26 April 2018
28 April 2018
12 May 2018
14 May 2018
17 May 2018
In Scotch Symphony there is an inventively and delicately staged trio, a unique choreographic scherzo, a joke in miniature which is intended to work up the tension of the romantic plot. Here the solo is performed by Yana Selina whose charm, witty and arched depiction of the dance and brilliant phrasing instantly enchant the audience. Her variations demonstrate true theatricality and the lightness of a prima donna rushing to a ball to open the corps de ballet’s parade of dances.
Born in Leningrad (St Petersburg).
Graduated from the Vaganova Academy of Russian Ballet in 1997 (class of Marina Vasilieva).
Joined the Mariinsky Ballet in 1997.
La Sylphide (the Sylph); choreography by August Bournonville, revised version by Elsa Marianne von Rosen,
Giselle (Monna, Zulma, Pas de deux from Act I); choreography by Jean Coralli, Jules Perrot, Marius Petipa,
Le Corsaire (Trio of Odalisques); production by Pyotr Gusev after the composition and choreography by Marius Petipa,
La Bayadère (D’Jampe, Grand pas, Trio of Shades); choreography by Marius Petipa, revised version by Vakhtang Chabukiani,
The Sleeping Beauty (Canary Fairy, Fairy Violente, Little Red Riding Hood, the White Cat); choreography by Marius Petipa, revival of the 1890 production, staging by Sergei Vikharev,
The Sleeping Beauty (Carefree Fairy, Gold Fairy, Diamond Fairy, Courage Fairy, Sapphire Fairy); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
Le Réveil de Flore (Aurora); choreography by Marius Petipa, revival of the 1894 production,
Swan Lake (Pas de trois, Cygnets, Neapolitan Dance); choreography by Marius Petipa and Lev Ivanov, revised version by Konstantin Sergeyev,
Raymonda (Henrietta, variation in the Dream scene, Grand pas); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
“Paquita” Grand pas; choreography by Marius Petipa,
Don Quixote (Amour, Flower-Sellers, Variation); choreography by Alexander Gorsky after motifs of Marius Petipa’s production,
Michel Fokine’s ballets Chopiniana (Nocturne, Eleventh Waltz, First Waltz), Carnaval (Columbine, Butterfly), Le Spectre de la rose (the Girl) and Pétrouchka (Ballerina, Dancers),
The Fountain of Bakhchisarai (Maria); choreography by Rostislav Zakharov,
Romeo and Juliet (Juliet’s Companion, Folk Dance); choreography by Leonid Lavrovsky,
The Nutcracker (Doll, Waltz of the Snowflakes); choreography by Vasily Vainonen,
The Young Lady and the Hooligan (the Young Lady); choreography by Konstantin Boyarsky,
Leonid Yakobson’s ballets Spartacus (Menada) and The Bedbug (Elzevira Renaissance),
The Legend of Love (Shyrin’s Friends, Gold Dance); choreography by Yuri Grigorovich,
Pas de quatre (Carlotta Grisi); choreography by Anton Dolin after motifs of Jules Perrot,
George Balanchine’s ballets Apollo (Calliope, Polyhymnia), Symphony in C (I. Allegro vivo), Theme and Variations, The Four Temperaments (Melancholy), Jewels (Emeralds, Diamonds), Piano Concerto No 2 (Ballet Imperial), Scotch Symphony, La Valse and Serenade, A Midsummer Night’s Dream (Hermia),
Études; choreography by Harald Lander,
Now and Then; choreography by John Neumeier,
The Nutcracker (Canteen-Keeper, Bees’ Pas de trois); production by Mihail Chemiakin, choreography by Kirill Simonov,
Alexei Ratmansky’s ballets Le Baiser de la fée (Friends of the Bride), The Little Humpbacked Horse (Wet-Nurses), Anna Karenina (Kitty) and Cinderella (Female Dance),
William Forsythe’s ballets In the Middle, Somewhat Elevated and Approximate Sonata,
Reverence; choreography by David Dawson,
Ondine (Two Naiads); choreography by Pierre Lacotte,
Glass Heart (the Gardener’s Wife); choreography by Kirill Simonov,
“The Overcoat” after Gogol (the Girl); choreography by Noah D. Gelber,
The Golden Age (Valkyries); choreography by Noah D. Gelber,
Diana Vishneva: Beauty in Motion (F.L.O.W.; choreography by Moses Pendleton, Three Point Turn; choreography by Dwight Rhoden),
Without; choreography by Benjamin Millepied
and Paquita (Paquita’s Friends); choreography by Yuri Smekalov, reconstruction and staging of Marius Petipa's choreography (Act III Grand Pas) by Yuri Burlaka.
Repertoire also includes:
Romance; choreography by Dmitry Bryantsev,
the Pas d’action from the ballet Laurencia; choreography by Vakhtang Chabukiani,
Celestial; choreography by Garrett Smith
and dances in the operas Sadko (Fish with Golden Feathers), Ruslan and Lyudmila (Dances of Naina’s Charms) and Faust (Nymphs).
She has toured with the Mariinsky Ballet to Great Britain, Germany, Finland, Greece, China, Hong Kong and Azerbaijan.