Some artists are defined entirely by their accolades. Others leave a lasting impression simply because of how much warmth, curiosity, and joy they bring into a room.
American Ballet Theatre Principal Dancer Skylar Brandt happens to be both.
Beyond the technique that audiences worship her for, Skylar is refreshingly grounded, quick to laugh, and deeply devoted to her art.
In this candid conversation, she opens up about the discipline behind life at the top of classical ballet, navigating career expectations, and the deep trust required on stage.
We also dive into her life off the stage, specifically her personal and creative partnership with pianist Vladimir Rumyantsev, leading up to a very special announcement they are sharing for the first time.
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Interview with Skylar Brandt
(with guest appearance by Vladimir Rumyantsev)
On Roles, Typecasting, and Artistic Growth
‣ Where do you feel the most creatively challenged right now at this stage in your career?
Because I am often typecast in similar roles, the challenge is twofold: reinventing those characters so they show more depth in my artistry, and proving myself when given rare opportunities to play mature, dramatic roles rather than sprightly, fairy-like ones.
‣ Can you give me a few specific examples of where you feel most typecast?
Roles that are fast, sweet, or joyous, like Olga in Onegin or Kitri in Don Quixote. I am trying to bring more nuance and pensive thought to those roles, which has been a fun process. But when I get opportunities to do serious, dramatic work, the challenge is proving that I can take on more of that repertoire. I still feel a need to prove what I am capable of.
‣ Is there a quintessential role that seems out of reach or outside your usual wheelhouse?
I am realistic enough to recognize that not every dancer should dance every role, but I do not believe anything is out of my wheelhouse until I have had the chance to try it.
Take Swan Lake. I do not naturally love myself in the role, partly due to physical aesthetics like shoulder flexibility, and partly because I do not connect deeply to the story. But I have been dancing it for five years now. A friend reminded me that Swan Lake is a ballet you develop over an entire career. It is a continual process of refinement for any ballerina.
‣ What about Giselle?
I initially didn’t think I would be good in Giselle because I was always cast in fast moving roles. Act II requires a sustained adagio quality, and high extensions were never my primary strength.
But once I began building the role with my coaches, Irina and Max, I found my way. Now it is my favorite ballet to perform. I feel most at home in the “Danse des Wilis”.
It showed me that if you are given a chance, you might be pleasantly surprised.
Dancers of smaller stature are not always considered for sweeping dramatic roles like Manon, Lady of the Camellias, Swan Lake, or Tatiana in Onegin. I would love to prove that being good at one style does not preclude you from excelling at another.
‣ What about Gamzatti, Nikiya, or Carmen?
I performed Gamzatti with ABT and loved it. I was cast partly because the dancers playing Solor and Nikiya were shorter, which is simply the practical reality of ballet casting.
I am debuting Nikiya in La Bayadère this summer, which I am thrilled about. It relies heavily on soulfulness and storytelling rather than just technical feats like 32 fouettés, which is an important step in my artistic development.
As for Carmen, I love that role. I performed a solo from Carmen with Vladimir during a concert performance, and it felt like my best work on the program because it allowed me to embody a character that is sensual, womanly, and grounded.
The Art of Partnering and Onstage Trust
‣ What are the main things you look for in an ideal partner on stage?
Open dialogue and a shared work ethic.
I am pretty easygoing, and I usually look at my own execution first if a lift or sequence is not working smoothly, rather than placing blame.
I appreciate partners who are willing to rehearse and refine details.
Younger partners bring incredible energy and adaptability, while veteran partners like Herman Cornejo offer deep experience and adaptability while carefully pacing their physical output.
‣ How do you build that deep level of trust with a partner in vulnerable roles like Juliet?
Trust is built entirely through the rehearsal process. Building a role from the ground up creates a shared foundation so you can completely let go on stage.
Personality plays a huge role as well.
My recent Romeo, Jake Roxander, was fully committed to the partnership. Sometimes male dancers hold back during pas de deux sections to save energy for their solo variations, but Jake’s technique is so effortless that he does not need to conserve energy. He gave 100 percent to the partnership, and that mutual focus created complete trust on stage.
The Next Generation and Keeping the Spark Alive
‣ What excites you about this next generation of dancers, and what feels different about the ballet world they are stepping into?
The technical proficiency of young dancers today is astonishing. You can go online and see a 10-year-old executing twenty pirouettes on pointe. Growing up, I only had videos of dancers like Adeline Pastor and Sofiane Sylve to study.
My hope is that teachers continue to emphasize storytelling alongside technical prowess. Artistic maturity takes time and stage experience. Performing a single classical variation requires context.
For instance, seeing an 11-year-old perform the Black Swan variation can feel disconnected because the character is a seductress. Roles like Princess Florine or the Bluebird are much more age appropriate for demonstrating technical potential before stepping into mature roles later on.
‣ Who were your favorite ballerinas when you were a kid?
Nina Ananiashvili, Diana Vishneva, and my coach, Irina Dvorovenko, who was one of the most dramatic dancers on stage. Dancers like them, along with Marcelo Gomes and Ángel Corella, performed with pure heart and soul. That storytelling is what made me want to dance.
As a kid, I would dress up in costumes from the attic and act out stories. Seeing that world brought to life on stage with an orchestra, sets, and lighting was magic.
I wanted to be a part of that storybook.
‣ Around ages 14 to 16, a lot of young dancers hit burnout or pressure. What kept you grounded and pushed you through?
Whenever I lost motivation as a child, my mother made sure I finished out the year to honor my commitment. I was never forced to dance, but I learned values and discipline.
Having a strong support system was crucial. Both Vladimir and I knew from a very young age what we wanted to do, and we worked backward from those goals. Russian training also instilled the perspective that many people want the same dream, so consistent hard work is required.
Today, young dancers face immense external pressure and overscheduled lives, whereas our drive was mostly intrinsic. Maintaining balance is essential to keeping young dancers from burning out.
Love, Music, and A Grand Announcement
‣ Okay, now I want to hear the love story! How did your story with Vladimir begin?
Vladimir joined ABT as a rehearsal pianist in 2020. He had previously performed as a featured soloist with Valery Gergiev, Diana Vishneva, and Uliana Lopatkina at the Mariinsky Theater.
From his very first rehearsal at ABT, everyone was blown away. When he played the sword fight from Romeo and Juliet, it sounded like a full orchestra. His ability to sight read anything shocked even fellow musicians. Everyone admired his talent tremendously, myself included.
‣ How did you two end up reconnecting after he left ABT?
Four years later, another pianist casually mentioned that Vladimir was newly single. I quite literally shrieked in the middle of an active rehearsal! I reached out on Instagram, slid into his DMs, and we started dating.
‣ How has finding each other brought out your connection, both personally and in your art? I’d love to hear your thoughts on this, too, Vladimir!
Skylar: I was never a naturally romantic person, but meeting Vladimir brought a deep sense of security and peace. I feel settled and clear about my future. He has a calming effect on me that influences how I approach my work and life.
Seeing his deep devotion to music makes me want to work harder and respect my art form even more.
Vladimir: She pushes me without even trying. My friends always say, “Vladimir, you’ve never played better than now.” If I am playing better, it is entirely because of Skylar. She is a constant source of inspiration.
Skylar: Here is a fun personal anecdote: Whenever I unlock our apartment door, no matter what Vladimir is practicing on his grand piano, he immediately switches to playing the Black Swan theme as I walk through the threshold!
‣ Who do you guys think is the most romantic composer?
Vladimir: Schumann and Beethoven. Beethoven feels deeply intimate and human, while Schumann connects emotional intensity with nature and love.
Skylar: In ballet, it is Romeo and Juliet. The balcony pas de deux captures everything love is: passion, drama, heartbreak, and devotion. That is what art, and love, is all about.
‣ Speaking of love, let’s make the big announcement! What’s the next chapter for you both?
We have done concert performances together in the past, first That’s How We Met, and then That’s How We Met: The Engagement.
Our third installment will be That’s How We Met: The Wedding on August 29, 2027, at the United Palace Theatre in Manhattan.
It will be a hybrid performance and celebration open to the public, friends, and family.
For the first half, I will dance iconic ballet wedding variations, from Don Quixote, Sleeping Beauty, Raymonda, and Coppélia, accompanied by Vladimir on piano. Then, after an intermission stage reset, the entire audience can watch us get married right on stage!
♡
So what began as a conversation about discipline and artistry ended with an invitation, a chance to watch two world class artists celebrate life’s ultimate partnership together.
Readers, save the date.
Featured Image of Skylar Brandt and Vladimir Rumyantsev by Taylor Brandt.
