Prima Ballerina – The Bolshoi Ballet
Prima Ballerina of the Bolshoi Theatre of Russia, Maria Alexandrova participated in many international festivals and galas, including World Ballet Festival in Tokyo, The Russian Ballet Icons in London, “Mariinsky” festival, “Malakhov and Friends” and many other. She has also given master classes in various ballet schools in Japan and USA.
In 2015 Ms. Alexandrova participated in the “Goddesses & Demonesses”, created by Spanish dancer and choreographer Blanca Li. After twelve performances at Theatre des Champs-Elysées , Goddesses & Demonesses is touring in France, US, Spain and Tunisia.
Under the auspices of the “Russian Seasons 21 Century” project she created the role of Armide in Nikolai Cherepnin’s “Le Pavillon d’Armide” (producer Andris Liepa, choreography Jurijus Smoriginas), 2009, and also she has benefit performance with three roles: Firebird in Stravinsky`s “Firebird” (choreography by Andris Liepa after Mikhail Fokin), Soloist in Ravel`s “Bolero” (choreography by Bronislava Nizhinska) and Pétrouchka in Stravinsky`s “Pétrouchka” (choreography by Andris Liepa after Mikhail Fokin; she was the first female performer of this role in histopy).
She was the first performer in Russia as Hermia (“A Midnight’s Summer Dream” to music by F. Mendelssohn Bartholdy and G. Ligeti, choreography by J. Neumeier), Miller’s Wife (M. de Falla’s “Le Tricorne”, choreography by L. Massine), Stove (“Apartment”, music by Fleshquartet, choreography by Mats Ek).
During her career at the Bolshoi Maria Alexandrova was the first performer of such roles as Ramze (C. Pugni’s “La Fille du Pharaon”; choreography by P. Lacotte after M. Petipa), Ballerina (“The Bright Stream”), Juliet (S. Prokofiev’s “Romeo and Juliet”; D. Donnelan and R. Poklitary production), Jeanne (B. Asafiev’s “The Flames of Paris”, production and new choreography by A. Ratmansky after V. Vainonen), Swanilda (“Coppelia” by L. Délibes, choreography by M. Petipa and E. Cecchetti; revival and new choreographic version by S. Vikharev), Esmeralda (C. Pugni’s “La Esmeralda”, choreography by M. Petipa, production and new choreographic version by Y. Burlaka, V. Medvedev).
In June 2000 she played a double role in Don Quixote as Street dancer for the first act and as soloist in the third. By 2004 she had become a principal dancer. In the same year she won The Golden Mask Award for her performance in Shostakovich’s “The Bright Stream” (choreography by Ratmansky). Later she was in short-list for The Golden Mask for four times: as Juliet (“Romeo and Juliet”, Prokofiev/Poklitaru, 2015), as Carmen (“Carmen Suite”, Bizet/Shchedrin/Alonso, 2007), as Soloist (“Misericordes”, Pyart/Wheeldon, 2008), and as Ballerina (“The Curtain”, Respighi/Samodurov, 2016). In 2014 she was a member of the Jury of the Golden Mask Award.
Marina Alexandrova was born in Moscow and attended the Moscow Choreographic Academy, where she studied under Sophia Golovkina. She won a gold medal at the Moscow International Ballet Competition in 1997 and shortly thereafter joined the Bolshoi Ballet, quickly making her debut as Myrtha in Giselle. Her coach at the Bolshoi was Tatiana Golikova. Now she rehearses under Nina Semizorova.
Was involved in different creations in drama theaters in Moscow, such as “The Government inspector” in Ermolova theatre (by Gogol) and “Caligula” in Moscow provincial theatre (by Camus)
(As of October 18th, 2017)
“Kitri was Maria Alexandrova… She’s an all-rounder: The company’s 2011-12 broadcasts showed her in the dramatic title role of “Esmeralda,” as the heroine of “Swan Lake” and as the Ballerina in Alexei Ratmansky’s comedy “The Bright Stream.” Like no other Kitri I’ve seen, she seems to laugh her way through the whole ballet. This isn’t just surface ha-ha; there’s also an enchanting whiff of self-amusement about her playing, as well as a strong dose of eager bravado. At first, her characterization seems brassy, but once she starts to show her naughty grin, her immense good humor carries the day. Her great dance moment on Tuesday came at the start of her Act III solo variation. She entered in an amazingly rapid tacquetée (stage-biting) run on point, her sparkling footwork perfectly matching the twinkling scales of the harp.”