Alexandra Iosifidi

Stunning to look at and reserved and regal in her behaviour she is the Mariinsky’s ideally built ballerina.

Ballet magazine

Each image created by Mariinsky Theatre ballerina Alexandra Iosifidi stands apart for its consideration and depth. That is what the professionals say about her. Depending on the role, she has the ability to imbue the choreographic text with perturbed anxiety, troubled tenderness, victorious pathos or haughty dignity...

Novosti Peterburga

Second soloist

• Honoured Artist of Russia (2009)
• Diploma-recipient at the Vaganova-Prix international competition

Born in Leningrad.
After graduating from the Vaganova Academy of Russian Ballet (class of Nina Sakhnovskaya) in 1995, she joined the Mariinsky Ballet.

Repertoire includes:
Giselle (Myrtha); choreography by Jean Coralli, Jules Perrot, Marius Petipa,
La Bayadère (Grand pas classique from Act II); choreography by Marius Petipa, revised version by Vladimir Ponomarev and Vakhtang Chabukiani,
The Sleeping Beauty (Lilac Fairy); choreography by Marius Petipa, revival of the 1890 production,
The Sleeping Beauty (Lilac Fairy); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
Swan Lake (Swans, Spanish Dance, Two Swans, Mazurka); choreography by Marius Petipa and Lev Ivanov, revised version by Konstantin Sergeyev,
Raymonda (Raymonda, Grand pas, Panaderos); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
Le Corsaire (Forban Dance); production by Pyotr Gusev after the composition and choreography of Marius Petipa,
Don Quixote (Mercedes, Street Dancer); choreography by Alexander Gorsky after Marius Petipa,
Michel Fokine’s ballets The Dying Swan, The Firebird (Firebird) and Schéhérazade (Zobeide),
Le Sacre du printemps (the Chosen Maiden); choreography by Vaslav Nijinsky,
Les Noces (the Bride); choreography by Bronislava Nijinska,
The Fountain of Bakhchisarai (Zarema, Ghirei's second wife); choreography by Rostislav Zakharov,
The Nutcracker (Eastern Dance); choreography by Vasily Vainonen,
Pas de Quatre (Lucile Grahn, Marie Taglioni); choreography by Anton Dolin,
The Young Lady and the Hooligan (Friend of the Leader); choreography by Konstantin Boyarsky,
Leonid Yakobson’s ballets Shurale (Fiery Witch) and Spartacus (Maiden from Gades),
The Legend of Love (Dance of the Court Dancers); choreography by Yuri Grigorovich,
Cinderella (Summer); choreography by Konstantin Sergeyev,
Le Jeune Homme et la mort (the Girl); choreography by Roland Petit,
Carmen Suite (Fate); choreography by Alberto Alonso,
George Balanchine’s ballets La Valse, Symphony in C (I. Allegro vivo), A Midsummer Night’s Dream (Hippolyta),
Sylvia (Diana, Terpsichore); choreography by Frederick Ashton,
In the Middle, Somewhat Elevated; choreography by William Forsythe,
Le Baiser de la fée (Fairy), Cinderella (Stepmother, Female Dance) and Anna Karenina (Princess Betsy),
The Nutcracker (Queen of the Snowflakes, Oriental Dance); production by Mihail Chemiakin and choreography by Kirill Simonov
Symphony in Three Movements (the Fate of Old Age); choreography by Radu Poklitaru
as well as dances in the operas A Life for the Tsar (Waltz), Prince Igor (Captive Maiden), Ruslan and Lyudmila (Dances of Naina’s Charms (Soloist), Lezginka) and Khovanshchina (Dance of the Persian Maidens).

Repertoire also includes the variation from the ballet Suite en blanc; choreography by Serge Lifar.

Has performed at the Hermitage Theatre (as Odette-Odile in the ballet Swan Lake).

In 2007 she performed the role of the Chosen Maiden in Le Sacre du printemps at the Opera di Roma, and in 2009 she returned there for the role of Cleopatra in Michel Fokine’s ballet of the same name (revival staged by Vyacheslav Khomyakov).

She performed the role of the Chosen Maiden in the ballet Le Sacre du printemps for the DVD Stravinsky and the Ballets russes (released by the Mariinsky Theatre to mark one century of the Saisons russes, 2009, BelAir).

In 2011 she graduated from the teaching faculty of the Vaganova Academy of Russian Ballet with a Master’s degree in choreography.

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