Silvia Rotaru , born in Bucharest, Romania
                                                                                                             

 1983-1992 -  Ballet Academy Bucharest, Romania,   Vaganova methode.

                                                                               
1992-1994 - Ballet Theatre  Constanta, Romania 

             1994-2004 -  National Opera House, Bucharest, Romania - Corp/ Soloist/Principal Dancer                                            National Ballet Theater- Constanta-Romania  - Corp/Soloist   
     
2004-2007 - State Street Ballet, Santa Barbara, California -USA- Principal Dancer

2007 - 2008 - Hualien Dance  Theatre, Hualien, Taiwan - Principal Dancer & Ballet Master

2008 - 2010 -    - Guest Artist/Freelancer

2010-2012  - Staatstheater am Gaertnerplatz-München - Permanent Guest Dancer

2012-2019 - Freelancer, International Guest Artist & BalletTeacher , Munich, Germany 

Since 15.05.2019- Ballet School  Sibalmar  owener & founder.

COMPETITIONS:

1986 ( 12 yold) National Ballet Schools Competition, Romania - First Prize

1991 - ( 17 yold) International Ballet Competition - Osaka, Japan - Finalist

1992 - National Ballet Competition  Constanta, Romania - 

Grand Prix  &  Special Talent Prize, UNICEF

1996 - International Ballet Competition  ,Constanta, Romania - Grand Prix

2023- KORCE Trainer  Certificate 

REPERTOIRE:

Coppelia,  La Bayadere,  Cinderella,  La Fille mal Gardee,  Don Quijote,  Sleeping Beauty,  The Nutcracker,  Giselle,   Swan Lake, Romeo & Juliet,  Paquita,  Carmen,  La Sylphide, Notre Dame de Paris, Midsummer Night’s Dream, Beauty and the Beast,  Flames of Paris, Sylvia,  and many other modern and contemporary works.

My Favorite Quote,

“But he had never seen Myrna in practice...never that close up. He had been impressed and a little frightened by the contrast between seeing ballet on stange, where everyone seemed to either glide or mince effortlessly on the tips of their pointes. and seeing it from less than five feet away, with harsh daylight pouring in the floor-to-ceiling windows and no music- only the choreographer rythmically clapping his hands and yelling harsh criticisms. No praise, only criticisms. Their faces ran with sweat. Their leotards were wet with sweat. The room, as large and airy as it way, stank of sweat. Sleek muscles trembled and fluttered on the nervous edge of exhaustion. Corded tendons stood out like insulated cables. Throbbing veins popped out on foreheads and necks. Except for the choreographer's clapping and angry, hectoring shouts, the only sounds were the thrup-thud of ballet dancers on pointe moving across the floor and harsh, agonized panting for breath. Jack had suddenly realized that these dancers were not just earning a living, they were killing themselves. Most of all he remembered their expressions- all that exhausted concentration, all that pain... but transcending the pain, or at least creeping around its edges, he had seen joy. Joy was unmistakably what that look was, and it scared Jack because it had seemed inexplicable.”
― Stephen King, The Talisman