My journey in the world of ballet began in Minsk, at the Belarusian State Choreography Gymnasium-College under the guidance of G.G. Sinelnikova. From the very beginning, the path wasn’t easy. I didn’t have perfect natural abilities — high arches, ideal turnout — all the things considered essential in classical dance. But I had a deep desire, perseverance, and an unwavering commitment to self-improvement. I knew that only through hard work and dedication could I achieve results.
At a young age, I became a laureate of several international competitions: the Sergei Diaghilev Competition in Moscow (1992), the competition in Szczecin, Poland (1992), the Varna Competition in Bulgaria (1996), and the IX International Competition in Paris (2000). In 1996, I was honoured with the “Artist of the Year” award by the President of Belarus.
In 1997, I became a soloist with the Latvian National Ballet, performing leading roles in Giselle, La Sylphide, and The Nutcracker. This was followed by several years with the Lithuanian National Ballet, where I danced in The Sleeping Beauty, Romeo and Juliet, The Rite of Spring, Coppélia, La Fille Mal Gardée, and Boris Eifman’s Red Giselle.
In 2002, I became a principal dancer with the Hungarian National Ballet, performing major roles such as Kitri in Don Quixote, Aurora in The Sleeping Beauty, Odette/Odile in Swan Lake, Tatiana in John Cranko’s Onegin, and Mary Vetsera in Kenneth MacMillan’s Mayerling.
From 2005 to 2020, I was a principal dancer with the Vienna State Opera, performing classical, neoclassical and contemporary repertoire: Pierre Lacotte’s La Sylphide, Kenneth MacMillan’s Manon, Boris Eifman’s Anna Karenina, Jiří Kylián’s Bella Figura, William Forsythe’s The Vertiginous Thrill of Exactitude, among many others.
But alongside a brilliant career came many challenges. The Vienna State Opera was a dream, but also a test of endurance — extreme workloads, intense competition, and exhaustion that lingered even after long breaks.
Ballet is not only about beauty; it demands tremendous physical and emotional effort. My career was full of ups and downs. And during one of the more difficult periods, when I was particularly struggling, it was my then-director, Gyula Harangozó, who suggested I try Pilates. That advice turned out to be life-changing. I was sceptical at first — I thought the only solution was to work even harder. But curiosity prevailed.
Pilates gradually became part of my life. After each session, I felt my body recovering faster, becoming more mobile and strong. However, the demands of ballet are immense, and over time, my feet began to fail me. The damage from old injuries could no longer be fully reversed — not even with Pilates. Performances and rehearsals became an ongoing physical trial, despite my continuous Pilates training and ballet classes.
Eventually, it became clear: surgery was unavoidable. It was a tough decision. Doctors gave me a 50/50 chance of returning to the stage. I decided to take the risk. When I woke up after the surgery, my first thought was: no pain… It was bliss — but I had a long recovery ahead. Both of my legs had been operated on, and I found myself in a wheelchair, unable to walk.
That was when Pilates became more than just supplemental training — it became the foundation of my existence. I spent hours rebuilding control over my body, learning to listen to it anew, and working in harmony with it. A year later, I returned to the stage. And by then, I knew for certain: Pilates would stay in my life forever.
One of the most remarkable moments in my career happened in Osaka, Japan. I was dancing, completely immersed in the movement, the music, the emotion. When the curtain fell, the audience erupted into applause. Later I was told that during my solo — while I was spinning in pirouettes on one leg — an earthquake had struck. I hadn’t even noticed. My coordination, balance, and focus — I owed them all to Pilates.
Through Pilates, I realised that my true calling was to share my experience and knowledge. It gave me the confidence to become a teacher of classical ballet.
From 2015 to 2020, I studied ballet pedagogy and choreography at the Moscow State Academy of Choreography, graduating with distinction.
Now I teach at the Europaballet Academy in St. Pölten, Austria, am a member of the Ballet Excellence Centre in Vienna, serve on the Artistic Board of the Austrian Dance Council, act as a jury member at international competitions, and give masterclasses around the world.
As a certified Romana’s Pilates instructor, I actively develop my private Pilates practice, helping dancers build strength, prevent injuries, and speed up recovery. Pilates is not just a set of exercises — it is a tool that helps us become stronger, more mindful, and freer in movement. And I am truly happy to share it with others.
Ballet and Pilates have become one in my life — a source of growth, inspiration, and an opportunity to generously share my experience with the world.
