Alessandra Ferri.

With her sweeping lines, improbably arched feet, eloquent port de bras, and dramatic intention behind every step, Alessandra Ferri breathed life into ballet. She made her indelible mark on the ballet repertoire and inspired audiences and fellow dancers alike. She joined American Ballet Theatre in 1985, and on June 23, she will take her final bow as Juliet, the role probably most associated with her passion and abandon.

"I wanted to leave with a lovely memory of my feeling of dancing," says Ferri, whose final performance will be in Tokyo in August. "I've been lucky enough to have a long career, an early career. I love dance too much to have a bad feeling about it."

Ferri was offered the position of director of La Scala Ballet, but needs time away from dancing before considering any moves: "I need to reassess myself in a new phase of life."

Born in Milan, Ferri joined ABT after dancing to acclaim with The Royal Ballet. Outstanding in Romantic ballets like Giselle, Ferri became a box office draw (frequently partnered by Julio Bocca) with her Anna Magnani-like verismo style in dramatic works like MacMillan's Manon and Romeo and Juliet, and Cranko's Onegin and The Taming of the Shrew.

Ferri feels that Juliet, a role that is in her blood, is the right choice for her retirement performance. "My debut with ABT was as Juliet," she says. "It has meant a lot to me throughout my whole career. I think it makes a complete circle." During the Met season, Ferri will also dance Desdemona in Lar Lubovitch's Othello and the lead in Manon.

"Alessandra represents that caliber of artist who is so believable, you're not sure if you've witnessed an actor dancing or a dancer acting," says ABT artistic director Kevin McKenzie. "All dancers strive to perfect their technique as a means to open up their expression. Alessandra's example as a total artist is what we all look at with pride and admiration."