Lucia Lacarra.

Like a peacock in the midst of a flock of geese, Lucia Lacarra is a standout. Her slim yet sinuous body and steely core enhance her every move onstage, making it hard to watch anyone else. At the age of 31, she is already on her way to becoming one of the great dramatic ballerinas of our time. Currently a principal with the Bavarian State Ballet in Munich, Lacarra will be performing in the Stars of the 21st Century Gala at New York State Theater on Feb. 12 with Cyril Pierre, her partner onstage and off.

You often perform Roland Petit's ballets in the Stars of the 21st Century Gala. What is it like to dance his choreography?

In his work there is room for feelings and emotions. It's not just the steps, it's the whole atmosphere that he creates when he makes a pas de deux. Pierre and myself were in his company in Marseille and are lucky, not only to perform his work, but to have a very close relationship with him.

What is the next big role you will be working on?

We have a premiere in Munich of Le Corsaire. It is based on the original Petipa version and has been adapted by Ivan Liska, our director [see pg. 15].

Do you have any favorite choreographers?

I love working with John Neumeier and I like to perform all the Cranko ballets. I like dramatic pieces with a story.

What was it like to train with Victor Ullate?

We had three-hour classes in the morning plus evening classes. It was tough work with a lot of discipline. He really knew how to see somebody's talent and make that person work for it. I guess that is the reason why he created so many amazing dancers.

Who were some of the dancers in your class?

Angel Corella, Joaquin De Luz, Carlos Lopez, Jesus Pastor, Tamaro Rojo, Carmen Corella, Marta Rodriguez Coca, and more. Many of them are in New York now.

Why did you decide to leave San Francisco Ballet?

After three years with Roland Petit, it was great to go to a big company like San Francsico Ballet with a completely different repertoire. But San Francisco is as far from New York as Europe is. We felt disconnected and we were far away from our families.

How did you end up in Munich?

Munich has the ideal repertoire for me. We have all the classical ballets, plus Cranko, Neumeier, Kilian, Forsythe, Mats Ek. For a dancer there is nothing better than having this reach in the repertoire. It is what makes you enjoy your work. We have a beautiful theater with a lot of tradition and a great audience. Plus we are closer to our families.

What is the contract like in Munich?

It is one year that's automatically renewed for 13 years, unless you decide to leave. It's more security than in the U.S.

Growing up, what was most difficult thing for you technically?

I have a lot of flexibility in my legs, arms, and back. I had to try to be stiff to control my movements. Everybody thinks it is easier for a dancer who is flexible, but it is actually harder to control a body that is so loose!

What would people be surprised to know about you?

When you see me onstage I look like a typical ballerina, but I am not at all. For me it is a compliment when people tell me, "Oh, but you are so normal. You're not a dancer in your head at all!"