23 November 2019
24 November 2019
30 November 2019
1 December 2019
4 December 2019
28 December 2019
She has no rivals as Amour in Don Quixote: she joyfully crosses her legs back and forth in the perfidious partner variation, not ‘shaking’ or ‘swallowing’ a single tiny pas de bourrée.
Martynyuk’s Kitri is, apparently, a crafty miniature Amour with the character of a little imp, exciting and energetic. She is probably the Mariinsky Theatre’s fastest Kitri at present – at last, the Act I variation was performed at a presto tempo, both in terms of the music and the dance: the ballerina executed spirals in her leaps, responded to the rhythm with her legs and it was almost impossible to follow her diagonal pirouettes, they just seemed to soar in some whirlwind. At an applaudably fast tempo and without slowing down “for effect”, Ms Martynyuk also performed the variation in the wedding pas de deux...
Valeria Martynyuk and Filipp Stepin danced the Act 1 peasant pas de deux with style and accuracy. She is a frisky little dancer, crossing the stage in strong, far-reaching jetes and finishing all her steps with a flourish.
Born in Leningrad (St Petersburg).
Graduated from the Vaganova Academy of Russian Ballet in 2004 (class of Tatiana Terekhova).
Joined the Mariinsky Ballet in 2004.
In 2003 as a student at the Vaganova Academy of Russian Ballet she made her Mariinsky Theatre debut as Amour in the ballet Don Quixote.
La Sylphide (Sylphide, Nancy, Sylphs); choreography by August Bournonville, revised version by Elsa-Marianne von Rosen,
Giselle (Classical duet); choreography by Jean Coralli, Jules Perrot and Marius Petipa,
Le Corsaire (Gulnare, Trio of Odalisques); production by Pyotr Gusev after the composition and choreography of Marius Petipa,
La Bayadère (Manu, Bayadères, Trio of Shades); choreography by Marius Petipa, revised version by Vladimir Ponomarev and Vakhtang Chabukiani,
The Sleeping Beauty (Canary Fairy, Diamond Fairy, Carefree Fairy); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
The Sleeping Beauty (Diamond Fairy, La Fée Canari qui chante, White Cat, Little Red Riding Hood); choreography by Marius Petipa, revival of the 1890 version, staging by Sergei Vikharev,
Le Réveil de Flore (Cupid); choreography by Marius Petipa, revival of the 1894 production,
Swan Lake (Pas de trois, Cygnets, Neapolitan Dance); choreography by Marius Petipa and Lev Ivanov, revised version by Konstantin Sergeyev,
Raymonda (Grand pas variation); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
Pas de deux from the ballet The Talisman; choreography by Marius Petipa,
Don Quixote (Kitri, Amour, Act IV variation); choreography by Alexander Gorsky after Marius Petipa,
Michel Fokine’s ballets Chopiniana (Eleventh waltz, First waltz, Nocturne) and Pétrouchka (Ballerina),
George Balanchine’s ballets Theme and Variations, Scotch Symphony, The Four Temperaments (Melancholic), Piano Concerto No 2 (Ballet Imperial), A Midsummer Night’s Dream (Butterfly), Jewels (Emeralds), Tarantella and Tchaikovsky Pas de Deux,
The Fountain of Bakhchisarai (Bell Dance); choreography by Rostislav Zakharov,
The Nutcracker (Masha, Waltz of the Snowflakes, Chinese Dance, Classical Trio); choreography by Vasily Vainonen,
Romeo and Juliet (Beggar); choreography by Leonid Lavrovsky,
Shurale (Syuimbike); choreography by Leonid Yakobson,
Sylvia (Goat); choreography by Frederick Ashton,
The Legend of Love (Shyrin’s Friends, Dance of the Court Dancers, Gold Dance); choreography by Yuri Grigorovich,
The Nutcracker (Masha, Bees’ Pas de trois, Chinese Dance); production by Mihail Chemiakin, choreography by Kirill Simonov,
Alexei Ratmansky’s ballets Cinderella (Cinderella), The Little Humpbacked Horse (Tsar Maiden, Nurses) and Concerto DSCH,
The Magic Nut (Rat Jester); production by Mihail Chemiakin, choreography by Donvena Pandoursky,
Le Bourgeois gentilhomme (Monsieur Jourdain); choreography by Nikita Dmitrievsky,
Ondine (Tarantella, Two Friends in Green); choreography by Pierre Lacotte,
The Golden Age (Girls with a Kite, Valkyries); choreography by Noah D. Gelber,
Le Sacre du printemps (Sylphs); choreography by Donvena Pandoursky,
The Vertiginous Thrill of Exactitude; choreography by William Forsythe,
Bambi (Falina); choreography by Anton Pimonov,
The Bronze Horseman (Columbine); choreography by Rostislav Zakharov, Yuri Smekalov,
Paquita (Paquita’s friends); choreography by Yuri Smekalov, reconstruction and staging of Marius Petipa's choreography (Act III Grand Pas) by Yuri Burlaka.
Repertoire also includes:
the pas de trois from the ballet Die Puppenfee; choreography by Konstantin Sergeyev,
Celestial; choreography by Garrett Smith.
Has toured with the Mariinsky Ballet to Germany, the USA, Great Britain, Finland, Hong Kong, China, Italy and Japan.