Maria Alexandrova

• People’s Artist of the Russian Federation (2009)
• Merited Artist of the Russian Federation (2005)
• Recipient of the Léonide Massine Prize (Positano, Italy, 2018)
• Recipient of The Golden Mask Award for her performance in The Bright Stream (2004)
• Recipient of the Spirit of Dance prize in the category “Rising Star” (Ballet magazine, 1999)
• Prize-winner at the International Ballet Competition in Moscow (I prize, 1997)

Born in Moscow. She graduated from the Moscow Choreographic Academy (class of Sophia Golovkina) in 1997 and joined the Bolshoi Ballet. In 2004, she became a principal dancer. Since 2017, she has worked with the Bolshoi Ballet under the contract.

Repertoire includes:
La Sylphide (The Sylph), choreography by August Bournonville in the version by Johan Kobborg,
Giselle (Giselle, Myrtha); choreography by Jean Coralli, Jules Perrot and Marius Petipa, revised version by Yuri Grigorovich,
La Bayadère (Nikia, Gamzatti), Raymonda (Raymonda, Clemence), The Sleeping Beauty (Princess Aurora); choreography by Marius Petipa, revised version by Yuri Grigorovich,
Swan Lake (Odette-Odile); choreography by Marius Petipa and Lev Ivanov, revised version by Yuri Grigorovich,
Grand Pas from the Ballet Paquita; choreography by Marius Petipa, reconstruction and staging by Yuri Burlaka,
La Esmeralda (Esmeralda); choreography by Marius Petipa, production and new choreographic version by Yuri Burlaka, Vasily Medvedev,
Le Corsaire (Medora); production and new choreography by Alexei Ratmansky and Yuri Burlaka after Marius Petipa,
Don Quixote (Kitri); choreography by Marius Petipa, Alexander Gorsky in the version by Alexei Fadeyechev,
Coppelia (Swanilda), choreography by Marius Petipa and Enrico Cecchetti; revival and new choreographic version by Sergei Vikharev,
The Legend of Love (Mekhmeneh-Bahnu), Spartacus (Aegina), choreography by Yuri Grigorovich,
Notre-Dame de Paris (Esmeralda), La Dame de Pique (Countess), choreography by Roland Petit,
George Balanchine’s ballets Symphony in C (III. Allegro vivace), Tchaikovsky Pas de Deux,
Class Concert; choreography by Asaf Messerer,
Carmen-Suite (Carmen); choreography by Alberto Alonso,
Le Tricorne (Miller’s Wife); choreography by Leonide Massine,
The Lesson (Pupil); choreography by Flemming Flindt,
La Fille du Pharaon (Aspicia, Ramze); choreography by Pierre Lacotte,
The Flames of Paris (Jeanne); production and new choreography by Alexei Ratmansky after Vasily Vainonen,
The Bright Stream (Ballerina), Leah (Leah), Dreams about Japan, Jeu de cards; choreography by Alexei Ratmansky,
Misericordes; choreography by Christopher Wheeldon,
In the Upper Room; choreography by Twyla Tharp,
Dream of Dream, choreography by Jorma Elo,
Romeo and Juliet (Juliet); Declan Donnellan and Radu Poklitary production
A Midnight’s Summer Dream (Hermia); choreography by John Neumeier,
Kvartira; choreography by Mats Ek,
The Taming of the Shrew (Katharina); choreography by Jean-Christophe Maillot,
Classical Symphony; choreography by Yuri Possokhov,
A Hero of Our Time (Undine), Nureyev (Margot); choreography by Yuri Possokhov, director Kirill Serebrennikov,
The Ninth Wave; choreography by Bryan Arias.

As a guest soloist she performed with the Mariinsky Ballet, the Opéra de Paris ballet company, the Novosibirsk Opera and Ballet Company, The Georgian National Opera and Ballet Theater, the Bashkir Theatre of Opera and Ballet, Chelyabinsk Theatre of Opera and Ballet, the Rostov State Musical Theatre.
Information for June 2021

Any use or copying of site materials, design elements or layout is forbidden without the permission of the rightholder.