Jurgita Dronina

Principal Dancer

Jurgita Dronina View Gallery

Biography

Jurgita Dronina was born in Saratov, Russia and trained at the National M. K. Čiurlionis School of Art in Lithuania and Munich International Ballet Academy in Germany. Jurgita was a Principal Dancer with The Royal Swedish Ballet and Het Nationale Ballet before joining The National Ballet of Canada as Principal Dancer in 2015. She was also a Lead Principal Ballerina with English National Ballet from 2017 to 2020.

“The eloquent Jurgita Dronina was magnificent as the wrongly-accused Queen. Her dancing was impeccably expressive, as was her acting.”
DanceTabs.com

Jurgita has performed every leading role in the entire classical repertoire such as Nykia in La Bayadère, Princess Aurora in The Sleeping Beauty, Juliet in Romeo and Juliet, the title role in Giselle, Odette/Odile in numerous versions of Swan Lake, Kitri in Don Quixote, Medora in Le Corsaire, Sylvia in John Neumeier’s Sylvia and the title role in Christopher Wheeldon’s Cinderella. She created roles in contemporary works by choreographers such as Alexei Ratmasnky, David Dawson, Sidi Larbi Cherkaoui, Jorma Elo, Hans Van Manen, Christian Spuck, Benjamin Millepied, Krzysztof Pastor, Will Tuckett, Nils Christe, Juanjo Arques and Guillaume Côté and has danced in works by John Neumeier, William Forsythe, Jerome Robbins, Liam Scarlet, Mauro Bigonzetti, Jean-Christophe Maillot, Rudi van Dantzig, Toer van Schayk and many others.

Jurgita’s repertoire with the National Ballet includes principal roles in The Sleeping Beauty, The Nutcracker, Giselle, The Winter’s Tale, Cinderella, Onegin, La Sylphide, Le Petit Prince, Pinocchio, A Streetcar Named Desire, Genus and Tarantella.

As a Principal Guest Artist, Jurgita has performed with Norwegian National Ballet, Het Nationale Ballet, Teatro San Carlo, Opera dell Roma, Arena di Verona, Hong Kong Ballet, Shanghai Ballet and The Royal Danish Ballet and has also performed on the world’s largest stages in Moscow, St. Petersburg, Tokyo, Beijing, Shanghai, Rome and many others.

In 2018, Jurgita was nominated for a Dance Critic’s Award in the United Kingdom for Outstanding Female Classical Performance. She was also awarded the Order of Merit, Cross of the Knight, to Lithuania for outstanding services promoting the country and received the Baltic Assembly Award in arts and culture for distinguished merits to Lithuania. That same year, she was nominated for Prix de Benois de la Danse for her roles in La Sylphide and Juliet in Nureyev’s Romeo and Juliet. In 2014, she received the Alexandra Radius Priz. In 2011 she was awarded prestigious the Zwaan Award for her role as Princess Aurora in The Sleeping Beauty. Jurgita was voted Outstanding Dancer of the year by Dance Europe. She won the gold medal at the International Ballet Competition in Grasse in 2003, silver at the International Ballet Competition in Helsinki in 2005, silver at the International Ballet Competition in Moscow in 2005 and silver at the International Ballet Competition in Jackson in 2006.

Quick Facts

Born: Saratov, Russia
Trained: National M. K. Čiurlionis School of Art in Lithuania and Munich International Ballet Academy in Germany
Royal Swedish Ballet: 2005 – 2010

Het Nationale Ballet: 2010 – 2015
Resident Principal Guest Artist with The Hong Kong Ballet: 2015 – 2017
Joined as Principal Dancer: 2015
Lead Principal Dancer with English National Ballet: 2017 – 2020

Quotes

Giselle
“Dronina made clear, however, that this gentle girl loves to dance… with a joyous sense of clarity and purity, her arabesques radiant and her pointe work pin-sharp accurate. It was this gorgeous quality of dancing that made Dronina’s performance in the second act outstanding.”
— Dancing Times on guesting with English National Ballet

The Winter’s Tale
“Hermione (Jurgita Dronina)...stretches a powerfully pure arabesque line from front arm to raised back leg, and then repeatedly turns on the spot in this position, rising again and again, urgently, onto point.”
— The New York Times

La Sylphide
“Dronina is an irresistible performer. She’s more than a vision of Romanticism with her long feet, supple extensions and watery port de bras; there is sensuality in her movement that teeters between the creature and the woman.” 
— The Globe and Mail