballerina Unity Phelan stopped just before launching into the famed 32 fouettés — those crowd-pleasing whiplash turns on one leg performed by Odile, the devious Black Swan. 'No fouettés today — save them for tonight,' directed Phelan's coach at New York City Ballet, Kathleen Tracey. Dancer and coach agreed: preserving Phelan's precious leg muscles took priority over rehearsing the fiendishly difficult move. Phelan was a few hours away from performing the dual role of Odette and Odile for the second time, four days after her debut. It's a goal she'd had since childhood. Achieving it at age 30 was a bucket-list moment like no other — witnessed by friends, family, 'all of New Jersey' (her home state) and a few thousand others. It was also probably the most physically challenging feat of her career. Many across the world know 'Swan Lake,' the most iconic of all ballets. Far fewer know just how hard the main ballerina role is to perform. As graceful and ephemeral as it appears, Odette-Odile is a dancer's Mount Everest, requiring stellar technique, prodigious training, uncommon stamina, emotional resilience — and even carbo-loading. The ballerina dances virtually nonstop for 2 ½ hours, with a quick intermission for refueling. The toughest part comes toward the end — when she's most tired, of course — with trickster Odile unleashing a dazzling display as she misleads the prince in a tragedy of mistaken identity. Even before she gets to the dastardly fouettés — the word means 'whipped' in French — the dancer has to huff and puff just to make the entrance. There's 'hardly enough time to get to the back wing, and then you're back out,' Phelan explains. 'You're so exhausted and you have to run back out and keep going.' So exhausted that at dress rehearsal, she remarked to another dancer as she raced to her entrance: 'Man, I'm questioning all my life choices right now!' She was kidding, of course. Phelan was one of three lucky NYCB ballerinas tapped to debut the role this past season, a new generation of swan queens discovering the ecstasy and the agony in one of ballet's toughest gigs. You can't give up on yourself For Mira Nadon, swan queen glory has arrived early, at 23. The fast-rising ballet star became a principal dancer in 2023, the first Asian American female principal in the company. Her wunderkind reputation was only enhanced with her debut as Odette-Odile this season, which had many in the audience marveling at her technique and artistry. Nadon, like Phelan, says the role was always her dream — not that she thought it would come so soon. 'Of all the full-length ballets,' Nadon said in an interview, 'this is the one that I most identify with, and really hoped to get to do one day.' Even in the rarefied air of being a principal at a top company, it's not a given that you get to dance a role like this. NYCB ballerina Sara Mearns famously got the part at 19, when she was still in the corps de ballet, and continued to dance it this season, along with fellow longtime star Tiler Peck. But many never get the chance. The last time the company ran its full-length 'Swan Lake, choreographed by Peter Martins, was five years ago, just before the outbreak of the coronavirus pandemic. A later run was canceled due to COVID-19 concerns. So Nadon was thrilled when she was told in the fall that she'd be donning the swan feathers. During the busy 'Nutcracker' run over the holidays, she began working with her coach, Rebecca Krohn, to learn the steps and 'have them settle into my body.' It is that muscle memory, dancers say, that often saves them when things are tough. And like any athlete, Nadon spent the season building up stamina so that it would be at peak form for 'Swan Lake.' Even so, the role was a challenge. 'You have to accept that you will be tired, and you just have to push through it and trust yourself,' she says. 'Because when you have something that is so taxing, it's a little bit mental. You can't give up on yourself. You have to really believe that you can do it.' Your mind wants you to stop It was that very self-belief that Miriam Miller says she had to fight for. 'I kind of thought it was off the table, like I wasn't really going down that route,' says Miller, 28, who became a principal just weeks before her 'Swan Lake' debut. She said she never saw herself as a great turner, or able to master some of the Black Swan's tricky footwork. 'It has every single ballet step in the book,' Miller says of the iconic ballet. 'In White Swan, it's so delicate and we strive to be perfectly placed and thoughtful about all the in-between steps … so that takes a different effort,' she says. 'Then you have 25 minutes (for intermission), you have to do a quick change, you have to change your shoes, you have to eat, you have to just kind of reset.' And that's just the physical part. 'It takes a lot of mental strength and self-awareness,' Miller adds. 'You're fully depleting yourself in every single way.' Somehow, she triumphed over her own doubts, and sounded exhilarated the morning after her debut, despite the throbbing muscles. 'It's hard sometimes to go out onstage and not let your mind take over,' Miller says. 'Our bodies are inherently lazy and our mind is also lazy, and so it wants to tell you. 'Stop, you're exhausted, just give up.' If there is something I'm proud about, it's that I didn't let those thoughts interfere with the performance.' Carbo-loading, electrolytes, bananas and protein bars Miller laughs when hearing the anecdote that actor Natalie Portman, prepping for her 'Black Swan' movie role, subsisted on carrots and almonds to get in ballerina shape. In real life, dancing that role without serious fueling? 'She would have been dead on the floor,' Miller said. To fuel her own body, Miller carbo-loaded like a marathoner and took electrolytes and energy supplements ahead of the performance. During the show itself, she snacked on a peanut butter protein bar and a banana. For Nadon, it was a sandwich beforehand, then electrolytes, yogurt and a banana during intermission. For Phelan, it was half a banana during the break, plus packing in carbs and protein the day before and remembering to eat well on performance day, a marathon that began with morning class and then rehearsal, attended as always by her cavalier King Charles spaniel, Pippin. 'You're nervous, so you're not very hungry,' Phelan says. 'But you have to make sure you eat because otherwise, you won't have anything in you to help.' Whatever they ate, it worked. Now, they're left with memories like the moment the lights went up during curtain calls and Phelan could finally make out some faces. 'It was completely full, people were standing and I was hit with a wave of, 'Oh my God, there were 2,500 people watching this! And they liked it.'' And they're left with something else, too. Aches, everywhere. 'I've definitely never been this exhausted after a show,' quips Miller.
Associated Press
12-03-2025
- Entertainment
- Associated Press
Fluttering arms, aching calves, bursting lungs: ‘Swan Lake' is a ballerina's Mount Everest
NEW YORK (AP) — Rehearsing 'Swan Lake' a few weeks ago in a sweaty studio, trying to iron out some last-minute kinks, ballerina Unity Phelan stopped just before launching into the famed 32 fouettés — those crowd-pleasing whiplash turns on one leg performed by Odile, the devious Black Swan. 'No fouettés today — save them for tonight,' directed Phelan's coach at New York City Ballet, Kathleen Tracey. Dancer and coach agreed: preserving Phelan's precious leg muscles took priority over rehearsing the fiendishly difficult move. Phelan was a few hours away from performing the dual role of Odette and Odile for the second time, four days after her debut. It's a goal she'd had since childhood. Achieving it at age 30 was a bucket-list moment like no other — witnessed by friends, family, 'all of New Jersey' (her home state) and a few thousand others. It was also probably the most physically challenging feat of her career. Many across the world know 'Swan Lake,' the most iconic of all ballets. Far fewer know just how hard the main ballerina role is to perform. As graceful and ephemeral as it appears, Odette-Odile is a dancer's Mount Everest, requiring stellar technique, prodigious training, uncommon stamina, emotional resilience — and even carbo-loading. The ballerina dances virtually nonstop for 2 ½ hours, with a quick intermission for refueling. The toughest part comes toward the end — when she's most tired, of course — with trickster Odile unleashing a dazzling display as she misleads the prince in a tragedy of mistaken identity. Even before she gets to the dastardly fouettés — the word means 'whipped' in French — the dancer has to huff and puff just to make the entrance. There's 'hardly enough time to get to the back wing, and then you're back out,' Phelan explains. 'You're so exhausted and you have to run back out and keep going.' So exhausted that at dress rehearsal, she remarked to another dancer as she raced to her entrance: 'Man, I'm questioning all my life choices right now!' She was kidding, of course. Phelan was one of three lucky NYCB ballerinas tapped to debut the role this past season, a new generation of swan queens discovering the ecstasy and the agony in one of ballet's toughest gigs. You can't give up on yourself For Mira Nadon, swan queen glory has arrived early, at 23. The fast-rising ballet star became a principal dancer in 2023, the first Asian American female principal in the company. Her wunderkind reputation was only enhanced with her debut as Odette-Odile this season, which had many in the audience marveling at her technique and artistry. Nadon, like Phelan, says the role was always her dream — not that she thought it would come so soon. 'Of all the full-length ballets,' Nadon said in an interview, 'this is the one that I most identify with, and really hoped to get to do one day.' Even in the rarefied air of being a principal at a top company, it's not a given that you get to dance a role like this. NYCB ballerina Sara Mearns famously got the part at 19, when she was still in the corps de ballet, and continued to dance it this season, along with fellow longtime star Tiler Peck. But many never get the chance. The last time the company ran its full-length 'Swan Lake, choreographed by Peter Martins, was five years ago, just before the outbreak of the coronavirus pandemic. A later run was canceled due to COVID-19 concerns. So Nadon was thrilled when she was told in the fall that she'd be donning the swan feathers. During the busy 'Nutcracker' run over the holidays, she began working with her coach, Rebecca Krohn, to learn the steps and 'have them settle into my body.' It is that muscle memory, dancers say, that often saves them when things are tough. And like any athlete, Nadon spent the season building up stamina so that it would be at peak form for 'Swan Lake.' Even so, the role was a challenge. 'You have to accept that you will be tired, and you just have to push through it and trust yourself,' she says. 'Because when you have something that is so taxing, it's a little bit mental. You can't give up on yourself. You have to really believe that you can do it.' Your mind wants you to stop It was that very self-belief that Miriam Miller says she had to fight for. 'I kind of thought it was off the table, like I wasn't really going down that route,' says Miller, 28, who became a principal just weeks before her 'Swan Lake' debut. She said she never saw herself as a great turner, or able to master some of the Black Swan's tricky footwork. 'It has every single ballet step in the book,' Miller says of the iconic ballet. 'In White Swan, it's so delicate and we strive to be perfectly placed and thoughtful about all the in-between steps … so that takes a different effort,' she says. 'Then you have 25 minutes (for intermission), you have to do a quick change, you have to change your shoes, you have to eat, you have to just kind of reset.' And that's just the physical part. 'It takes a lot of mental strength and self-awareness,' Miller adds. 'You're fully depleting yourself in every single way.' Somehow, she triumphed over her own doubts, and sounded exhilarated the morning after her debut, despite the throbbing muscles. 'It's hard sometimes to go out onstage and not let your mind take over,' Miller says. 'Our bodies are inherently lazy and our mind is also lazy, and so it wants to tell you. 'Stop, you're exhausted, just give up.' If there is something I'm proud about, it's that I didn't let those thoughts interfere with the performance.' Carbo-loading, electrolytes, bananas and protein bars Miller laughs when hearing the anecdote that actor Natalie Portman, prepping for her 'Black Swan' movie role, subsisted on carrots and almonds to get in ballerina shape. In real life, dancing that role without serious fueling? 'She would have been dead on the floor,' Miller said. To fuel her own body, Miller carbo-loaded like a marathoner and took electrolytes and energy supplements ahead of the performance. During the show itself, she snacked on a peanut butter protein bar and a banana. For Nadon, it was a sandwich beforehand, then electrolytes, yogurt and a banana during intermission. For Phelan, it was half a banana during the break, plus packing in carbs and protein the day before and remembering to eat well on performance day, a marathon that began with morning class and then rehearsal, attended as always by her cavalier King Charles spaniel, Pippin. 'You're nervous, so you're not very hungry,' Phelan says. 'But you have to make sure you eat because otherwise, you won't have anything in you to help.' Whatever they ate, it worked. Now, they're left with memories like the moment the lights went up during curtain calls and Phelan could finally make out some faces. 'It was completely full, people were standing and I was hit with a wave of, 'Oh my God, there were 2,500 people watching this! And they liked it.'' And they're left with something else, too. Aches, everywhere. 'I've definitely never been this exhausted after a show,' quips Miller.
