Oxana Skorik

• Recipient of the Spirit of Dance prize in the category “Rising Star” (2012).

Born in Kharkov (Ukraine).
Graduated from the Perm School of Dance in 2007.
Joined the Mariinsky Ballet the same year.

Repertoire includes:
La Sylphide (Sylph); choreography by August Bournonville, revised version by Elsa-Marianne von Rosen,
Giselle (Giselle, Monna, Zulma); choreography by Jean Coralli, Jules Perrot and Marius Petipa,
La Bayadère (Nikia, Trio of Shades); choreography by Marius Petipa, revised version by Vladimir Ponomarev and Vakhtang Chabukiani,
The Sleeping Beauty (Lilac Fairy, Princess Florine); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
Swan Lake (Odette-Odile, Swans, Two Swans); choreography by Marius Petipa and Lev Ivanov, revised version by Konstantin Sergeyev,
The Nutcracker (Masha); choreography Vasily Vainonen,
Le Corsaire (Medora); production by Pyotr Gusev after the composition and choreography by Marius Petipa,
Don Quixote (Kitri, Queen of the Dryads); choreography by Alexander Gorsky,
Grand pas classique; choreography by Viktor Gsovsky,
Chopiniana (Nocturne, Mazurka, Seventh Waltz, First Waltz); choreography by Michel Fokine,
George Balanchine ballets Serenade, Symphony in C (3rd movement), Jewels (Diamonds, Rubies), A Midsummer Night’s Dream (Act II – Soloist in the Divertissement) and Piano Concerto No 2 (Ballet Imperial),
Carmen-Suite (Carmen); choreography by Alberto Alonso
and Ondine (Four Naiads); choreography by Pierre Lacotte.

Has toured with the Mariinsky Ballet to the USA, Japan and throughout Europe.

Upcoming performances:
30 June La Bayadère
7 July Jewels
9 July Giselle
She has a naturally pliant torso, supple arms and exceptionally pointed feet, and she used her elegant carriage with fresh spirit. She danced with unmannered lyricism and illuminated Tchaikovsky's score with ravishing, languid phrasing. She played the evil temptress Odile without jarring sauciness. She painted a rhythmic portrait through staccato gestures.
Los Angeles Times

The young dancer’s technique is pleasing for its pure lines, the clarity of the phrasing, the beautifully nuanced arabesques of her variations, her dynamism-filled tours around the stage and her flawless fouettés.
Ballet magazine

The artiste captivates with the precision of her poses, the softness and that somehow special cantilena in the lines of her neck, shoulders and arms. In the duets with Conrad, Skorik achieves a deep synthesis of music and choreography, turning the dance into visible music.
Ballet magazine