MARIA KOWROSKI takes a last bow New York City Ballet star retires in October
C
By Kimberly Nicoletti
hoosing to retire is never easy for a dancer, and for New York City Ballet (NYCB) Principal Dancer Maria Kowroski, the decision has been complicated by injuries and a global pandemic. Throughout her illustrious career, Kowroski always assumed she’d retire at age 42. But as 42 came and went, she felt great and continued on to the delight of her audiences, but less than two years later, in December 2019, she tore a tendon. And just as she was recovering from that injury, she then tore her meniscus. She figured it was her body’s way of telling her it was time to retire, but “I didn’t just want to walk away,” she said. “I thought of it, but when you’re dedicated to your art form, you want to have some closure.” So she set a retirement date for May 2020, but COVID-19 canceled the season. With a desire to say farewell on a high note, she has decided to retire this October at age 45. But before that, she will happily be back in Vail again after several years absence.
REACHING THE PINNACLE
Kowroski’s journey to NYCB Principal Dancer is a testament to her mental and physical strength, as well as her extraordinary ability to interpret works. She began ballet at age seven in Michigan, and when she entered the School of American Ballet, the official school of NYCB, at age sixteen, she felt a little behind in terms of technique. “I had a lot of flexibility and mobility, but all I heard was, ‘you have to get stronger,’” she said.
46
VAILDANCE.ORG
Maria Kowroski and students of the School of American Ballet in New York City Ballet’s production of George Balanchine’s A Midsummer Night’s Dream. Photo by Paul Kolnik.
So that’s exactly what she did. In less than two and a half years, she joined NYCB’s corps de ballet and was promoted to Principal Dancer four years later. From her solid technique, she began focusing on more fully expressing herself: she used her personal experiences, such as the death of her mother and giving birth to her son, to bring more life — and more of her own essence — to her work. Kowroski’s ability to translate her emotions, passion, and life experience into dance has made her truly extraordinary. “Everyone gets caught up in the technique, and they forget to dance. When you get caught up in technique, you do lose that dancing quality and it becomes not as special,” she said. “I was — and still am — such a perfectionist and was very hard on myself. I couldn’t appreciate the moments on stage that were wonderful and glorious. Throughout the years, I have really tried to enjoy myself and forget about technique.”
Woetzel, who danced with Kowroski over many years in New York. “The quality of illuminating new work is something that has been central to Maria’s career, but she also has been a unique voice in reinterpreting roles that are part of the classic repertory at New York City Ballet.” Collaborating with dancers from international companies at Vail Dance Festival helped her develop artistically. VAIL “When you’re in small groups, there’s “Maria has always brought to her dancing more inspiration because everyone is a distinctive authority and conviction,” supporting each other,” she said. “You get said Vail Dance Festival Artistic Director to take the time and work on things, take and former NYCB Principal Dancer Damian more chances and present yourself in a new Maria Kowroski in New York City Ballet’s production of George Balanchine’s Chaconne. Photo by Paul Kolnik.
