Lydia Lopokova: A Life in Dance
Born in 1982, in St. Petersburg, I was practically born into the world of dance. My father, a respected surgeon, had always wanted to pursue dance, but his career path took him in a different direction. My mother, on the other hand, had been a talented dancer in her youth and was immensely passionate about the art form. So, naturally, I was practically born in a tutu.
My first steps into the world of dance were taken in the Imperial Ballet School. It was here, within the hallowed halls, that my passion ignited and my natural ability for dance blossomed under the guidance of esteemed instructors such as Anna Pavlova. My innate grace and exquisite technique captivated everyone; the students, the teachers, the stage hands, everyone! The air thrummed with my every step, and the entire room was abuzz with my infectious enthusiasm.
The years passed in a flurry of practice, performances, and performances, and soon enough, my name was whispered on the lips of theatre patrons and critics alike. At sixteen, I was already a star on the rise, earning rave reviews in Russia and across Europe. In 1912, I entered the esteemed Mariinsky Theatre, where my talents truly blossomed, and my passion took flight.
In 1913, Diaghilev came into my life, a force of nature in the world of ballet. A whirlwind of creativity and passion, he created a stage for me to express myself beyond the confines of the traditional ballet. With Diaghilev's Ballet Russes, I was catapulted into the world of modern dance. The sheer exuberance of it! Diaghilev challenged conventions and pushed boundaries with every step, transforming dance into a living, breathing art. We danced in the great theatres of London, Paris, and beyond, bringing a touch of Russian brilliance to a new and eager audience. My talents, though cultivated under the rigid Russian traditions, thrived on the revolutionary spirit that Diaghilev introduced. I loved his innovative approach, it made me come alive on stage! We pushed the boundaries of classical dance and brought a new vision to a fascinated world.
It wasn’t all just pirouettes and pas de bourrées, however. Life with Diaghilev was as exhilarating as it was unpredictable. The man, a tempest of an artist, constantly pushed me to my limits, but I knew he wanted nothing but the best for me. The relentless schedule was gruelling, but the adrenaline that pumped through my veins kept me going. And then, there was the element of chaos; late-night rehearsals, costume changes in the blink of an eye, travelling from one continent to another in a frenzy of activity. It was intoxicating, exhilarating, and just a little bit wild, but every performance was magic.
During the 1920s, the Ballet Russes became synonymous with innovation, and the world’s most celebrated choreographers created some of their greatest works with us. Working with masters like Nijinsky, Fokine, Massine, Balanchine, was a privilege. Each one brought a different energy, each a unique masterpiece in motion, shaping me, pushing me, inspiring me, every step of the way. This era defined the new generation of dance, an exciting journey that pushed my boundaries and, as I say, brought out the best in me.
The world outside dance was abuzz with political and social upheaval. The 1917 revolution tore through my beloved Russia. With a pang of sadness, I watched as my home country crumbled, though my love for Russia never dimmed, a silent yearning for the country of my birth lingered throughout my journey.
In 1921, I danced alongside Nijinsky in his ballets ‘Jeux’ and ‘Le Spectre de la Rose’, experiences that forever shaped my approach to dance. I remember how his grace captivated the entire stage, it was pure artistry, poetry in motion. Then, with a dash of fortune and a touch of whimsy, I fell in love with the renowned economist John Maynard Keynes. In him, I found a true partner, a mind that rivaled his passion for economics, my mind, a whirlwind of art. Our romance was a dance in itself.
With him, I moved to England. It was an intriguing transition; I found a home in the quiet corners of English countryside while embracing the world-stage that was London, performing on the most iconic stages with Diaghilev. But my dance journey continued beyond Russia. I continued with the Ballet Russes for many years, becoming one of its most cherished stars. In England, I discovered a different rhythm of life, less chaotic than the whirlwind I was accustomed to. Yet, I missed the rush and creative madness, the intense passion, and relentless pursuit of the sublime. England’s slower pace brought me a different kind of peace and allowed me to flourish in new ways, embracing my new home, nurturing my artistic voice.
After the decline of the Ballet Russes in the mid-1920s, I decided to branch out. Though my love for the classical remained strong, my exploration led me to delve deeper into other styles. I danced for many other companies, including the Ballets Jooss and the Vic-Wells Ballet (which later evolved into The Royal Ballet) in England. This broadened my scope and deepened my understanding of dance as a language, transcending cultural and national boundaries. It allowed me to experiment, push my creativity to new frontiers, and find new ways to express myself through movement.
As time marched forward, I decided to embrace a different dimension of dance, becoming a teacher and a mentor to a new generation of dancers. This proved to be a deeply satisfying and rewarding experience. I remember seeing young eyes bright with curiosity, eager to learn, to explore, and I felt a deep sense of joy in guiding them, sharing my experience, nurturing their own passion for dance.
Throughout my long and rich career, I found joy in the challenge of learning and evolving. With each performance, every step, I discovered new facets of myself, the fluidity of movement, the grace of the pirouette, the poetry of every plie, and the strength of every relevé. These were just as vital as the challenges and the joys, the passion and the creativity. I loved every minute, and even as I started slowing down in my 60s, the art of ballet remained an intrinsic part of my being.
Lydia Lopokova: the name brought both awe and admiration from countless people worldwide, but I felt most content in the quiet solitude of a home in the English countryside. Surrounded by my love, John Maynard Keynes, and with the symphony of nature outside my window, I danced, not in a crowded theatre, but within the garden, amongst the quiet trees, in the whisper of the wind.
As I enter my 70s, I feel a sense of peace, a satisfaction in knowing that I poured my soul into each performance. The echoes of my performances may fade, but the passion, the dedication, and the relentless pursuit of the sublime remain in every movement of my soul. Now, I move at my own pace, relishing the simple joy of a flower blossoming, the soothing melody of a bird’s song. Every morning, when the sun awakens the land, I greet the day with a dance in my heart.
I may be slowing down, but the essence of my dance life continues. My world may be quieter now, but it is just as fulfilling. The rhythm of the past continues to reverberate within me. It is the soundtrack to my life, a reminder of the journeys, the challenges, the friendships, the heartbreak, and the unyielding pursuit of perfection. Every pirouette, every jeté, every arabesque… It all came from my soul and, through my art, I gave a little bit of myself to the world.
This is Lydia Lopokova: a ballerina, an artist, a woman who dared to dream, to create, and to dance her way into the hearts of a generation. My life, in all its chaos and beauty, was and continues to be a testament to the powerful and evocative world of ballet. It is in every breath, every heartbeat, and it will remain within me forever.