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Swan songs: Dance Magazine went to some of the ballerinas who are known for their portrayals of Odette/Odile. We gathered their experiences and advice for young dancers just starting to learn the part--and for those who dream of performing it someday.

Article Excerpt
YUAN YUAN TAN

SAN FRANCISCO BALLET

Before the performance, I just calm down, get quiet, and visualize my bird. I try not to think too much because it will mess me up. Onstage it just happens, because of the muscle memory. But you have to think of the details--the swan-like neck, your fingertips as the tips of the wings. The entrance is always the hardest moment. After all the dry ice disappears, you have to do glissade, pique arabesque, and then hopefully I can stay on that arabesque. I need to rehearse more and more for that. If I can do the step well I can open up to the role.

When the ballet is over, my left leg is killing me. The pas de deux is on left leg, and the variation in second act, the long pas de deux and long variation and fouettees are on the left side. And so many bourrees--my toes hurt, too.

Some guys think about technique too much, and in the pas de deux you know they are saving energy for their variation. I can't stand that.

Advice: Study a lot of videos. Every famous ballerina does it differently; they are doing what suits their body. You can study them and try out what works for you. And gets lots lots lots of rehearsal.

IRINA DVOROVENKO

AMERICAN BALLET THKATRE

In one act you are vulnerable and delicate, sensual and fragile. You don't need to do too much eyes or too much emotion; your body will tell more.

In another act you are spontaneous, hot, and sexy. You magnetize the prince and make him fall in love. You can look at him...

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