25 February 2017
2 March 2017
8 March 2017
9 March 2017
9 April 2017
Alexander Sergeev used the breadth and amplitude inherent in his performing style to maximum effect. Scrupulously following the letter and spirit of Yakobson’s choreography, he opened up the possibilities of the plastique text of the role as much as possible. He created an excellent Shurale in terms of the character’s multifaceted image. In Act I the imposing and egocentric lord of the woods led the life of a sybarite. In Act II the nimble and cunning wretch darted about. And in Act III the spurned and dejected lover Leshy rampaged.
Ballet ad libitum
The young European David Dawson’s Reverence... A rising star of the Mariinsky, Alexander Sergeev performed it brilliantly... Sergeev combined in one the almost “swan-like” and slow arms, dagger-like arabesques and the legs resembling the cracks of a whip – these are the nuances of an elegy of the body angles created by Dawson to the music of this heartfelt violin solo.
It is surprisingly organic when every cell of the body dances and every step is filled with feeling, there is a sense of meaning to every second of the dance and every movement is outstretched to the last musical moment – such a performance is a great rarity today.
St Petersburg Theatre Journal
• Recipient of the Golden Sofit, St Petersburg's most prestigious theatre prize, in the category “Best male role in ballet” for the role of Eugene in the ballet The Bronze Horseman (2016)
• Recipient of the Golden Sofit, St Petersburg’s most prestigious theatre prize, in the category “Best Performing Ensemble” for his work on the ballet For Four (production by Christopher Wheeldon, 2007)
• Recipient of the Ministry of Culture of the Republic of Tatarstan’s award For Achievements in Culture (2009)
Born in Leningrad.
Graduated from the Vaganova Academy of Russian Ballet in 2004 (class of Professor Gennady Selyutsky).
Joined the Mariinsky Ballet in 2004.
Soloist since 2010.
Repertoire at the Mariinsky Theatre includes:
Giselle (Count Albrecht); choreography by Jean Coralli, Jules Perrot and Marius Petipa,
Swan Lake (Prince Siegfried, Spanish Dance); choreography by Marius Petipa and Lev Ivanov,
The Sleeping Beauty (Prince Désiré, the Blue Bird); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
Raymonda (Béranger, Bernard, Grand рas); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
Pas de deux from the ballet The Talisman; choreography by Marius Petipa,
Don Quixote (Espada); choreography by Alexander Gorsky,
Le Papillon; choreography by Marie Taglioni,
Pétrouchka (Pétrouchka); choreography by Michel Fokine,
The Fountain of Bakhchisarai (Vaslav, Youths); choreography by Rostislav Zakharov,
George Balanchine’s ballets Apollo (Apollo), Serenade, Symphony in C (I. Allegro vivo), Jewels (Emeralds, Rubies, Diamonds), The Four Temperaments (Sanguine), Piano Concerto No 2 (Ballet Imperial), Theme and Variations, Scotch Symphony and Prodigal Son (the Prodigal), A Midsummer Night’s Dream (Demetrius),
Romeo and Juliet (Romeo, Mercutio); choreography by Leonid Lavrovsky,
Grand pas classique; choreography by Viktor Gzovsky,
Leonid Yakobson’s ballets Shurale (Shurale) and Spartacus (Harmodius),
Études; choreography by Harald Lander,
Yuri Grigorovich's ballet The Stone Flower (Severian), The Legend of Love (Vizier, Friends of Ferkhad),
Carmen-Suite (Torero); choreography by Alberto Alonso,
For Four; choreography by Christopher Wheeldon,
Le Parc (Soloist); choreography by Angelin Preljocaj,
Roland Petit’s ballets Le Jeune homme et la mort (the Youth) and Leda et le cygne,
Manon (Young Gentlemen); choreography by Kenneth MacMillan,
The Nutcracker (the Nutcracker Prince); production by Mihail Chemiakin, choreography by Kirill Simonov,
The Magic Nut (Hungarian Groom, Young Drosselmeyer); production by Mihail Chemiakin, choreography by Donvena Pandoursky,
William Forsythe’s ballets In the Middle, Somewhat Elevated, Approximate Sonata and Steptext,
Alexei Ratmansky’s ballets Cinderella (the Prince), The Little Humpbacked Horse (Ivan the Fool), Anna Karenina (Count Vronsky) and Concerto DSCH,
Diana Vishneva: Beauty in Motion (Pierrot Lunaire, Three Point Turn),
Gentle Memories; choreography by Jiří Bubeníček,
Sacre; choreography by Sasha Waltz,
Infra; choreography by Wayne McGregor,
Solo; choreography by Hans van Manen,
Anton Pimonov's ballets Choreographic Game 3x3, Inside the lines and Bambi (the Chief Hunter),
Symphony in Three Movements (He); choreography by Radu Poklitaru,
The Bronze Horseman (Eugene); choreography by Rostislav Zakharov, Yuri Smekalov.
Repertoire also includes:
Tango; choreography by Alexei Miroshnichenko,
The Nutcracker (the Prince); choreography by Vasily Vainonen,
Cinderella (the Prince); choreography by Konstantin Sergeyev,
The Golden Age (Alexander); choreography by Noah D. Gelber.
He was the first performer of roles in the ballets Le Bourgeois gentilhomme (Covielle; choreography by Nikita Dmitrievsky), Reverence (choreography by David Dawson), Du Côté de chez Swann (choreography by Alexei Miroshnichenko), The Meek One (Man; choreography by Donvena Pandoursky), Aria Suspended (First Movement; choreography by Peter Quanz), The Ring (choreography by Alexei Miroshnichenko), Presentiment of Spring (Death) and Bolero Factory (Greed; choreography by Yuri Smekalov).
He danced in the premiere performances of Diana Vishneva: Beauty in Motion (Alexei Ratmansky’s Pierrot Lunaire and Three Point Turn by Dwight Roden) in the USA and in the Russian premiere at the Mariinsky Theatre.