In partnership with the Princess Grace Foundation-USA, Monaco Life proudly presents a monthly series spotlighting the lives and artistic contributions of the Foundation’s remarkable Award winners.
What does it take to rise to the pinnacle of one of the world’s most prestigious ballet companies before the age of 25? For Mira Nadon, the answer lies in equal parts artistry, resilience, and an unwavering devotion to the music that guides her every step.
Since joining New York City Ballet in 2018, Mira Nadon has captivated audiences with her commanding presence and emotional depth, earning her a promotion to Principal Dancer in 2022—the same year she received the Princess Grace Award for dance.
In this candid conversation, Nadon reflects on the transformative roles that have shaped her, the importance of self-care in such a demanding profession, and the legacy of Princess Grace that continues to inspire a new generation of artists. From the dream of dancing Swan Lake to imagining the magic of performing outdoors in Monaco, Nadon invites us into the world of ballet at its highest level—where discipline and passion meet beauty and grace.
On the Princess Grace Foundation-USA
As a Princess Grace Award winner, how has the recognition impacted your career?
It was so exciting to be nominated and then receive the award. Looking at the list of past winners was overwhelming—there are so many incredible names in dance and theater. I felt honored to join the ranks. Beyond the award itself, it’s the community that stands out. Going to the ceremony and meeting other winners from my year and previous years was inspiring—everyone is just so grateful to be part of it.
Do you connect personally with Princess Grace’s legacy?
I didn’t know much about her before joining the organization, but I’ve come to really appreciate her elegance and dedication to the arts. That kind of commitment feels rare today—and very special.
On Her Career & Artistic Growth
Congratulations on your promotion to Principal Dancer at New York City Ballet. What was that moment like for you?
It felt surreal. Becoming a principal was always a goal, but when it actually happened, it took months—maybe even a year—for it to truly set in. I knew I had worked hard, but thinking of myself as a principal dancer took time. Now, two years in, it feels wonderful to focus less on “what’s next” and more on pushing myself artistically and reaching higher heights.
How would you describe your approach to performance?
For me, everything comes from the music. The music tells you what you need to know. Even in abstract works, there’s so much emotion to tap into. And I think having a genuine connection with your partner is key—the audience can feel that.
Was there a role that especially challenged or transformed you?
Dancing Swan Lake this past winter season was my first full-length role, which was a dream. It was incredibly rewarding to sustain a story of that scale while also managing the technical demands.
Any bucket-list roles still ahead?
I’ve been fortunate to perform some of my dream roles already—Diamonds, Swan Lake, Aurora in Sleeping Beauty. But I’d love to take on works like Holberg Suite, Chaconne, Western Symphony, or Prodigal Son. We’re lucky at NYCB to have such an extraordinary repertoire—there’s always something new to aspire to.
On Life Beyond the Stage
When you’re not dancing, what’s your perfect New York day?
I live on the Upper West Side, so being near the park is a gift. I love escaping there to read or spend time with friends. I also enjoy cooking—taking time at home to do something for myself or others is really restorative.
Do you take advantage of New York’s wider arts scene?
Absolutely. I try to be intentional about seeing performances—especially at City Center and The Joyce, where so many diverse and interesting companies perform. And of course, I love seeing ABT, Alvin Ailey, and DTH. There’s such a wealth of beauty and inspiration here.
Ballet is extremely demanding—both physically and mentally. How do you take care of yourself?
I’ve learned to put less pressure on myself as I’ve grown older. Trusting my body makes the work more sustainable. I always take my day off and give myself real downtime at the end of each season—sometimes a week or two away from dance. It’s essential for recovery.
On What’s Next
Any future projects or choreographers you’re especially excited about?
I’d love to do more full-length ballets. At NYCB, we’re so lucky to have Alexei Ratmansky and Justin Peck creating for us—I’d love to continue working with them. They really push us as dancers.
What does the ideal day in Monaco look like to you?
It would be a dream to perform there. Dancing outdoors, feeling the breeze, in such a beautiful setting—that would be magical.
Please describe your artistry in three words:
Musical. Strong. Connected.
Follow Mira Nadon on Instagram @miranadon.
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