Lead dancer of The Washington Ballet
- Takoma Park, USA
- price per class
- from 100 USD
Sona Kharatian is in her 20th season as a leading dancer with the Washington Ballet. She has danced with Orlando Ballet, Ballet Hawaii, the Trey McIntyre Project, and Copenhagen International Ballet. She was a regular guest artist with ARKA Ballet under the direction of Roudolf Kharatian, and has performed as a featured principal with the National Ballet of Armenia and Ballet 2021, as well as in many international galas.
Kharatian has performed principal and featured roles in works by George Balanchine, Mark Morris, Twyla Tharp, Paul Taylor, Choo San Goh, Antony Tudor, Septime Webre, Nacho Duato, Annabelle Lopez Ochoa, Christopher Wheeldon, Trey McIntyre, Nicolo Fonte, Alexei Ratmansky, Roudolf Kharatian, William Forsythe, Jiří Kylián, Hans van Manen, Frederick Ashton, Edwaard Liang, Alejandro Cerrudo, and others. Notable roles include Juliet in Romeo + Juliet, Giselle, and Myrtha in Giselle, Carmen in Carmen, the Red Queen in ALICE (in wonderland), Striptease girl in Slaughter on 10th Avenue and the Siren in Prodigal Son, among others. In addition to her work as a dancer, Kharatian is a long-time teacher, coach, and ballet mistress, teaching classes at the Washington School of Ballet and other schools in the Washington DC area, as well as coaching and staging works locally and internationally.
Kharatian began her ballet training at the Choreographic Institute in Yerevan, Armenia, and later studied at the Kirov Academy of Ballet. Kharatian is a two-time recipient of the Maryland State Arts Council Individual Artist Award. “The legs, the attitude: They belonged to Sona Kharatian, The Washington Ballet’s dark-eyed slayer of souls. Her unfurling kicks, carefree arms, and air of easy triumph turned the spoofy Balanchine ballet ‘Slaughter on Tenth Avenue’ into her private playground. Kharatian’s performance as the striptease girl in this 1968 parody of brawling mobsters and showbiz capped the Washington Ballet’s “ Balanchine +Ashton” program. It also left an indelible impression of an artist who owns her work.”- Sarah Kaufman, the Washington Post.
00:49:50 AM September 26, 2020
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