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Violeta Angelova

Ballerina. artist. the original.

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~ "Violeta Angelova was very fine [in Valse-Fantaisie]: she seized the music and made it her own."

~ "Among the principals [Angelova] particularly stood out for her amazing musicality and clarity of steps."

~ "[In the Andante], I most admired the noble port de bras and classical beauty of Violeta Angelova in the 4th pas de deux, with Ian Grosh."

~ "[The Suzanne Farrell Ballet] blends American dancers with several imported from Bulgaria most notably Violeta Angelova, a marvelously fluid ballerina I caught [at the J.F.Kennedy Center] in Sonatine. While most of the colleagues were strong on technique and precision, Angelova caught the emotion uniquely, paired with her inordinately tall countryman Momchil Mladenov, who was hard put to match her. Her sinuous pas de deux was pure poetry."

~"Set to an entire movement of Tchaikovsky's Symphony No. 3 [the Diamonds Pas de Deux], this homage to the imperial ballet of the late 19th century, was danced with great dignity and reverence by Violeta Angelova and Momchil Mladenov."

~ "Concerto Barocco projected a smiling ease that illuminated the choreography's intricate architecture. As [one of] its side-by-side central ballerinas, Violeta Angelova played piquant big sister”


~ "[Concerto Barocco] Violeta Angelova is simply stunning - a ballerina who has-it-all: looks, musicality, technique, and, most importantly, that special ability to "sing" with her body & feet. Brava!"


~ "[In Sonatine] Violeta Angelova, partnered by Michael Cook, showed a sure, pure technique, but seemed a bit young for the role."

~ "In Sonatine Ms. Angelova, who can sometimes seem flinty, made a breakthrough into a new level of moment-by-moment immediacy, responding to her partner, Momchil Mladenov, and to the music with changing nuances."

~ "[In Concerto Barocco] The two balerinas leading the corps - Violeta Angelova and Kara G. Cooper - 'become' the two violins, mimicking the intensity of the music with their exquisite timing and superb musicality."

~ "[In the Diamonds pas de deux] Angelova and Mladenov represent refined elegance. When Angelova leans back into Mladenov, one leg high in front of her, they create a beautiful, seamless line with their torsos. They dance with a tenderness one might not expect to see developed taken out of context from a longer work."

~ "[In Balanchine’s Apollo pas de deux] To music by Igor Stravinsky, dancers Violeta Angelova and Michael Cook moved slowly and deliberately in Balanchine’s choreography, articulating and developing each arm and leg movement with grace and purity of line. The well-rehearsed pair exuded regality tinged with vulnerability. The short dance was filled with lifts, ending with Angelova perched on Cook’s shoulders, looking as if in a swan dive — each dancer’s arms swimming side to side."

~ "Had I ever before noticed how Terpsichore's leading finger points the way forward to Apollo, as he carries her downstage, draped in a gorgeous arabesque on his back? Perhaps, but as Violeta Angelova performed it with Michael Cook, the finger's telling detail was as sharp and important as the line of her working leg."

~ "[In 1957’s Agon pas de deux] Dancers Angelova and Momchil Mladenov adroitly performed Balanchine’s sharp and angular choreography that struck with exclamation points."

~ "Of the many talented dancers in the world today, the Bulgarian ballerina Violeta Angelova is like a jewel, blessed with physical beauty and grace, a crystal clear technique, and a kind of inner radiance that shines forth in each performance."


~ "[As the Sleepwalker] Violeta Angelova has the anatomy and ability to stab the stage floor with angry toes and then skim serenly over stumbling blocks."

~ "In the Agon pas[de deux], Angelova and Momchil Mladenov made manifest the marvelously odd physics of the place these collaborators/competitors inhabit. When she strikes a penchee, unperturbed as he skitters, supine, beneath her while holding her hand, it seems, once again, an almost-unremarkable miracle."

~ "Violeta Angelova shone in the second [Agon] pas de trois. Her Bransle Gay flowed languidly from one position from another, achieving impossibly etched positions and sharp angles without becoming staccato in her phrasing. The juxtaposition was a great reading of the choreography and marks it as a performance to remember."

~ "[in the Monumentum pro Gesualdo and Movements for Piano and Orchestra demi-soloists role] Violeta Angelova made particular impression."

~ "Violeta Angelova stood out for the quick airiness of her dancing in the charming Divertimento No.15"

~ "[In Divertimento No.15] There were moments and variations that rose to glory: Violeta Angelova was a quicksilver presence in the sixth and final variation."

~ "A notable exception was Violeta Angelova, who rendered the sixth variation as a presto wake-up call."

~ "Violeta Angelova, looking quite young, gave her first performance bursts of spontaneity that were like sunshine suddenly breaking through clouds."

~ "At the center of The Fairy Doll Angelova represents the Eternal Feminine;" Violeta [was] delicately suspended in balances on pointe" 


~ "Violeta Angelova is piquant and saucy; she would be perfectly cast as the French Ballerina in Tudor’s Gala Performance."