He is good at everything ... – high jumps, accurate fast tight turns, neat footwork, cabrioles that send the top leg soaring – and he was a convincing actor as a caring, and later remorseful, young lover. His interpretation of Albrecht conveys a life stifled with courtly demands, and the contrasting freedom and excitement he encounters when able to escape to the pleasures of the countryside, and especially to the young girl he loves.
… Vladimir Shklyarov is ardent, soaring, academically pure, stylish. He is a blue-blood, and he shows us a vividly passionate youth.
The Financial Times
Vladimir Shklyarov seems to be a spoiled child of Destiny. The harmonious build, the pleasing on-stage image, the charm as a performer and the subtle dance signature… With Shklyarov, the dancing does not carry the sheer burden of work having been done. Even when the performer’s physical fatigue becomes evident his dance retains its “airy breath”.
• Honoured Artist of Russia (2020)
• Prize-winner at the XI International Ballet and Choreography Competition in the category “Solo” (Moscow, 2009, 1st prize)
• Prize-winner at the Vaganova-Prix International Competition (St Petersburg, 2002)
• Recipient of the Soul of Dance – 2008 prize, instituted by Ballet magazine, in the category “Rising Star”
• Recipient of the annual Léonide Massine International Prize For the Art of Dance (Positano, Italy, 2008)
• Recipient of the Zegna – Mariinsky New Talent Awards grant (London, 2008)
• Recipient of the DANCE OPEN international ballet prize in the category “Mr Vituoso” (2014)
Born in Leningrad.
Graduated from the Vaganova Academy of Russian Ballet in 2003 (class of Vitaly Afanaskov).
Joined the Mariinsky Ballet the same year; Principal Dancer since 2011.
La Sylphide (James, Youths); choreography by August Bournonville, revised version by Elsa-Marianne von Rosen,
Giselle (Count Albrecht, Classical Duet); choreography by Jean Coralli, Jules Perrot and Marius Petipa,
Le Corsaire (Ali, Lankedem); production by Pyotr Gusev after the composition and choreography of Marius Petipa,
La Bayadère (Solor, Golden Idol); choreography by Marius Petipa, revised version by Vladimir Ponomarev and Vakhtang Chabukiani,
The Sleeping Beauty (Prince Désiré, the Blue Bird, Prince Charmant); choreography by Marius Petipa, revival of the 1890 production, staged by Sergei Vikharev,
The Sleeping Beauty (Prince Désiré, Grooms); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
Swan Lake (Prince Siegfried, Pas de trois, Jester, Neapolitan Dance); choreography by Marius Petipa and Lev Ivanov,
Raymonda (Jean de Brienne, Grand pas); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
“Paquita” Grand pas; choreography by Marius Petipa,
Don Quixote (Basilio); choreography by Alexander Gorsky,
Le Réveil de Flore (Zéphyr); choreography by Marius Petipa, revival of the 1894 production,
The Fountain of Bakhchisarai (Vaslav, Polish Youths); choreography by Rostislav Zakharov,
The Young Lady and the Hooligan (the Hooligan); choreography by Konstantin Boyarsky,
The Nutcracker (Nutcracker Prince); choreography by Vasily Vainonen,
Romeo and Juliet (Romeo); choreography by Leonid Lavrovsky,
Leningrad Symphony (Youth); choreography by Igor Belsky,
The Legend of Love (Ferkhad, Friends of Ferkhad); choreography by Yuri Grigorovich,
Michel Fokine’s ballets Lе Carnaval (Harlequin), Le Spectre de la rose (the Ghost of the Rose), Schéhérazade (Zobeide’s Slave) and Chopiniana (the Youth),
George Balanchine’s ballets Jewels (Emeralds, Rubies, Diamonds), Piano Concerto No 2 (Ballet Imperial), Symphony in C (III. Allegro vivace), Theme and Variations, Scotch Symphony and Tchaikovsky Pas de Deux, Prodigal Son (the Prodigal), Apollo (Apollo)
Le Jeune Homme et la mort (Young Man); choreography by Roland Petit,
In the Night; choreography by Jerome Robbins,
Études (Soloist); choreography by Harald Lander,
Shurale (Ali Batyr); choreography by Leonid Yakobson,
Frederick Ashton’s ballets Sylvia (Aminta), Marguerite and Armand (Armand),
Ondine (Matteo); choreography by Pierre Lacotte,
5 Tango's; choreography by Hans van Manen,
Grand pas classique; choreography by Viktor Gzovsky,
The Young Lady and the Hooligan (Hooligan); choreography by Konstantin Boyarsky,
Manon (Leader of the Beggars, Young Gentlemen); choreography by Kenneth MacMillan,
Carmen-Suite (Torero); choreography by Alberto Alonso,
The Nutcracker (the Nutcracker Prince); production by Mihail Chemiakin, choreography by Kirill Simonov,
Alexei Ratmansky’s ballets Cinderella (the Prince), The Little Humpbacked Horse (Ivan the Fool) and Anna Karenina (Count Vronsky),
The Vertiginous Thrill of Exactitude; choreography by William Forsythe,
Without; choreography by Benjamin Millepied,
Le Parc (Soloist); choreography by Angelin Preljocaj,
Infra; choreography by Wayne McGregor,
The Bronze Horseman (Eugene); choreography by Rostislav Zakharov, Yuri Smekalov,
Paquita (Andrés); choreography by Yuri Smekalov, reconstruction and staging of Marius Petipa's choreography (Act III Grand Pas) by Yuri Burlaka,
Pétrouchka (Pétrouchka); choreography by Vladimir Varnava,
Jeu de cartes (The Joker); choreography by Ilya Zhivoi,
and The Pioneer Suite; choreography by Alexander Sergeev.
Repertoire also includes:
the pas de deux from the ballet Le Carnaval de Venise; choreography by Marius Petipa,
Grand pas classique; choreography by Viktor Gsovsky,
Hopak; choreography by Rostislav Zakharov,
the pas de deux from the ballet Le Papillon; choreography by Marie Taglioni, revived by Pierre Lacotte,
the pas de six from the ballet Laurencia; choreography by Vakhtang Chabukiani,
Yuri Smekalov's ballets Camera obscura (Bruno Krechmar), Orpheus in the Underworld (Orpheus), Parting, Ne me quitte pas and Requiem for Narcissus
Ballet 101; choreography by Eric Gauthier,
and Keep Сalm; choreography by Vladimir Varnava.
Vladimir Shklyarov gave the first performance of the role of Zéphyr in Le Réveil de Flore (Sergei Vikharev’s 2007 revival of Marius Petipa’s 1894 production) and the role of Harlequin in Le Carnaval (Sergei Vikharev’s 2008 revival of Michel Fokine’s 1910 production).
Participant in gala-concerts including ones to mark the 70th birthday of the outstanding dancer Maris Liepa (Moscow, Kremlin Palace, 2006), The Mariinsky & Bolshoi Theatres (Tokyo, 2007) Malakhov and Friends (Berlin, 2008), Ballettisimo (Guadalajara, 2008) and DANCE OPEN (St Petersburg, 2010, 2014), Nureyev and Friends (Vienna, 2012) and Stars of the 21st Century (Paris, New York, 2012). He regularly appears in concerts organised by the Maris Liepa Foundation as well as galas in Kazan, Ufa and Novosibirsk. In 2012 at the Bolshoi Theatre he performed the role of Prince Siegfried in the ballet Swan Lake (Yuri Grigorovich’s version). Has taken part in recordings and broadcasts of Mariinsky Theatre ballets including The Nutcracker (2012, 3D broadcast) and Romeo and Juliet (2013). In May 2014 he made his debut with American Ballet Theatre as Solor in the ballet La Bayadère (Natalia Makarova’s version), in May 2015 also performing the role of Count Albrecht in Giselle. In 2016-2018 Vladimir Shklyarov was a Principal dancer with the Bayerisches Staatsballett.
In 2017 at The Royal Ballet he performed the role of Armand in Marguerite and Armand by Frederic Ashton and the role of des Grieux in Manon by Kenneth MacMillan.
In February 2019, he performed the main role in the premiere of the ballet The Three King’s Masks (choreography by Yuri Smekalov) at the Samara Opera and Ballet Theater.
In March 2019 as part of the Creative Workshop of Young Choreographers at the Mariinsky Theatre Vladimir Shklyarov together with Alexander Chelidze prepared the production Noise of Thoughts to music by Bhima Yunusov and took part in its interpretation.