Sonia Rodriguez
Principal Dancer
Photo Gallery (6 images)
In conversation with Sonia Rodriguez 
Sonia Rodriguez, Principal Dancer
Clothing provided by Holt Renfrew.
Biography
A native of Toronto, Sonia Rodriguez studied dance in Madrid with Pedro de la Cruz and at the Princess Grace Academy in Monaco. She joined The National Ballet of Canada in 1990 and was promoted to Principal Dancer in 2000.
Ms. Rodriguez’s repertoire with The National Ballet of Canada includes Principal roles in Swan Lake, Romeo and Juliet, La Fille mal gardée, The Sleeping Beauty, Giselle, Song of the Earth and Opus 19/The Dreamer. She has also danced lead roles in numerous George Balanchine ballets, including Mozartiana, Stravinsky Violin Concerto, Theme and Variations, Serenade, the Sanguinic variation in The Four Temperaments and Diamonds from Jewels.
Ms. Rodriguez created the title role in James Kudelka’s Cinderella and Princess Vasilisa in Mr. Kudelka’s The Firebird, as well as roles in Matjash Mrozewski’s A Delicate Battle, Jean-Pierre Perreault’s The Comforts of Solitude, Mr. Kudelka’s The Four Seasons and, most recently, Sabrina Matthews’ DEXTRIS. In 2009, she danced the roles of Nina in the North American premiere of John Neumeier’s The Seagull and Michaela in the North American premiere of Davide Bombana’s Carmen. In 2008 she danced a featured role in the company premiere of 24 Preludes by Chopin and in 2005, Ms. Rodriguez danced the role of Dulcinea in the world premiere of Suzanne Farrell’s re-staging of Balanchine’s Don Quixote at the Kennedy Center in Washington, D.C.
Ms. Rodriguez has held numerous guesting engagements, most recently including the Gala of International Dance Stars in Cincinnati and the International Ballet Festival of Miami.
Posted on: March 2010
Questions & Answer
1. Sonia, this season marks your 20th anniversary with The National Ballet of Canada. What made you choose dancing as a career?
Dancing is something that became part of who I was at a very young age. I loved the feeling of losing myself in the movement, to have the ability to explore emotions with every move, but most of all I loved the sense of freedom that I reached every time I performed. It is what still drives me today.
2. During your 20 years here you have had two children. How do you manage your role as Principal Dancer and as mother?
It is a fine balancing act. I try to keep my priorities straight and focus on the task at hand. I have an amazing support team at home with my husband and my mom and I can dedicate myself fully to my dancing when I am at work. When I get home they get my full and undivided attention. They have helped me find an inner strength that I did not know I had and I am a much better person because of them.
3. You will be dancing in Swan Lake this March as Odette/Odile. How do you prepare for this role?
It is a challenging role on many levels, from the technical aspect to the interpretation. I prepare like I do with all my roles, adding a layer at a time. Starting with the basic skeleton of the steps, I then work on the technical aspect, finding the intention of the character, polishing the steps and transitions and finally adding an emotional intention and reason to each movement. Ultimately making sure I am telling a story.
4. You, along with the company, just got back from performing in Vancouver as part of the Cultural Olympiad. What was that experience like?
It was an amazing opportunity to be able to perform at a time when the whole world has gathered and all eyes are on Canada. A time to not only show what our athletes can do but to show everyone our heritage and culture. It was an honour to be able to represent the company and to be part of the Olympic movement.
5. As a professional ballet dancer you are yourself an extraordinary athlete. What kind of perspective does that bring to watching the Olympics?
You can relate to the time and hard work invested in what they do. The dedication that it is needed to get to that level of performance and the mental and physical stress that they must endure. One thing I cannot imagine is having to define your entire career by the outcome of a single performance – that is something I am glad not to have to experience.
Quotes
The Seagull
"Rodriguez was all supple limbs, at times fragile, at others determined, but always elegant. Her movement is effortless; fluidity mixed with flexibility. Together with Konvalina, she was magical"
- Critical Dance, 2008
Cinderella
"The incandescent Rodriguez absolutely captures Cinderella’s dreaming of a better life, and the sophistication she acquires through love."
- Globe and Mail, 2008
Romeo and Juliet
"Sonia Rodriguez brought the audience up-close-and-personal with her rapidly maturing Juliet. From the teasing little girl who plays with her nurse in her opening scenes, she moves to grown-up passions without losing vulnerability. Rodriguez soared in her pas de deux."
- The Toronto Star, 2006