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Who is Who » Diana Vishneva: On the Edge

Diana Vishneva



Diana Vishneva

Diana Vishneva was born in Leningrad (now St. Petersburg). She began to study dance at the age of 6, and at 11 years old she entered the Vaganova Academy of Russian Ballet, from which she graduated in 1995. In 1994, Vishneva won her first victory at the International Young Ballet Dancers’ Competition in Lausanne where she took both the Gold Medal and the Grand Prix. This feat has never been repeated by any other competitor since that day. In 1995, while still a student at the academy, she became a trainee at the Mariinsky Theatre and performed the title role in Cinderella as well as the roles of Kitri in Don Quixote and Masha in The Nutcracker. Since then she has performed lead roles in the ballet repertoire including works by Petipa, Fokine, Balanchine, Neumeier, Ashton, MacMillan, Alonso, Grigorovich, Béjart, Peti, Preljocaj and Ratmansky, in addition to the Nureyev, Makarova, Malakhov and Barts versions of classical ballets.

In 1996, Diana Vishneva made her debut at the Bolshoi Theatre of Russia as Kitri and she continues to appear there in lead roles in the ballets Swan Lake, Giselle, The Sleeping Beauty and Lost Illusions.

Vishneva’s international career asa guest soloist began in 2001 with her performance with the BayerischesStaatsballett in Manon and at the Teatro alla Scala in The Sleeping Beauty. In 2002, she made her debut at the Berliner Staatsballett (Giselle and La Bayadère). The same year witnessed her Opéra de Paris debut in Don Quixote, where shelater went on to give highly acclaimed portrayals of lead roles in the ballets Rubies (from Jewels), Manon and Swan Lake. Since 2005, Vishneva has been a principaldancer at American Ballet Theatre (ABT). Her repertoire at ABT includes Giselle, La Bayadère, Swan Lake, Romeo and Juliet, Don Quixote, The Sleeping Beauty, Manon, Sylvia, The Dream and The Lady of the Camellias among other works. Her work has garnered numerous awards and prizes, among them the title of People’s Artist of Russia, the State Prize of Russia, the Divine prize, the Benois de la danse award, a Golden Sofit, the Spirit of Dance prize in the category “Queen of Dance,” the prize as best dancer of Europe, six Golden Masks and the Ballerina of the Decade prize. In 2008, Vishneva, together with Ardani Artists Management and Segerstrom Center for the Arts, presented Beauty in Motion (Alexei Ratmansky’s Pierrot Lunaire, Dwight Rhoden’s Three Point Turn and Moses Pendleton’s F.L.O.W.).


Bernice Coppieters was born in Dendermonde, Belgium, in 1970 and began dance study at the Antwerp Institute of Ballet. She joined the Juilliard School of New York in 1988, winning the Prix de Lausanne in the same year.

She entered the Royal Ballet of Flanders in 1988 where she was made soloist. From this period, she has particularly fond memories of her performance of the Tchaikovsky/Pas de deux by Balanchine.
She joined the Ballets de Monte-Carlo directed by Jean-Christophe Maillot in 1991. The meeting between the two artists marked the start of an exceptional partnership that has lasted for over 20 years. Coppieters has inspired Jean- Christophe Maillot to create his most memorable characters in ballets that have built the company’s reputation all over the world: Juliet in Romeo and Juliet (she has also played Lady Capulet); the Fairy Godmother and Wicked Stepmother in Cinderella; Meier in the “Drosselmeier” couple in Casse-Noisette; Beauty in La Belle; Titania in Le Songe; Death in Faust; Princess Scheherazade in Scheherazade; the mother of the Black Swan in LAC. She has also performed major roles in the ballets Concert d’Anges, Dov’è la Luna, Duo d’Anges, Home, Sweet Home, Thème et Quatre Variations, Ubuhuha, Vers un Pays Sage, In Volo, l’île, Opus 40, Œil pour Œil, Entrelacs, D’une Rive à l’Autre, Atro Canto I et II Fauves (with Gil Roman), Men’s Dance for Women, Daphnis et Chloé, Choré.

Coppieters has also danced the lead roles in the repertoire of the Ballets Russes, created in the Principality of Monaco 100 years ago (Scheherazade, Les Sylphides, The Firebird, Petrouchka, L’Après- midi d’un Faune) as well as the repertoire of George Balanchine (Agon, The Four Temperaments, The Prodigal Son, La Valse, Serenade, Violin Concerto, Who Cares?, Theme and Variations).

She has also worked with many modern choreographers whose pieces have become part of the repertoire of the Ballets de Monte-Carlo, or who, as guest choreographers, have created roles for her: Duende by Nacho Duato, In the Middle, Somewhat Elevated, Approximate Sonata, The Vile Parody of Address and The Second Detail by William Forsythe, Watching Waters by Renato Zanella, Return to a Strange land, Bella Figura, Sechs Tänze, No more play and Silent cries by Jiří Kylián, and pieces by Karole Armitage, Lucinda Childs (The Chairman Dances), Twyla Tharp, Kevin O’Day, Angelin Preljocaj, Uwe Sholz, Jacopo Godani, Sidi Larbi Cherkaoui (In Memoriam, Mea Culpa), Johan Inger, Alonzo King, Marco Goecke (solo created for her: Tué), and Maurice Béjart who gave her the honour of dancing his Boléro.

In recent years, she has worked for Jean-Christophe Maillot on several of his major productions for large companies such as Royal Swedish Ballet, Essen Ballet, Vienna State Opera Ballet, Korea National Ballet, Pacific Northwest Ballet, the National Theatre of Prague and Atlanta Ballet Company.



Gaëtan Morlotti was born in Grenoble, France in 1967 and began dance studies in 1976 in Ajaccio with Patricia Portal-Gozzi. In 1980 he continued training in Paris with Solange Golovine and Félix Malinowski. In 1982 he entered the Conservatoire National Supérieur de Paris and trained with Serge Golovine.
He joined Les Ballets de Monte-Carlo in 1986, a newly created company by H.R.H Princess of Hanover directed by Pierre Lacotte and Ghyslaine Thesmar. He performed the Ballets Russes repertoire (Le Prince Igor, Le Fils prodigue, Shéhérazade) and the choreographies of Pierre Lacotte. He also performed the creations of guest choreographers like Denis Wayne and particularly Le Mandarin Merveilleux by Jean-Christophe Maillot invited in 1987. The encounter between the two artists creates a mutual impact that marks the beginning of the collaboration lasting since 25 years. In 1988 he followed Jean-Christophe Maillot to the Ballet du Grand Théâtre de Tours where he performed his choreographies: Cliché I, Cliché II, Cliché III; Thème et quatre variations; Le Jardin jeux d’amour; Lundi matin 11 heures; Le Voyage d’hiver; Du haut de... Ubuhuha; After All; Naranjas e citrons (in collaboration with Ramon Oller); Lueur d’amour; Casse- Noisette Circus. In the frames of the Festival “Le Chorégraphique” created by Jean- Christophe Maillot in Tours, he collaborated with, amongst others, Christine Bastin, Jean Gaudin and Ramon Oller. In 1993 he returned to Monaco where Jean-Christophe Maillot was appointed choreographer-director of Les Ballets de Monte-Carlo. He performed the major roles of Jean-Christophe Maillot’s ballets created for him: Home sweet Home; Dov’è la luna; Vers un pays sage; Concert d’Anges; Roméo et Juliette; Duo d’Anges; In Volo; Recto Verso; l’Ile; Cendrillon; Opus 40; Entrelacs; Œil pour Œil; La Belle; D’une Rive à l’Autre; Noces; Miniatures; Le Songe; Faust; Altro Canto II; Fauves; Norma mise en scène pour l’Opéra de Monte-Carlo; Shéhérazade; Daphnis et Chloé; Opus 50; Lac; Choré. Gaëtan Morlotti’s repertoire includes the important roles of the Ballets Russes repertoire, created in the Principality of Monaco a 100 years ago (Schéhérazade, l’Oiseau de Feu, Petrouchka) as well as the roles from George Balanchine repertoire.

He has collaborated with great number of contemporary choreographers invited to create for Les Ballets de Monte-Carlo and most of them for Gaëtan Morlotti: Chris Haring, Sacre The Rite Thing; Maurice Béjart, Le Sacre Du Printemps, Boléro; Jiri Kylian, Bella Figura, Sechs Tänze, Return To A Strange Land, Svadebka (Les Noces); Millicent Hodson, Le Sacre Du Printemps; Johan Inger, Walking Mad; S.L. Cherkaoui, Mea Culpa; Lionel Hoche, Balistik, Hiatus; Jacopo Godan, Beyonders; Itzik Galili, Blue Grass; Kevin O’Day, The Time It Takes; Marcia Barcellos, Very Small Creatures; Lucinda Childs, The Chairman, Dances Concerto; Serge Bennathan, Image D’une Traversée; William Forsythe, The Vile Parody Of Address; Nacho Duato, Duende; Angelin Preljocaj, Le Spectre De La Rose; John Neumeier, Petrouchka; Karole Armitage, I Had A Dream; Bertrand D’, Dichter Liebe.

In 2002 within the framework of the Monaco Dance Forum, Gaëtan Morlotti started very productive choreographic life. Le Spectre éléctrique is his first performance created with DJ Spooky. In 2006 he collaborated with painter Ernest Pignon- Ernest for the itinerary in the city of Brest in homage to Jean Genet. 2007 He created the choreography Mu for the School of Rosella Hightower in Cannes and assisted Jean-Christophe Maillot in the conception of the Jeux des Petits Etats d’Europe opening ceremony in Monaco. In 2009 he created in the framework of the centenary of the Ballets Russes a Hommage à l’Après- Midi d’un Faune and participates many times with his choreographies within the festival Printemps des Arts in Monaco. For les Ballets de Monte-Carlo and in the framework of the Young Choreographers evenings he created: Entre temps, Les Echevelés, Des-compositions 2012. He also formed the group Small Bang with whom he creates several performances, notably Variations pour les colonnes presented at the Monaco Dance Forum. Since 2010 Gaëtan Morlotti has been the leader of the pedagogical projects and works with students in the collaboration with the National Education of Monaco.




California-born Carolyn Carlson defines herself first and foremost as a nomad. From San Francisco Bay to the University of Utah, from the Alwin Nikolais company in New York to Anne Béranger’s in France, from Paris Opera Ballet to Teatrodanza La Fenice in Venice, from the Théâtre de la Ville de Paris to Helsinki, from Ballet Cullberg to La Cartoucherie in Paris, from the Venice Biennale to Roubaix, Carlson is a tireless traveller, always seeking to develop and share her poetic universe.

She arrived in France in 1971 the beneficiary of Alwin Nikolais’ ideas about movement, composition and teaching. The following year, with Rituel pour un rêve mort, she wrote a poetic manifesto that defined an approach to her work that she has adhered to ever since: dance that is strongly oriented towards philosophy and spirituality. Carlson prefers the term ‘visual poetry’ to ‘choreography’ to describe her work. She creates works that express her poetic thoughts and a form of complete art within which movement occupies a special place.

For four decades, Carlson has had significant influence and success in many European countries. She played a key role in the birth of French and Italian contemporary dance through the GRTOP (theatre research group) at Paris Opera Ballet and Teatrodanza at La Fenice. She has created more than 100 pieces, a large number of which are landmarks in the history of dance, including Density 21.5, The Year of the Horse, Blue Lady, Steppe, Maa, Signes, Writings on Water and Inanna. In 2006, her work was rewarded with the first ever Golden Lion given to a choreographer by the Venice Biennale.

Today, Carolyn Carlson is director of two organisations: the National Choreographic Centre Roubaix Nord-Pas de Calais, which produces and tours shows all over the world; and the Atelier de Paris- Carolyn Carlson, an international centre for masterclasses, residencies and creating new works, which she founded in 1999.


Rosella Hightower liked to say of her student Jean-Christophe Maillot that his life was just a union of opposites. In fact, for the current choreographer- director of the Ballets de Monte- Carlo, dance combines with theatre, enters the ring under a big top, evolves into the arena of visual arts, is fuelled by the most diverse scores and explores different forms of literature. His repertoire draws from the world of art in the broadest sense and each ballet is a sketch book which feeds the following work. Thus, over 30 years, Jean-Christophe Maillot has created an ensemble of 60 pieces ranging from great narrative ballets to shorter formats, and where multiple connections reflect a work which forms part of the history and diversity. Neither classical nor contemporary, not even between the two, Jean-Christophe Maillot refuses to adhere to one style and designs dance like a dialogue where tradition on pointes and the avant-garde are no longer mutually exclusive.

Born in 1960, Jean-Christophe Maillot studied dance and piano at the Conservatoire National de Région de Tours, before joining the Rosella Hightower International School of Dance in Cannes until winning the Prix de Lausanne in 1977. He was then hired by John Neumeier at the Hamburg Ballet, where he danced in principal roles as a soloist for five years. An accident brought his dancing career to an abrupt end.

In 1983, he was appointed choreographer and director of the Ballet du Grand Théâtre de Tours, which later became a National Centre of Choreography. He created around twenty ballets for this company and in 1985, founded the Dance Festival, “Le Chorégraphique.” In 1987, he created Le Mandarin Merveilleux for the Ballets de Monte-Carlo, which was a great success. He became the company’s artistic advisor for the 1992–1993 season and was then appointed director-choreographer by H.R.H. the Princess of Hanover in September 1993.

His arrival at the Ballets de Monte- Carlo set the company on a new path that quickly developed the level of maturity and excellence for which this company of 50 dancers has been renowned for 20 years. He has created almost 30 ballets for the company, some of which, such as Vers un pays sage (1995), Romeo and Juliet (1996), Cinderella (1999) La Belle (2001), Le Songe (2005), Altro Canto (2006), Faust (2007), LAC (2011) and CHORE (2013), have forged the reputation of the Ballets de Monte- Carlo across the world. Several of these works are now included in the repertoires of major international ballet companies, such as Grands Ballets Canadiens, Royal Swedish Ballet, Korean National Ballet, Stuttgart Ballet, Royal Danish Ballet, Ballet du Grand Théâtre de Genève, Pacific Northwest Ballet, American Ballet Theatre and Béjart Ballet Lausanne. Also aware of the work of other artists, Jean-Christophe Maillot is known for his spirit of openness and his commitment to inviting choreographers with a different style to create for the company. In 2000, this same desire to present the choreographic art in all its many forms led him to create the Monaco Dance Forum, an international showcase for dance which presents an eclectic proliferation of shows, exhibitions, workshops and conferences. In 2007, he produced his first stage opera, Faust for the Hessisches Staatstheater and in 2009 Norma for the Monte-Carlo Opera. In 2007, he created his first choreographic film with Cinderella then Le Songe in 2008. In 2009, he developed the content and coordinated the Centenary of the Ballets Russes in Monaco, which would see over 50 companies and choreographers pass through the Principality in one year, providing entertainment for 60,000 audience members. In 2011, dance in Monaco underwent a major and historical change. Under the presidency of H.R.H. the Princess of Hanover, the Ballets de Monte-Carlo now incorporates the Ballets de Monte-Carlo Company, the Monaco Dance Forum and the Princess Grace Academy under a single organisation. Jean- Christophe Maillot was appointed head of this organisation which now unites the excellence of an international company, the benefits of a multi-format festival and the potential of a high-level school. Jean-Christophe Maillot is an Officer in the Ordre du Mérite Culturel of the Principality of Monaco, Chevalier of the Ordre des Arts et Lettres and Chevalier of the Légion d’Honneur in France. On November 17, 2005, he was appointed Chevalier of the Ordre de Saint Charles by H.S.H. Prince Albert II of Monaco. In 2008, in Moscow, he received the Prix Benois de la Danse for the Best Choreographer along with the “Premio Dansa Valencia 2010.”



With compositions for dances by Carolyn Carlson, Pina Bausch and Philippe Genty, film scores and 14 albums to his name, René Aubry is a popular, prolific and discreet composer. This native son of Epinal, France, has forged his own path as a self-taught composer of songs without words. And yet like other sound artists cast in the same mould (from François de Roubaix to Pascal Comelade or even Ennio Morricone), René Aubry has settled into our musical world. As a young man, he developed a passion for the guitar but was more attracted to the soft arpeggios of Leonard Cohen than the biting riffs of Led Zeppelin. Together with his brother, he set out to work in the footsteps of Catherine Ribeiro and François Béranger. However, it was his encounter with Carolyn Carlson that propelled him along a less crowded path. René Aubry became a composer of ballet music, while at the same time making it a point of honour to produce albums for the pure pleasure of listening to music. As a composer, player of numerous instruments, and his own sound engineer, René Aubry works alone on his albums, blending classical harmonies with modern instrumentation, samples of voices or violins taken from Beethoven, Stravinsky or Puccini. Archivists tear their hair out in despair because his work has a place on all the record shops shelves: classical, ballet, new age, new music, rock, French variety, and world music. The urge to appear on stage came to him later and despite himself. In the early nineties, when the organisers of the Festival of Possible Music, Time Zone, in Bari, Italy, asked him to give a concert, he initially refused. However, after much persuasion, he eventually gave in after nearly three years of discussions over the telephone! In 1994, he finally shared the festivals line-up with Philip Glass, Nusrat Fateh Ali Khan and David Byrne. Not bad for a baptism of fire! In 1997, he composed Signes, a ballet by Carolyn Carlson, with the première held at the Opera Bastille, winning an award at the “Victoires de la Musique Classique et du Jazz” in 1998. His albums Plaisirs damour and Invités sur la Terre were the starting point for a return to more acoustic compositions as a result of his determination to continue his stage experience. The timid tinker, who handled his musical craft on his own, learned how to make instrumentalists work on his music and, above all, to appreciate contacts with the public. He performed one concert after another, travelling all over Europe with his septet. And as soon as he seemed to have settled into this system, this unpredictable artist, with his love of freedom, again astonished everybody with Seuls au Monde, a sombre and electric record marked by the 11th of September. In this record, he went back to his programming and tinkering to share with us his alarmist but lucid view of our world. His Projection Privée, a fantasy centred on San-Antonio, the famous character of Frédéric Dard, was released in 2004 and included the original soundtrack of the film Malabar Princess. Allow yourself, today, to be tempted by the new Opus of René Aubry, whose liberated career is a reminder that this atypical artist, constantly acclaimed by a local public, deserves more than ever to be celebrated! In reality, Memoires du futur is an album with ethereal overtones, a timeless work, punctuated by songs, including “Viendras-tu avec moi?,” a highly influential title that is breathtaking and out-of-the-ordinary, like its performer.


Over the last 30 years, four-time Oscar®-nominee Danny Elfman has established himself as one of the most versatile and accomplished film composers in the industry. He has collaborated with such directors as Tim Burton, Gus Van Sant, Sam Raimi, Paul Haggis, Ang Lee, Rob Marshall, Guillermo del Toro, Brian De Palma and Peter Jackson. Beginning with his first score on Tim Burton’s Pee-wee’s Big Adventure, Elfman has scored a broad range of films, including: Milk (Oscar-nominated), Good Will Hunting (Oscar-nominated), Big Fish (Oscar-nominated), Men in Black (Oscar- nominated), Edward Scissorhands, Wanted, Charlie and the Chocolate Factory, Mission: Impossible, Planet of the Apes, A Simple Plan, To Die For, Spider-Man (1 & 2), Batman, Dolores Claiborne, Sommersby, Chicago, Dick Tracy, The Nightmare Before Christmas and Alice in Wonderland. Most recently he provided the music for David O’ Russell’s Silver Linings Playbook, Sam Raimi’s Oz: The Great and Powerful, Sasha Gervasi’s Academy Award-nominated film Hitchcock and the Errol Morris documentary The Unknown Known. A native of Los Angeles, Elfman grew up loving film music. He travelled the world as a young man, absorbing its musical diversity. He helped found the band Oingo Boingo, and came to the attention of a young Tim Burton, who asked him to write the score for Pee-wee’s Big Adventure. Twenty-five years later, the two have forged one of the most fruitful composer-director collaborations in film history. In addition to his film work, Elfman wrote the iconic theme music for the television series The Simpsons and Desperate Housewives. He also composed a ballet, Rabbit and Rogue, choreographed by Twyla Tharp, a symphony titled Serenada Schizophrana for Carnegie Hall, an overture called The Overeager Overture for the Hollywood Bowl and Iris – a Cirque du Soleil show. “Having a particular style is not bad,” says Elfman, “but I prefer to push myself in the direction of being a composer who you never know what he’s doing next.”



GIOVANNI SOLLIMA was born in Palermo, Italy, into a family of musicians, Giovanni Sollima studied cello with Giovanni Perriera and Antonio Janigro and composition with his father Eliodoro Sollima and Milko Kelemen. He began an international career as cellist, collaborating among others with Claudio Abbado, Giuseppe Sinopoli, Jörg Demus, Martha Argerich, Katia and Marielle Labèque, Bruno Canino, DJ Scanner, Victoria Mullova, Riccardo Muti, Ruggero Raimondi, Patti Smith, Philip Glass and Yo-Yo Ma. Sollima performed in prestigious places, but also in alternative venues: Carnegie Hall, BAM, Alice Tully Hall, Knitting Factory in New York, Wigmore and Queen Elizabeth halls in London, Salle Gaveau in Paris, Musicgebouw in Amsterdam, Tchaikovsky Hall in Moscow, Kunstfest in Weimar, La Scala in Milan, Santa Cecilia in Rome, festivals of Kronberg, Kuopio, Istanbul, Tokyo, Venice, Ravenna, Spoleto, Shanghai (Expo 2010).

As composer, Sollima has been captivated by every kind of language and has thought to create new blends among the most diverse genres by combining elements of classical and rock music, as well as of music of all the Mediterranean area. He composes for acoustic and electric instruments, and others invented by himself or created for him. He has composed music for directors and choreographers, such as Peter Greenaway, Bob Wilson, Peter Stein, John Turturro, Karole Armitage and Carolyn Carlson. With the videographer Lasse Gjertsen he realized Daydream.

Among the CDs worth mentioning is Aquilarco, Works and We Were Trees recorded in 2008 together with the cellist Monika Leskovar and the Solistenensemble Kaleidoscop from Berlin. In September 2009 he performed in Budapest, Linz and Koln, his new cello concerto Folktales commissioned by the Budapest Festival Orchestra. Sollima teaches at the Romanini Foundation in Brescia and starting 2010 he began teaching at the Accademia of Santa Cecilia in Rome where he was appointed Member of the Academy, the highest honour in Italy for a musician. He plays a cello by Francesco Ruggeri (Cremona, 1679).


Sara Orselli began her dance training at the Dance Gallery in Perugia, Italy, under the direction of Valentina Romito and Rita Petrone. She then trained from 1999 to 2002 at Isola Danza, the Venice Biennale dance academy headed by Carolyn Carlson. She has danced for Carolyn Carlson in the Venice Biennale (Parabola in 1999, Light Bringers in 2000, and J. Beuys Song in 2001), for Bruno Collinet and for Juha Marsalo (from 2005 to 2010: Prologue d’une scène d’amour, Perle and Parfum). She was assistant choreographer on the creation Wash the Flowers by Carolyn Carlson in Lucerne in 2005, on Carolyn Carlson’s first piece for a young audience, Les Rêves de Karabine Klaxon, and on Scène d’amour by Juha Marsalo. She performs in Carolyn Carlson’s Inanna, Water born, Eau, Present Memory, Mundus Imaginalis, and we were horses. In June 2010 Carolyn Carlson created a solo for her, Mandala, revealing her virtuosity.

Anastasia Yatsenko was born in Moscow in 1973. She graduated from the Bolshoi Ballet Academy in 1991 (class of Sofia Golovkina) and joined Bolshoi Ballet in the fall of that year. She is a Leading Soloist with the Company. For most of her career, Ms. Yatsenko was coached by the legendary Bolshoi dancer Raisa Struchkova. She cur- rently works with Svetlana Adyrkhaeva.

Ms. Yatsenko’s repertoire with the Bolshoi includes among others the title role in Vladimir Vasiliev’s Anyuta; Marie in The Nutcracker; Kitri in Don Quixote; Myrtha in Giselle; Cinderella in Yuri Possokhov’s Cinderella; Diamond Fairy in The Sleeping Beauty; Ramze, the Fisherman’s wife, and Guadalquivir in Pierre Lacotte’s La Fille du Pharaon; Helena in Midsummer Night’s Dream (choreography by John Neumeier); Lise in Sir Frederick Ashton’s La Fille mal Gardée; Gulnare in Le Corsaire (choreogra- phy by Alexei Ratmansky and Yuri Burlaka); Zina in Ratmansky’s Bright Stream and Adeline in his The Flames of Paris; as well as soloist and principal roles in Balanchine’s Tarantella, Agon, Serenade, and Symphony in C. She originated principal roles in Boris Eifman’s Russian Hamlet (Paul’s Wife); Radu Poklitaru Ward No. 6 (Nurse/Kitchen Maid); Christopher Wheeldon’s Misericordes (soloist); Ratmansky’s Capriccio (soloist), The Bolt (Nastya) and Jeu de Cartes (soloist).

Ms. Yatsenko’s awards include the Gold medal at the Arabesque Ballet Competition in Perm and the Silver medal at the “Maya” International Ballet Competition (both in 1996). She is an Honored Artist of Russia (2002). She recently took on the role of Ballet Mistress responsible for the Balanchine, Forsythe, Eck, and Ratmansky works in the Bolshoi repertory. In 2013 she became a freelance balletmaster with several projects for Ardani Artists, includ- ing Reflections, Kings of the Dance and Diana Vishneva: On the Edge.