Mid-way through the first act, taking off for a jump, I felt a pop in my calf, and from then on a sharp pain inflicted by just stepping on it. I finished the act through sheer grit of determination but knew in my gut I couldn't possibly continue. I am shattered and heartbroken…
In an interview with David Hallberg for The Times on 1 March, he told Debra Craine:
As defeated as I felt by my injury, as much as I felt my career was over, I wasn't done expressing myself as an artist. That's what caused me to fight when all hope had seemingly been lost. And for me, climbing that mountain of getting back to dance, the peak was dancing with Natalia Osipova again, and it's amazing that it's happening here at the Royal.
Hallberg was offstage for almost three years recovering from a severe injury to his foot.
It's been ten years since we first danced together and we are older and more mature now. Yet that inexplicable connection and deep understanding which we had for each other is still there. What we experience on stage together is beyond any sort of analysis or comprehension. It has changed us as artists and we recognise the fact that it's unique. I don't presume to think the audience will feel the same way; our partnership may be interpreted differently by them, but to us it's unbelievable, it's special.
We have had such memorable and powerful performances that I want to create as many opportunities to continue to dance together. Time is ticking away and I want us to be conscious of how we plan things so that we don't miss out.
Imagine the disappointment for Hallberg and the audience, when during the first act of Giselle he was was injured again. After an unusually long interval, Kevin O'Hare, the director of The Royal Ballet, announced that Hallberg couldn't dance the rest of the ballet.
Roslyn Sulcas from The New York Times was there:
Judging by the loud groan, it was a huge disappointment for the audience, many of whom had probably never seen Mr. Hallberg perform with Ms. Osipova, a principal with the Royal Ballet since 2013. And how must he have felt? Mr. Hallberg returned to the stage just 14 months ago, after a two-and-a-half-year injury-filled break and a painful, painstaking fight back to physical prowess.
First Soloist Matthew Ball jumped into a taxi and arrived to dance the second act – a triumph. Sulcas again:
Mr. Ball, who had performed Albrecht only once before, did heroic duty in stepping into Mr. Hallberg's shoes. Although he and Ms. Osipova have rarely danced together, there was no visible strain or discordance in their pas de deux, and he offered a convincing account of Albrecht's back-from-the-brink despair as Giselle finally vanished forever.
Yesterday, however, Hallberg posted the following on Instagram calming his fans' worries:
My dear friends, Thursday night was the first time I was dancing again with Natasha Osipova in over 4 years and my debut with the Royal Ballet; a moment I eagerly anticipated. The energy between Natasha and I felt connected and spontaneous, alive yet familiar. Mid-way through the first Act, taking off for a jump, I felt a pop in my calf, and from then on a sharp pain inflicted by just stepping on it. I finished the Act through sheer grit of determination but knew in my gut I couldn't possibly continue.
I am shattered and heartbroken (personally for what this performance meant to me, as well for the audience that came from far reaches to see this moment). But I am human and this is a very common injury among dancers. Although my calf needs some rest and rehab, I will be back in no time (my ankle subsequently is better than ever!).
Before we all know it, Natasha and I will be onstage, reveling in the chance to dance together again. Deep gratitude to all for the warm wishes and concern, and especially to the entire team @royaloperahouse and Kevin O'Hare for their collective support and understanding. What a company I've witnessed.
David McAllister, Artistic Director of The Australian Ballet, where Hallberg spent months recovering from his foot injury and made his return to the stage dancing Franz in the company's Coppélia, commented:
Sending much love Mr H!! Calf healing is easier than tendons!
He is down to dance Albrecht again on 9 March. We wish him well.
Graham Spicer is a writer, director and photographer in Milan, blogging (under the name ‘Gramilano') about dance, opera, music and photography for people “who are a bit like me and like some of the things I like”. He was a regular columnist for Opera Now magazine and wrote for the BBC until transferring to Italy.
His scribblings have appeared in various publications from Woman's Weekly to Gay Times, and he wrote the ‘Danza in Italia' column for Dancing Times magazine.
