This dashing Englishman has the ideal Romantic look – tall, well built, with a good legs and a truly beautiful foot.
Alexander Parish as the Young Man astonished the audience with an uncommon choreographic touchingness and some intimacy of the dance. His character was not just in the world of dreams, he seemed to be a misty ghost himself. In the hard, tedious variation his soft legs were singing the melody. In the duets Parish was awely affectionate.
Parish treated the girls that surrounded his character on the stage (in Chopiniana there is one male dancer and a host of snowy white maidens – spirits of sylphs or memories) as if they were made of glass. Lifting them carefully, setting them down gently and trying not to breathe; exemplary British gallantry that excludes even a hint of sensuality. A pure drawing, a subtle figure and the expressive arm bones...
• Recipient of an OBE for services to dance and to "UK/Russia cultural relations" (2019)
• Recipient of Britain's National Dance Awards in the category "Outstanding Male Performance" (2015)
• Recipient of the Taglioni Award in the category “Best Young Male Dancer” (2014)
• Recipient of the Léonide Massine Prize in the category “Emerging Talent on the International Scene" (Positano, Italy, 2014)
• Recipient of the Young British Dancer of the Year award (2nd prize, London, 2004)
• Prize-winner at the Adeline Genée International Ballet Competition (Silver Medal, Athens, 2004)
• Recipient of Ursula Moreton Choreographic Award (Royal Ballet School, 1st prize, 2003)
Born in Yorkshire (Great Britain).
Graduated from the Royal Ballet School in 2005.
Joined the Royal Ballet Company in 2005.
Between 2006 and 2009 he toured with the company to Spain, Mexico, the USA, Turkey, China, Japan and Cuba.
Joined the Mariinsky Ballet in January 2010.
He made his Mariinsky Theatre debut as Béranger in the ballet Raymonda.
Giselle (Count Albrecht); choreography by Jean Coralli, Jules Perrot and Marius Petipa,
Swan Lake (Prince Siegfried, the Prince's Friends); choreography by Marius Petipa and Lev Ivanov, revised version by Konstantin Sergeyev,
La Sylphide (Youths); choreography by August Bournonville, revised version by Elsa-Marianne von Rosen,
The Sleeping Beauty (Prince Désiré); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
Raymonda (Jean de Brienne, Béranger); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
Le Corsaire (Conrad); production by Pyotr Gusev after the composition and choreography of Marius Petipa,
Michel Fokine's ballets Chopiniana (Youth) and Schéhérazade (Zobeide’s Slave),
The Fountain of Bakhchisarai (Vaslav, Polish Youths); choreography by Rostislav Zakharov,
The Nutcracker (the Nutcracker Prince, Elegant Cavaliers); choreography by Vasily Vainonen,
Spartacus (Satyr); choreography by Leonid Yakobson,
Romeo and Juliet (Romeo, Paris, Troubadour); choreography by Leonid Lavrovsky,
Études; choreography by Harald Lander,
George Balanchine's ballets Apollo (Apollo), Serenade, Symphony in C, Jewels (Emeralds, Diamonds), Piano Concerto No 2 (Ballet Imperial) and A Midsummer Night’s Dream (Demetrius),
Frederick Ashton's ballets Sylvia (Aminta) and Marguerite and Armand (Armand),
In the Night; choreography by Jerome Robbins,
Hans van Manen's ballets Variations for two couples and Adagio Hammerklavier,
Anna Karenina (Count Vronsky, Tushkevich), Concerto DSCH; choreography by Alexei Ratmansky,
Benjamin Millepied's ballets Without, La nuit s’achève,
Le Parc (Soloist); choreography by Angelin Preljocaj,
Infra; choreography by Wayne McGregor,
Intensio; choreography by Yuri Smekalov,
Paquita (Andrés); choreography by Yuri Smekalov, reconstruction and staging of Marius Petipa's choreography (Act III Grand Pas) by Yuri Burlaka,
The Four Seasons; choreography by Ilya Zhivoi,
Russian Overture; choreography by Maxim Petrov,
Second I; choreography by Ksenia Zvereva.
Repertoire also includes:
The Sleeping Beauty (Prince Désiré, Act III); choreography by Marius Petipa, revival of the 1890 production, staging by Sergei Vikharev,
Schéhérazade (the Slave); choreography by Michel Fokine,
At the Wrong Time; choreography by Alexander Sergeev,
Closure; choreography by Juliano Nunes,
Ballet 101; choreography by Eric Gauthier.
Has toured with the Mariinsky Ballet to Germany, the USA, Canada, Great Britain, Italy and the United Arab Emirates.
Xander Parish is supported by the Mariinsky Theatre Trust (UK).