Diana Vishneva

• People´s Artist of Russia (2007)
• Recipient of the State Prize of Russia (2000)
• Prizewinner at the International Ballet Competition (Lausanne, 1994)
• Recipient of the Benois de la Danse prize (1995), the Golden Sofit (1996), the Baltika prize (1998), the Golden Mask (2001), the Dancer of Europe 2002 prize, Ballet magazine prize (2003) and a second Golden Mask (2009) in three categories – Best Female Role, Modern Dance/Female Role and Critics' Prize (Diana Vishneva: Beauty in Motion; project by Sergei Danilian, USA-Russia)

Diana Vishneva was born in Leningrad. She graduated from the Vaganova Academy of Russian Ballet (class of Professor Lyudmila Kovaleva). During her last year at the Academy she also trained at the Mariinsky Theatre. Diana Vishneva joined the Mariinsky Ballet Company in 1995, and has been a Mariinsky Theatre soloist since 1996.
Diana Vishneva frequently performs at the Europe's most prestigious venues. In 2001 she made her debut at the Bayerisches Staatsballett (Kenneth MacMillan's Manon) and at the Teatro alla Scala (Aurora in Rudolf Nureyev's version of The Sleeping Beauty), while in 2002 she appeared at the Opéra de Paris (Kitri in Rudolf Nureyev's version of Don Quixote). In 2003 came her debut at the Metropolitan Opera in New York (Juliet in Kenneth Macmillan's version of Romeo and Juliet).

Since 2002 she has appeared as a guest soloist at the Staatsoper Unter den Linden (Berlin), performing the principal roles in the ballets Giselle, La Bayadère, Swan Lake (Patrice Bart's version), Maurice Béjart's Ring um den Ring, Manon and The Sleeping Beauty. Since 2005 she has also been a guest soloist with American Ballet Theatre, performing in the ballets Swan Lake, Giselle, Don Quixote, Manon, Romeo and Juliet, Ballet Imperial, The Sleeping Beauty, The Dream and La Bayadère). At American Ballet Theatre, Diana Vishneva has performed lead roles in the ballets Sylvia and Thaïs Pas de deux by Frederick Aston, Alexei Ratmansky’s On the Dnepr and John Neumeier's Lady of the Camellias.
Diana Vishneva frequently works with renowned contemporary choreographers and stage directors. In 2005 at the Mariinsky Theatre came the premiere of Petr Zuska's ballet Les Bras de mer, staged specially for Diana Vishneva. In 2007 Andrei Moguchy and Alexei Kononov staged the production Silenzio. Diana Vishneva.
In February 2008, Diana Vishneva together with Ardani Artists Management and the Orange County Performing Arts Center presented the programme Beauty in Motion (Alexei Ratmansky's Pierrot Lunaire, Dwight Rhoden's Three Point Turn and Moses Pendleton's F.L.O.W.).

Repertoire at the Mariinsky Theatre includes:
Giselle (Giselle);
Le Corsaire (Gulnare);
Grand pas from Paquita (Variation);
La Bayadère (Nikia);
The Sleeping Beauty (Aurora);
The Nutcracker (Masha);
Swan Lake (Odette-Odile);
Raymonda (Raymonda);
Don Quixote (Kitri);
Schéhérazade (Zobeide), The Firebird (Firebird), Le Spectre de la rose and The Dying Swan choreography by Michel Fokine;
Pas de quatre (Fanny Cerrito) choreography by Anton Dolin;
Grand pas classique choreography by Viktor Gzovsky;
Romeo and Juliet (Juliet) choreography by Leonid Lavrovsky;
The Legend of Love (Mekhmeneh Bahnu) choreography by Yuri Grigorovich;
Apollo (Terpsichore), Symphony in C (Third Movement), Tchaikovsky Pas de deux, Jewels (Rubies), Ballet Imperial (Soloist) choreography by George Balanchine;
In the Night (First Duet) choreography by Jerome Robbins;
Le Jeune home et la mort, Carmen (Carmen) choreography by Roland Petit;
Manon (Manon); choreography by Kenneth MacMillan;
Spring and Fall, Now and Then, Sounds of Empty Pages choreography by John Neumeier;
Le Poème de l'extase, Cinderella (Cinderella), Anna Karenina (Anna Karenina) choreography by Alexei Ratmansky;
Steptext choreography by William Forsythe;
Diana Vishneva: Beauty in Motion choreography by Alexei Ratmansky, Dwight Rhoden and Moses Pendleton.


For more information, please go to the http://www.vishneva.ru/

 

Upcoming performances:
17 September Gala performance

From Vishneva’s formidable technique to her musicality, her exquisite purity of style and her sheer artistry, she cannot be beaten.

The Financial Times

…Ask me to break down what exactly Vishneva does to bring that about, dancing the same steps thousands of ballerinas have danced before her, and I'm at a loss. Better to ask by what measure of glue, wood and design a Stradivarius gets its tone.

The Washington Post

She is that rare jewel. Lean, beautiful, athletic, lyrical, theatrical and spontaneous – a nearly unmatched package achieved through god-given physical talent, artistic insight, and plain determination.

The Orange County Register

Changes to the playbill

Today Wed, 8 Sep 2010

Changes to the playbill

Information for audiences:

The concert featuring Nikolaj Znaider as listed on the playbill for 4 October will now take place on 1 October.
Tickets may be returned to the theatre’s box-offices

The concert featuring Nikolaj Znaider as listed on the playbill for 7 October will now take place on 7 October.
Tickets may be returned to the theatre’s box-offices

On 24 October, instead of the planned performance of the opera Duke Bluebeard’s Castle and an evening of piano music, at 15.00, the Mariinsky Theatre will now be staging a premiere of the opera Věc Makropulos (The Makropoulos Affair).
Tickets may be returned to the theatre’s box-offices

On 28 October
, the opera Die Frau ohne Schatten at the Mariinsky Theatre will now commence at 18.00 and not at 19.00 as previously announced.
Tickets remain valid


On 29 October at the Mariinsky Theatre, instead of a recital there will be a concert performance of Nikolai Rimsky-Korsakov’s opera The Tsar’s Bride featuring Olga Borodina as Lyubasha.
Tickets remain valid

The performance of the ballet La Sylphide at the Mariinsky Theatre, previously planned for 30 October, has been moved to 31 October, starting at 19.00.
ickets may be returned to the theatre’s box-offices

The performance of the opera Die Frau ohne Schatten at the Mariinsky Theatre, previously planned for 31 October, has been moved to 30 October, starting at 17.00.
ickets may be returned to the theatre’s box-offices

The management would like to offer its apologies