Daria Pavlenko


Daria Pavlenko 

Prima Ballerina
of Mariinsky Ballet
for 15 years,
recipient of Golden Mask Award 
and Leonide Massine
Positano Premia la Danza 



Ballet Intensives NYC is excited to present the incredible Artist and infinitely inspiring Master Teacher, Daria Pavlenko.





Honorary Artist of Russia, Daria is the recipient of several prestigious awards:


• Ballet magazine’s Spirit of Dance Award in the category Rising Star (2000);

• the Golden Mask, Russia’s most prestigious theatre award: won the Special Jury Prize (2001),

• the Golden Sofit, St Petersburg’s most prestigious theatre prize, for “originality and artistic expressiveness in contemporary choreographic works” (2018);

Léonide Massine — Positano premia la danza Award (2000).


“Daria Pavlenko is a phenomenon that eludes categorization. She is a mystery in motion,” wrote St. Petersburg ballet columnist Catherine Pawlick


In Palermo Daria will be teaching Classical and Variations. 


Daria Pavlenko’s Repertoire at the Mariinsky Theatre included:

Giselle (Giselle, Monnah, Zulmah), choreography by Jean Coralli, Jules Perrot and Marius Petipa;

La Bayadère (Nikia), choreography by Marius Petipa, revival of the 1900 production;

La Bayadère (Nikia, Gamzatti, Pas de Trois from Kingdom of The Shades), choreography by Marius Petipa, revised version by Vladimir Ponomarev and Vakhtang Chabukiani;


Daria as Nikia in two versions of Petipa’s La Bayadere: in Sergei Vikharev’s reconstruction of the original 1900 version, with lavish costumes and props (right), and in the more streamlined edition by Ponomarev and Chabukiani (left).



“Pavlenko dances Nikia like a fragile, gentle, deceived child. The statuesque refinement of her poses is reminiscent of antique miniatures,” wrote Izvestia 



Daria Pavlenko as Nikia and Nikolai Tsiskaridze as Solor in La Bayadère, Sergei Vikharev‘s revival of the 1900 production (left), and Daria as Zobeide with Igor Kolb as The Slave in Fokine’s Schéhérazade (right).



The Sleeping Beauty (Princess Aurora, Princess Florine, Lilac Fairy), choreography by Marius Petipa, revival of the 1890 production;

Swan Lake (Odette-Odile, Big swans, Pas de Trois), choreography by Marius Petipa and Lev Ivanov, revised version by Konstantin Sergeyev;

Paquita Grand pas (Variation), choreography by Marius Petipa;

Le Corsaire (Medora, Pas de Trois), production by Pyotr Gusev after the composition and choreography of Marius Petipa;

Raymonda (Raymonda, Clemance, Grand Pas Classique), choreography by Marius Petipa, revised version by Konstantin Sergeyev;

Don Quixote (Street Dancer), choreography by Alexander Gorsky after motifs of the production by Marius Petipa;

Michel Fokine’s ballets The Dying Swan, Schéhérazade (Zobeide), The Firebird (Firebird), Chopiniana (Mazurka, Valse in C Sharp minor, Prelude);

Le Sacre du printemps (the Chosen One), choreography by Millicent Hodson after motifs of the choreography by Vaslav Nijinsky;

Spartacus (Phrygia, Aegina), choreography by Leonid Yakobson;



Daria Pavlenko as cunning, perfidious Aegina (right) and partnered with Alexander Sergeev in the role of Harmodius (left) in Leonid Yacobson’s grand Spartacus production, revived by Mariinsky Theatre in 2010.



The Fountain of Bakhchisarai (Zarema, Maria), choreography by Rostislav Zakharov;

The Legend of Love (Mekhmeneh-Bahnu), choreography by Yuri Grigorovich;

Leningrad Symphony (The Girl), scenario and choreography by Igor Belsky;



Pavlenko as the Chosen One in Le Sacre (left) and as The Girl in Leningrad Symphony (right).




Balanchine’s ballets:

 Jewels: Rubies, Emeralds, Diamonds; The Prodigal Son (the Siren), Serenade, La Valse, Apollo (Terpsichore, Calliope), Symphony in C (I. Allegro vivo, Fourth Movement), A Midsummer Night’s Dream (Titania, Hermia);



In Balanchine’s ballets: as Terpsichore with Alexander Sergeev as Apollo (left) and in Diamonds with Igor Zelensky (right). Daria is one Daria is one of the very few ballerinas who mastered the leads in all three of Balanchine’s Jewels, first taking Covent Garden by storm with her performance of Diamonds, later adding both Rubies and Emeralds to her repertoire.



Études (soloist); choreography by Harald Lander,

Manon (Manon); choreography by Kenneth MacMillan,

Roland Petit’s ballet Le jeune homme et la mort (La Morte);



As Masha in Mihail Shemyakin‘s Nutcracker (left) and ///



The Nutcracker (Masha, the Snow Queen, the Arabian), production by Mihail Chemiakin, choreography by Kirill Simonov;

Alexei Ratmansky’s ballets Cinderella (Cinderella, Stepmother), Le Poème de l’extase, Middle Duet, and Anna Karenina (Anna Karenina);



As Anna Karenina with Alexander Sergeev as Count Vronsky (left) in Alexei Ratmansky’s ballet at Mariinsky Theatre.



Daria Pavlenko’s last curtain call on July 29, 2018. She big farewell to the public performing the complex dramatic role of Anna Karenina.



William Forsythe’s ballets In the Middle, Somewhat Elevated and Steptext;



With Konstantin Zverev in Forsythe’s In the Middle, Somewhat Elevated.



Sacre (key role), choreography by Sasha Waltz;

and Symphony in Three Movements (The Fate of Old Age), choreography by Radu Poklitaru.


Repertoire also included:


The Golden Age (Sophie), choreography by Noah D. Gelber;

Pas de quatre (Lucile Grahn, Marie Taglioni), choreography by Anton Dolin.


First performer of the ballets: 


Come in! choreographed by Kirill Simonov, 

Reverence, choreographed by David Dawson, 

Wie der Alte Leiermann and The Ring, choreography by Alexei Miroshnichenko, 

Presentiment of Spring (Fertility), choreography by Yuri Smekalov.