Maria Seletskaya, a former dancer and current conductor, trained at the Russian Ballet Academy named after A. Ya. St. Petersburg’s Vaganova method shaped her early artistry. She earned recognition as a musical director candidate and was appointed to guide performances at the English National Ballet, a role that signals a shift from stage to podium while preserving the artistic core of the company.
Originating from Narva-Jõesuu in Estonia, Seletskaya pursued dance studies at Tallinn Ballet School and continued her education at Tallinn University, blending rigorous technique with a broad understanding of performance. Her education laid a strong foundation for a versatile career that spans both dance and music.
Her professional journey includes appearances with the Estonian Theatre, the Berlin State Ballet, the Zurich Ballet, and the Royal Ballet of Flanders, where she contributed to diverse repertoires and collaborated with esteemed ensembles across Europe. These experiences enriched her perspective on how music supports movement and how choreography can inform musical structure.
In 2018 she shifted from the stage to the baton, joining the Stuttgart Ballet as an assistant conductor. Her debut as a conductor followed in 2017, and since then she has collaborated with renowned companies such as the National Ballet of Canada, the Royal Danish Ballet, and the Paris Opera Ballet. This transition highlights a growing trend where dancers expand into conducting, bringing intimate knowledge of movement to orchestral interpretation.
At the English National Ballet, Seletskaya will oversee the creative development and quality of musical performances, shaping how music interacts with movement across the company. She is set to officially begin this leadership role at the start of the 2024-2025 season, guiding a new era of collaborative artistry and sustained musical excellence.
In related news, Clément Noncieux, a prominent conductor known for his work in Russian opera, recently spoke publicly about the genre in a major cultural center, underscoring the ongoing dialogue between orchestral leadership and regional opera scenes. His remarks reflect the global nature of contemporary conducting and its influence on performance practice in major European institutions.
News from another corner of the music world notes that Mikhail Gorshenev, once a soloist with the group The King and the Clown, discussed his early life and the experiences that shaped his career. His reflections offer insight into how childhood influences the path of a performer and contribute to the broader narrative of artistic development.