The imperial ballet’s marathon opened with Nadezhda Batoeva’s debut as Kitri. Finely honed technique, dedication and spirit – that evening it would have been hard to recognise a debutante in Nadezhda: her heroine breathed with such a thirst for life and the energy of triumph.
With her spins on the bleak shores of thevNeva, this Kitri glowed with the Mediterranean sunshine, and easily – as if for a bet – won her points in the technical variations and the codas.
• Recipient of the Hope of Russia prize (2008)
Born in Neryungri.
Graduated from the Vaganova Ballet Academy in 2009 (class of Professor Lyudmila Safronova).
Joined the Mariinsky Ballet the same year.
La Sylphide (Effie, Sylphs); choreography by August Bournonville, revised version by Elsa-Marianne von Rosen,
Giselle (Giselle, Classical Duet); choreography by Jean Coralli, Jules Perrot, Marius Petipa,
Swan Lake (Odette-Odilе, Friends of the Prince, Two Swans); choreography by Marius Petipa and Lev Ivanov, revised version by Konstantin Sergeyev,
La Bayadère (Gamzatti, Manu, vairation in Grand Pas, Indian Dance, Trio of Shades, Bayadères); choreography by Marius Petipa, revised version by Vladimir Ponomarev and Vakhtang Chabukiani,
The Sleeping Beauty (Princess Aurora, the White Cat); choreography by Marius Petipa, revival of the 1890 production, staging by Sergei Vikharev,
The Sleeping Beauty (Princess Aurora, Diamond Fairy, Gold Fairy, Courage Fairy, Princess Florine); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
Raymonda (Henrietta, Variation); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
“Paquita” Grand Pas (Variation); choreography by Marius Petipa,
Don Quixote (Kitri, Amour, Flower-Sellers, Variation); choreography by Alexander Gorsky after motifs of the production by Marius Petipa,
Le Corsaire (Gulnare); production by Pyotr Gusev after the composition and choreography of Marius Petipa,
Michel Fokine’s ballets Schéhérazade (Zobeide), Le Carnaval (Columbine), Chopiniana (Eleventh Waltz) and Pétrouchka (Dancers); staging by Gary Chryst,
The Fountain of Bakhchisarai (Polish Noblewomen, Bell Dance); choreography by Rostislav Zakharov,
The Nutcracker (Masha, Doll, Spanish Dance); choreography by Vasily Vainonen,
Romeo and Juliet (Juliet, Juliet’s Companion, Servant at the Inn); choreography by Leonid Lavrovsky,
Leonid Yakobson’s ballets Spartacus (Etruscans) and Shurale (Fiery Witch),
George Balanchine’s ballets Jewels (Emeralds, Rubies), Apollo (Polyhymnia), Symphony in C (I. Allegro vivo, III. Allegro vivace) and A Midsummer Night’s Dream (Pas de deux from Act II),
Sylvia (Sylvia); choreography by Frederick Ashton,
Yuri Grigorovich's ballets The Legend of Love (Shirin, Gold Dance) and The Stone Flower (Katerina),
Carmen-Suite (Tobacco Workers); choreography by Alberto Alonso,
In the Night; choreography by Jerome Robbins,
Hans van Manen's ballets Adagio Hammerklavier, 5 Tango's,
The Nutcracker (Canteen-Keeper, Chinese Dance, the Bees’ Pas de trois, the Nutcracker’s Sisters, Waltz of the Flowers); production by Mihail Chemiakin, choreography by Kirill Simonov,
The Magic Nut (Rat Jester); production by Mihail Chemiakin, choreography by Donvena Pandoursky,
Alexei Ratmansky’s ballets Anna Karenina (Kitty), The Little Humpbacked Horse (Wet-Nurses), Cinderella (Cinderella, Dance Teachers), Seven Sonatas and Concerto DSCH,
Presentiment of Spring (Three Women); choreography by Yuri Smekalov,
Le Parc (soloist); choreography by Angelin Preljocaj,
In the Middle, Somewhat Elevated; choreography by William Forsythe,
Infra; choreography by Wayne McGregor,
Anton Pimonov's ballets Bambi (Falina), Violin Concerto No 2, Choreographic Game 3x3, The Cat on the Tree and Inside the lines,
La nuit s’achève; choreography by Benjamin Millepied,
Push Comes to Shove; choreography by Twyla Tharp,
Paquita (Paquita, Cristina); choreography by Yuri Smekalov, reconstruction and staging of Marius Petipa's choreography (Act III Grand Pas) by Yuri Burlaka,
Yaroslavna. The Eclipse (Yaroslavna); choreography by Vladimir Varnava,
At the Wrong Time; choreography by Alexander Sergeev,
Sous la coupole; сhoreography by Ilya Zhivoi,
Russian Dead Ends II, The Fairy's Kiss (Fairy III, Fiancee); choreography by Maxim Petrov.
Repertoire also includes:
the Pas de deux from the ballet Les Millions d’Arlequin; choreography by Marius Petipa,
and the Dances of Naina’s Charms in the opera Ruslan and Lyudmila.