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Marianna Tsembenhoi & Genevra Zambon

First Artist & Artist, The Royal Ballet

Interviewed by David Bain
American International Church, Tue 01st Apr, 2025

 

Our guests began by talking about their current production, the Balanchine triple bill. (Ginevra commented that she's noticed David sitting in the front row.) The process had been great. They started rehearsing Serenade in December with Samantha Raine, their ballet mistress, before Pat Neary came to coach. It was an incredible time and amazing to have this opportunity. Every time they dance it it's very thrilling and they're always happy and hope to do more in future. It's been a great experience and having recently done quite contemporary works or big ballets like Swan Lake or Sleeping Beauty to go back to something purely classical but where you can have your own interpretation or be free in the movement was something special. They are very lucky to have Sam, who is a very special and extraordinary person with lots of experience and wisdom. She manages a massive group of people with intelligence, ease and care. She knows exactly what needs more attention and understands because she has done it herself. She also knows when to push and when to step back. and suggest whether you do something full out or take it easy. Pat was incredible and they felt very privileged she came to pass on her knowledge before her retirement. She's very funny in the studio and keeps things light while noticing every little detail. She is in her 80s and still does barre which is very inspirational. She had worked with Balanchine herself and in her 20s she was entrusted by him to teach his work to companies around the world. She always has a great story to tell but takes her work very seriously. She's done it for so long but for her every time seems like a first which keeps it fresh to her. To have this sense of freshness and excitement coming from her is incredible and so important for the dancers. When you repeat productions, it can become repetitive and hard to keep it fresh and entertaining but the rehearsal process with Pat, who comes in with light in her eyes, gives you inspiration and you don't often see that and it's important. She is iconic. Chris Saunders has done the staging for Symphony in C and David asked how they worked together. They're very dynamic and have good banter, sometimes recalling episodes from their past which the dancers don't understand but still laugh as it sounds funny! If they've been told to do something which isn't quite right, as sometimes over time things get lost, Pat says no, in the original Mr B did it this way. She tells you why it was created a certain way and why the steps are as they are. In Serenade there were originally 17 girls, but one missed the rehearsal so they became 16. It helps the dancers make sense of the choreography and feel the connection to Balanchine. Having Pat and also Chris gives a true legacy of him which they can then pass on to another generation.

Romeo and Juliet. They have both done Juliet's friends this time. Marianna said it's a very special ballet for the Royal as Kenneth MacMillan choreographed it for the company. It is incredible that they have Chris who worked with Kenneth and can pass on his comments and ideas which is very inspirational. From the look to the costumes, everything comes together perfectly. They have been involved in the production from a young age as townspeople and have seen older dancers doing, for example, Juliet's friends and learned from them so they know the story behind the movements. It's very intricate choreography with twists and tricky footwork and very nice to make that step up to Juliet's friends which is a beautiful role. After doing townspeople you become close to other members of the company and form a unit, so they grow together into roles which is very special. Marianna first did the ballet two years ago, and last season on tour and now again with a little break in the middle. Developing townspeople themselves. There are steps they're required to do but there is freedom as to what people do around the stage. In Act II they dance together and then there's 42 minutes of acting when they have to create stories. One day they think it's beautiful, they're enjoying the market and meeting their friends. Another day they might know they've got to sweep the town square but not want to. There's so much freedom to the ballet and that's what pushes them to develop as artists and story tellers. At the same time, it can't become pantomime, so they have to keep it realistic, remembering where you are, what time period it is, and the costumes, sets and music all help. That's how you grow into roles that come later. Ginevra said you have to remember it's called Romeo and Juliet and not The Townspeople so although you have a lot of freedom you can't attract too much attention while still keeping it spontaneous. When you repeat it you can get too comfortable, and think this is where I get angry or this is where I go to the market for fruit, but it has to be fresh in terms of emotion and interaction with people and this is quite exciting, giving a feel of a new show rather than something familiar. It's great to grow into the roles and do something different within the ballet. She's doing Juliet's friends which she also did on tour in Japan. Romeo and Juliet is one of the first productions she did as a student in 2017. It was the perfect start for her career with the Royal Ballet as she is Italian and could be true to herself and bring herself to the stage. She recalled being with the whole company as a student when they were given general notes while she was running from one side to the other really giving 100 percent energy. She was embarrassed as the company probably wanted to relax after a long day of rehearsals but she felt she had nothing to lose and just wanted to be noticed and get a contract, so she felt really good nonetheless!

They're now starting rehearsals for An American in Paris which has already been choreographed but Chris Wheeldon is adding extra dances so it will be interesting and new to everyone. Marianna has had a couple of rehearsals but it's hard to say what it will be like, and they're not sure what music will be added. Chris has a unique style which she loves and knows from performing Alice and Winter's Tale. There is a sort of freedom within a specific form. There'll be some partnering involved, and it'll be very different from what she has done before. It is exciting for the company. The piece was originally a musical but they're not singing!

They both did similar roles in Alice - sisters, dormouse, cards and flowers. It was their first time performing Alice with the company. It is great, maybe a bit less dance, but there are so many different roles to do every night. Quick changes backstage which are exciting, working a lot with the wig and hair and makeup departments. Getting ready for the dormouse takes time with whiskers and false ears. You're trying to be the character while amazing people do the work on and for you. It's very colourful, and the music is great. Chris gives a magical feeling to his work. It's on the back burner for now but comes back at the end of season. Marianna added she was privileged to be in the studio with some of the principals preparing Alice and Knave, so doing some solo roles was a pivotal moment for her as she's not performing this season but it's exciting to look forward to. She was working with Jillian Vanstone who flew to London to teach them. The principals have done the roles previously and know the details. Sometimes you feel there's not enough time but her attention to detail was wonderful and she gave so much time and care to the younger members in the room which was a highlight for Marianna.

Like Water For Chocolate, they did three years ago and was one of the first new big productions post-Covid. They spent lots of time with Chris and with all the props and seeing the whole set come to life helped them make sense of the story and the choreography. Chris explained the original story to them, and he was very passionate about creating the ballet which he'd been thinking about for some while. He went to Mexico, fell in love with the food and went to the author's house where she cooked for him. He came back with a lot of excitement for the project, and it was amazing to collaborate with him on something new. Ginevra was a ranch girl and found it a fun experience. She's excited at the possibility of it coming back in the future - next season announcement is tomorrow!

Wayne McGregor. The first time Marianna worked with Wayne was on Untitled in 2023. Being with him in the studio and creating the movement and sharing his vision, she was fascinated by his choreography. He has the structure in his head, and a clear idea of what he wants to see but they are given so much freedom in terms of sharing their own ideas and he is interested in what the dancer has to offer which is very liberating and they all have their own specific Wayne movement. Each individual had their own piece and could express themselves in their own way. That is what she loves about working with Wayne. When they were working on MaddAddam they had conversations with him and also with Uzma Hameed, the dramaturg, who explained the story. It's not an easy story so putting it into movement was a challenge, but he has done a great job. They'd talk about the intention behind the movement, who are we, what are we, what are we trying to express. He didn't tell them exactly what to do, but asked questions - what do you think you can bring to this bit of choreography, how did you feel, what are you trying to express, what if the movement is more fluid? They could then push themselves to their absolute limit which is so fulfilling for a dancer and that's a great compliment. Ginevra agreed. Wayne doesn't tell you what to do but wants you to find a solution. He'd ask the right questions, instead of telling you where you went wrong. He has an idea of your personal direction, but he wants you to find it for yourself. They worked with Amanda Eyles, his assistant, who focusses on the movement to ensure it still looks true to the choreography. Wayne would run it over and over again but make them do different exercises, stand in a circle, one person starts walking, then two and three and then reverse with the idea of being aware of each other. Marianne said with Wayne there's no right or wrong. When he first choreographed it for Canadian National Ballet, he had a shape and form and structure. But when he came into the company, they weren't shown a video or anything about the work which normally happens so they are a bit prepared before the rehearsal process. There was nothing and they weren't allowed to see anything of the work as he wanted the Royal Ballet to do their own version of MaddAddam. There are no counts which forces them to feel each other and listen to the music cues, learn the structure and choreography. When Wayne came into the studio he spoke about intentions and the movement appeared in a different shape with its own interpretation which Marianna absolutely loves. There's no right or wrong, just more and more and bigger. Ginevra and Marianna were generally in the same various roles, but they never rehearsed together. That was so exciting. Wayne divided them into groups, and only at the stage calls did they finally see each other. This created a nice suspense. It's the same production and the same company but different groups did slightly different things, but the dynamics worked. If someone had to step in it would be different and slightly dangerous. It makes it exciting and keeps you constantly on the edge. No show is the same. One day you're 100 per cent energised, well rested and on top form, some performances you're tired so bring a different intention to the movement. He knows you are shattered today but this is expressed within the movement and that is interesting. He explores the differences all the time, and he knows they will give it their best. Today Wayne was knighted by the King and Marianela was awarded an OBE.

Light of Passage. Neither of them was in the 2017 Flight Pattern. They didn't work with Crystal Pite initially as she had another opening night in Zurich, so Deirdre Chapman took over the project and rehearsed them. She is an incredible human, very passionate and compassionate. It shows on a daily basis as she is really understanding and always knows what is best for them and so they go on stage properly prepared. It was a great process and perhaps for the audience it doesn't show but for the dancers it binds them as a company. A classical ballet is more about line and steps, but this is much more human, and through the rehearsal process they came out much more bonded as people. It was very touching and lovely. Marianna talked about Crystal's creating the following two acts and the way she manages a massive group of people – very gentle and has her own style which she sticks to - and can bring the best out of the dancers. They have huge respect for her. You leave the studio soaking wet, and extremely tired but so fulfilled. She is very special, and their generation of dancers are privileged to have her and the Royal Ballet company to have the premier of Light of Passage.

Marianna was born in Kyiv. She started dancing by accident. Her brother wanted to do hiphop and break dancing but when he went to the school the director of the dance department suggested he try ballet. There's eight years between them in age and Marianna was there with her Mum, jumping around, when one of the teachers said come in and join. She loved the movement, there were great teachers and supporters throughout her career in general. She loved the music and played piano from the age of six which helped to understand the music and phrasing. At 16 she won a scholarship to the Upper School through Youth American Grand Prix (YAGP). She was supported by the Nureyev Foundation at the Upper School. As she was growing up her ballet teacher at home saw her potential and how much she cared for and how passionate she was about ballet. She wasn't at the state ballet school, so she was in a rather relaxed environment. After graduation she knew she wanted to do ballet as a profession. Even when she was nine, she told her Mum she was going to be a ballerina. Her Mum was fine about it and just happy Marianna was busy and enjoying it. It became more serious, and her teacher would take her to competitions around Ukraine, then international competitions including the European YAGP in Paris in 2017, where she won an invitation to New York for YAGP. That was a totally different setting with lots of kids and directors from different schools. She was invited to a few schools including Zurich, Monaco and Basel. At the very end she was rushing to a ballet class in New York and was late, apologising to the teacher who was Chris Powney. She enjoyed it, and he gave a few corrections, which is so important as it shows the teacher is engaging with you, and then after a couple of days her teacher and Chris discussed her coming to London to the Upper School. She couldn't believe it. She understood a bit of English and was super happy and excited to get a scholarship, truly a dream come true, and she wouldn't wish to be anywhere else. She had seen dancers from the Royal online, watching World Ballet Day, and on film, and always thought on graduation she would try to audition for company but never thought she would go to the school so when she got the scholarship it was wonderful. Growing up she watched Marianela Nuüez, and saw the elegance, athleticism and great artistry. She was certainly one of the key figures to inspire Marianna and now she takes class with her every day and continues to learn from her.

Ginevra is from Italy, the youngest of four sisters. None of them is into ballet but more on the medical side, one a dentist like her father, another a vet. She started dancing in 2012. She was always into the arts and creating things with her hands. She had lots of energy, and her parents wanted to put her into something which would be a releasing mechanism and help to tire her! Even at the age of three, when she knew nothing of dancing, her reaction to music was movement. There was always music like the Beatles in the house as well as blues, jazz and classical music. They thought it was a good idea for her to take ballet classes. She started and never stopped though she was probably at the ballet school for too long - it was a long day for her finishing at 8pm and sometimes even 11pm and then doing her homework. Most nights she was up till 2am doing her academic work. She was good in school but all she wanted to do was dance. She felt very lucky to be in a great ballet school with a good teacher, an amazing community where she could create friendships and be with good friends, going to workshops in other cities in Italy and around Europe. It was an amazing opportunity to travel around the world at such a young age because of ballet. She wouldn't have done this otherwise. and even at that age she was aware of this. She'd be flying to Paris or New York with her best friend doing the thing she loved the most and seeing others training and performing on stage. She was very much a sponge trying to get the best from people, and it wasn't about competition, but it was a positive environment and, thanks to her teachers. Ginevra got into White Lodge at the age of 12. Her second sister went to Madrid to study, and Marianna was ready to leave home and was fine when she did. Her influences were mainly Russian - Svetlana Zakharova and Natalia Osipova – but there wasn't so much on line at that time though she had seen a little of Marianela. Her training was mainly Vaganova, and she went twice to the Bolshoi to train in the summer and so her idea was to go Russia. Then her father was given a weekend trip to London so with her parents she came to explore the city but once here she said they had to see the Royal Ballet. They got last minute tickets after queuing for three hours, knowing nothing of the rep or what was on. She was then 11. She remembers Marianela, Meaghan Grace Hinkis and Ryoichi Hirano were dancing and after the performance she knew this is where she wanted to be as she identified more with that style of movement, the musicality and artistry. They sent a dance tape, very much in the Russian style, to White Lodge requesting an audition. She was so excited to be invited and found it so different from anything in Italy, feeling she'd arrived at Hogwarts. Speaking hardly any English, she communicated with gestures and sounds. Nicola Katrak held the audition, and Ginevra later had the privilege of going with her to Japan in her second year at Upper School to represent the school on an exchange. The day she found out she'd got a place at the Lower School she'd fallen down the stairs at home, bruised herself badly and was in a lot of pain. Her mum told her an email had come saying she had a place at the school, and she joined aged 12/13 in year 10, a little early as she was born in January. She said a very quick goodbye to her parents without knowing when she'd next see them, but there was no time to worry about that. It was surreal and all happened so rapidly but there were great opportunities at school, so she was very happy to go, and from there she got her contract in the company. David here said he'd just received an email from Chris Powney saying Marianna and Ginevra were 'two very special ladies and dedicated dancers'.

Upper School experiences. Coming to London was a massive move for Marianna but doing what she loves in this historical and beautiful city was wonderful for her. She always knew she'd leave home, but didn't expect to leave that soon although she'd been an independent child from a young age. In her year they were very close, like a second family which was very special, and that definitely helped her settle and learn the language. Nicola Tranah was her first-year teacher. In contrast to her Vaganova training, there were two extremes of styles between it and MacMillan, Ashton and the English style and she now feels very privileged to have trained in both. She picked up the style quickly and definitely enjoyed it. They had different solos for assessments and solo evenings, in her graduate year she did the Rhapsody pas de deux which was so enjoyable to work on and she hopes to do it in the future. The first time she visited White Lodge it was for the school photo, and she thought it was like Hogwarts. She had a good time and in the third year, although she wanted to join the company, she didn't feel it was a competition between her friends, and everyone worked so hard, wanting the same thing. They were very supportive of each other, and it made the years at the school so enjoyable. She went to Montreux for the Prix de Lausanne in third year which was fun, travelling with friends and dancing in and exploring a new city but their tour to Japan and Canada had to be cancelled because of Covid.

Ginevra at the Upper School. When she left the thing, she missed the most was connections as you spend three years there with great people you bond with, then go to different companies and countries and don't see them again. You go to school and live with them and there's little competition between them but just lots of support and friendship. Anita Young was her first-year teacher who is no longer there but is probably very busy elsewhere as she's unstoppable! It was amazing. She was very knowledgeable and Ginevra felt really lucky, being very aware that she was experiencing a great opportunity to be taught by such people. Sometimes you only realise later when your brain has processed it how lucky you were to have experienced a special opportunity or a special person. It felt almost magical to be working with Liam Scarlett. feeling she was in the presence of greatness in the moment which was very special. So, Liam would be her highlight and he's probably the reason she is now in the company. She worked with him many times, progressing and finding herself. Through his work and genius, she felt she was moving in the right direction. He was different from other choreographers as he didn't try to work on your strength or bring what looks good to the stage but would highlight a little something that wasn't pretty or might look a bit weird. She had great trust in him and wished she could have continued working with him.

Marianna's family are in the Ukraine, but her brother had to be convinced he should leave although he is a patriot and wanted to help. Her mum travels in and out for her job. Her sister, husband and two children can't leave, and Marianna's not been back for some years. It's difficult now as it takes 13 hours to get there flying to Poland and then a long train journey. They are fortunate to have internet and phones so at least they can keep in touch. A couple of years ago she met her Mum in Vienna where they had a little holiday, and they also spent a week together in January and watched Onegin.

Marianna made her debut as a harlot in Steven McRae's cast of Romeo and Juliet. It was so special to be in that cast as his partner was Iana Salenko, a beautiful Ukrainian dancer whom she's always looked up to. She had a conversation with friends and senior members of the company would give advice and as a new company member she didn't feel as confident and was very cautious, but getting feedback and bouncing off each other is very important. They do Romeo and Juliet so much and get to work with their friends on stage sometimes trying not to laugh. It's very special as they know each other and nothing is set. Once they see a harlot next to them, they don't ignore them but try to engage with them - you're trying to get all these men, but it isn't a good look!

David thanked our guests very much for a delightful evening. It was lovely to have them here. Chris Powney, the Director of The Royal Ballet School, had said it was obvious since they were in the school that they were both dancers we would follow throughout their careers. So, we're looking forward to seeing them in many roles over the next few years.

Report written by Liz Bouttell and edited by Marianna Tsembenhoi, Ginevra Zambon and David Bain.

© The Ballet Association 2025