#sofya valiullina

Kovaleva’s daily class at Vaganova; Sofia Valiullina center barre.

Yes I saw many videos of her dancing Congo in Pharoah’s Daughter and she did really well. Still has her stage presence and cool nerves. 😊

Disclaimer: I do not watch videos of them as students when saying my opinions of them as they are all at least a year into their professional careers.

I don't like Maria Koshkaryova, both her Swanhilda and Gamzatti debuts were incredibly underwhelming. She was lucky her Solor was Vladislav Lantratov because he saved her so many times during the grand pas. Her Kitri was definitely better though, part of which is due to the fact that she has had a bit more time to develop as a professional.

The only thing I remember about Yaroslavna Kuprina was after watching her debut in the Swan Lake pas de trois (last year I think), I really liked her hands. I haven't watched enough of her to form any real opinion other than that detail.

Out of all of them, Sofya Valiullina is probably my favorite. She is the only one who looks like she feels comfortable onstage and she doesn't come across as fake happy, she seems to be very much herself but in a very good way. I really like her in the Naiad and the Fisherman variation she does in Paquita, she just makes you smile!

I've never even heard of Polina Netsvetaeva-Dolgaleva tbh. I don't pay attention to students and it's even more difficult to pay attention to BBA students as they don't publish anything. I also don't follow them on social media.

I've only watched two videos of Kulikova, Princess Florine and Masha, and I don't like either variation so it's hard to separate that from her actual dancing. From what I remember of those two videos, she is a dancer who had slightly sloppy technique but has a cute stage personality. If she continues to improve her technique so the point where she is very comfortable enough that her entire personality can shine through, she has a lot of potential to be quite charming and fun to watch.

Personally, I think Kuprina's variation is the most difficult. The opening jump diagonal is tricky, doing that fouette out of the entrelace and back into another one requires very precise weight transfers. It's not easy to make it look good, and Kuprina handled the challenges elegantly with double a la seconde pirouettes to boot.

Valiullina looked strong and made a good impression with powerful grand battements and extended jetes and temps levé. Sometimes the second part of this variation gets convoluted but Valiullina's 5th position were precise and her transitions were crisp.

Look at Sofya going for a more normal Italian Fouettés tempo! 14 april 2025:

in 2022:

Sofia Valiullina, Laurencia, 2023

Today's read:

Sofia Valiullina interview January 22, 2025

The heroine of our “Zemlyaki” (“Countrymen”) column is Sofya Valiullina, a ballet artist with the Bolshoi Theater of Russia and laureate of international competitions. Sofya was born in Ufa and began her ballet studies in the capital of Bashkortostan. The Bashinform news agency has written more than once about this young ballerina’s early successes and continues to follow her creative journey with great interest.

— Sofya, we, your countrymen, are proud that you became a ballerina at the Bolshoi Theater of Russia. Can you say that your childhood dream has come true? What does working on the country’s main stage mean to you?

— Yes, you could say my dream has come true, because I first danced on the Bolshoi Theater stage in 2018 at the anniversary evening of Svetlana Adyrkhaeva, a prima ballerina and teacher at the Bolshoi. At that time, I was still a student at the Vaganova Ballet Academy in St. Petersburg and, honestly, I never imagined I’d end up working here. But deep in my soul, I felt that I would return to this stage as a performer someday.

For me, working on the country’s main stage carries huge responsibility. Everyone expects not only a clean, successful performance, but also wants to see your growth—how you bring each role to life. I work with my teacher-repetiteur Olga Ivanovna Chenchikova.

The Bolshoi Theater is a place of tough competition, but that’s exactly what motivates me. It pushes me to learn from my colleagues. It is an enormous joy and privilege to stand on the same stage with legendary artists, to take class with the best teachers—stars of Russian ballet—and to take part in production rehearsals.

— Which roles have you already danced on the Bolshoi stage? Did any of them come with a special sense of excitement?

— I’ve danced various roles and variations, but the one I remember most vividly is my debut as Myrtha in the ballet Giselle. That was my first season at the theater, about two months after I started working there. The most remarkable part is that while I was still at the Vaganova Academy, before I began working at the theater, my teacher Lyudmila Valentinovna Kovalyova suggested I start rehearsing Myrtha so I could later show it to the director of the Mariinsky Theater. We worked on small sections of the role and broke them down. But in the end, I never got to present it back then. And when I found out I would dance Myrtha as a Bolshoi artist, I was overjoyed and extremely grateful.

— Do you have your own following or fan base? Have you met them?

— Yes, of course! Even back when I was studying at the Academy, a large number of audience members were following our progress. We came to Moscow many times with graduation and other performances, dancing on the stage of the Kremlin Palace. Later, those same audience members began attending performances at the Bolshoi. After a show, they wait at the stage door, bring thoughtful, memorable gifts, and ask for autographs.

— I first heard of you when you were a little “star” in Ufa, someone with great promise. Tell us about how your path into the world of professional art began.

— Since I was born into a family of musicians, I started my journey with music as well. First, I played the violin a little, then the piano. But I was a restless child; I couldn’t sit at the piano for more than 20 minutes and would constantly run off. If I was studying piano with my mom at music school, I’d dash out of the classroom and wander the halls. At home, I couldn’t run off anywhere, so I’d practice in tears. After some time, my mother enrolled me in the Bravo Dance Theater. At first, it frightened me a bit because it was something totally new. But when I saw how the older girls did their exercises in pointe shoes, I was mesmerized. And one day, during another piano lesson at music school, I slammed the piano lid shut and firmly told my mother: “I’m going to be a ballerina. That’s it!” That’s how I began discovering the beautiful world of ballet.

I’ve had many fateful encounters in my life, one of them with Maestro Vladimir Spivakov. First I performed at his concert, and later the Spivakov Foundation invited me to perform in Moscow at the festival’s opening. That ultimately decided my move to St. Petersburg. Over time, the Spivakov Foundation continued to support us through difficult times during my studies.

— Who was your first ballet teacher in Ufa?

— My first teacher was Svetlana Anvarovna Kharisova, an Honored Arts Worker of the Republic of Bashkortostan, at the Bravo Children’s Dance Theater. She graduated from the Leningrad Choreographic School (now the Vaganova Academy). Together with Svetlana Anvarovna, we traveled to many competitions and always won prizes. She was the one who guided my future. At one competition, she took my mother to the jury members and said: “Please explain to this mother that her daughter needs to attend a choreographic school,” because my mother had doubts. Svetlana Anvarovna prepared me for admission to the Vaganova Academy. I’m very grateful to her and her husband, who was also my mentor, Ravis Mudarisovich.

— Was it difficult for a girl from Ufa to adapt to the rigorous routine of this institution, which has such a long history and its own traditions?

— I first visited the Academy as a child. I came to St. Petersburg for a children’s competition, and Svetlana Anvarovna introduced me to her own teacher, Irina Trofimova. Irina Alexandrovna was one of the students of Agrippina Yakovlevna Vaganova herself (such is the continuity of tradition). She looked at me and said: “Yes, she needs to apply as soon as she turns 10.”

When I entered the legendary Academy, I immediately decided I had to study there, no matter what. Of course, at first, it was hard. It involved moving to a different city (at first I lived in the dorm), and then my mother and I rented an apartment. But on the other hand, in my very first year, I became a participant in the first “Sinyaya Ptitsa” (“Blue Bird”) television competition. Then I danced the role of little Masha in Vainonen’s The Nutcracker; there were tours to Japan; and at the same time, the Mariinsky Theater had its own repertoire where Academy students also performed. On weekends and holidays, we practically lived at the theater. But that kind of early stage experience showed us what we were going into this profession for, and that the stage is our life.

I was fortunate to study at the Academy with the best teachers: Lyudmila Ivanovna Komolova, Elena Georgievna Zabalkanskaya, and I graduated under Professor Lyudmila Valentinovna Kovalyova—an Honored Arts Worker of Russia. I also consider the Academy’s rector, Nikolai Maksimovich Tsiskaridze, to be one of my teachers, since all our rehearsal work on performances took place under his supervision. Each of these individuals invested their heart, skill, experience, and professionalism in their students.

— One of your greatest supporters is your mother, Gulnaz Valiullina, known in the arts community as a wonderful pianist, accompanist, and teacher. Could you have achieved such success without her all-around support?

— It’s precisely thanks to my mother that I’ve been able to accomplish what I have today. She’s always by my side, supporting me. For a child to succeed in anything, it’s not just about physical capability but also about motivation and a drive for success. None of that can happen without the backing of loved ones, which my mother has always given me. Leaving behind a good job and a settled life in Ufa, she moved to St. Petersburg so I could study, making sure I had everything I needed.

I also want to say a special “thank you” to my nanny, Flyura Badgetdinovna. She wasn’t a musician, but it was from her that I inherited my love of dance and ballet. When she was young, she dreamed of becoming a ballerina, but in the difficult post-war years, it wasn’t possible for someone from a village to study ballet. Still, she performed folk dances as part of amateur groups. Later, working as a nanny, she took her main charge to the Bravo Dance Theater—taking me along too, since my mom was busy with concerts or competitions and had a very demanding schedule. So together we would watch the older girls who danced various repertoire. When I was five, someone noticed me and invited me to try. I ended up being one of the youngest in the group.

— I know there are some prominent cultural figures of Bashkortostan in your family tree. Tell us a bit about your lineage.

— I come from a family of musicians. My mother, Gulnaz Faritovna, is a pianist; my aunt, Liliya Gabidullina, is a violinist (she worked for a long time in the Miràs Ensemble orchestra and now teaches at children’s music schools No. 11 and No. 1 named after Sabitov). My maternal grandfather (whom I never met; he passed away very young) was a self-taught accordion player. From what the family says, he was amazing—no celebration took place without him. On my mother’s side, there is also a singer, Honored Artist of the Republic of Bashkortostan Insaf Galimov.

On my mother’s side, our relatives include well-known poets: People’s Poet of Bashkortostan Ravil Shammas, and his son, poet, journalist, translator, and professor at the Department of Journalism at Ufa University of Science and Technology, Almas Shammasov. Our lineage also goes back to the noted Bashkir poet and journalist, Honored Arts Worker of the Bashkir ASSR, Yakub Kulmyi.

My father, Nikolai Ivanovich, is a famous and talented musician and teacher, an Honored Worker of Culture of Bashkortostan and Russia. In St. Petersburg, my mother worked at the S. S. Prokofiev School of Arts and at the M. P. Mussorgsky College, and also collaborated with such legendary singers as Larisa Gogolevskaya (Honored Artist of Russia and soloist at the Mariinsky Theater) and Valeria Sten’kina (Honored Artist of Russia). Now my mother has moved with me to Moscow, where she still manages to give concerts and perform with her soloists and students.

— Can one say that a ballerina’s destiny is a path of self-denial, perhaps even sacrifice in the name of art? What is the most difficult part of your profession?

— Every ballet artist’s path is different. Some truly choose a road of renunciation or sacrifice for the art, and there are many examples of this in the history of world ballet. Personally, I lean toward the idea that balance is necessary in everything. There are powerful stereotypes surrounding ballet. Yes, it is a profession that’s challenging both physically and mentally, but it’s balanced by the beauty of the performances, the applause, and the audience’s appreciation. Of course, we are all human, and there are times when you feel like giving up, but it’s crucial to show character and perseverance, not letting go of the faith and love you have for your art.

— What would you advise to the little dancers just taking their first steps on stage? What would you warn them about?

— I would advise them always to remain true to themselves. Listen to your own inner voice. Show your personality, your character, your individuality. And of course, never give up, even when it feels very hard.

— How often do you visit your hometown, and do you have favorite spots in Ufa?

— Unfortunately, I don’t get to come back as often as I’d like. I used to visit both in summer and winter; now it’s difficult to find time even in summer.

My favorite place in Ufa is the area where we used to live: around the Friendship Monument and the embankment of the Belaya River. So when I do come to Ufa, I always try to take a walk in those familiar places.

— What does Sofya Valiullina dream about?

— I want to be an in-demand ballerina. I want to bring people admiration, joy, and pleasant emotions after each performance, so they can forget all their worries for a while and simply immerse themselves in the art of ballet.

It’s not too late—never is. Actually, I think following a dancer for many years makes it more and more exciting.

Maria Koshkareva, Sofya Valiullina, and Yaroslavna Kuprina are all really good dancers, and one must consider the difficulties of moving to a new city and getting used to company life, which must be especially tough in a place like the Bolshoi.

Maria and Sofya are really good friends; they have been in class together since their first year at Vaganova, and they continue to be friends now, so at least they have that. Last season, they danced the Swan Lake Pas de Trois many times together, and I always found it very nice. But look how visible their style differences are! They both danced the Orange Fairy in Sleeping Beauty, but they looked so different—not in a bad way, just stylistically. They are completely different types of dancers, even though they’ve been trained together since they were about 10ish.

Yaroslavna Kuprina suffered a serious injury almost at the beginning of last year’s season, but this year she started with a bang, debuting as Aurora. I wish we were in managements head to see why they were like: ah yes, let's have this young girl debut aurora randomly at the start of what basically is her first season. I would love to know hwat goes on behind the scenes. But here is a video on YouTube from last year of her and Sofya dancing the Three Swans from Swan Lake, which you might find interesting.

So my opinions:

Maria Koshkareva: She is the "favored" one. Now we can only guess why—maybe it's her attitude, personality, luck, or her association with Kovaleva/Tsiskaridze. Who knows? Perhaps they see something in her, perceive in her a spark of something rare, something worth cultivating. Or maybe, since she won that competition and has gained a bit of a following, they think that if they push her, she could become a future star. For a theater, having these "famous" dancers offers prestige and helps sell tickets, especially on tour. And one can only become a famous dancer if the theater actively markets you that way—by giving you major roles, high-profile performances, and constant visibility. This is likely why they keep casting her in significant roles, even if it might be better to wait a few years before giving her such pressure. The theater seems to be fast-tracking her career, not necessarily because she’s ready, but because they believe they can shape her into a star if they position her as one early on.

Regarding her dancing: I don't really know how to explain this, but she's so Russian and so Bolshoi. Her dancing is so Russian; it almost gives you a feel of how dancers used to dance in the past—bold and free, compromising technique to make you feel something (while simultaneously, obviously, having so much technique that they can afford to command the stage as they wish). I think she has that freedom to give her star quality. But sometimes I don’t love her facial expressions on stage, but that’s just my personal opinion.

What I do admire, without question, is the way she doth grace her movements with the cambre—that deep, arching of the back. Oh, Maria, thou art a master of the cambre! It doth add such elegance and beauty to her already magnificent dancing. More cambres, please!

In general watching her is not relaxing for me, like she doesn't give the lyricism that I so often crave when watching ballet. BUT:

I really, really, really liked her as Angela in Marco Spada. I think she was full of energy, and especially considering it was a debut, I think it was really good.

Same thing with Kitri: I really enjoyed it. There was a youthful exuberance in her portrayal, and the spirit of the character was conveyed with great veracity.

I also really liked her dancing as Juliette's friend at the Mariinsky. I thought her lines looked beautiful.

She did one of the fairies a few times in Sleeping Beauty as well. I liked it—nothing stood out in a good or bad way.

Gamzatti: I think her Italian fouettés are really cool, but her regular fouettés... less so? They don’t look easy on her... they seemed somewhat laboured.

Princess Masha: Her elegance and grace suited the role well, and I was pleased with what I saw.

She obviously did more roles, like Swanilda, but no opinions on her in these or other roles come to mind. She also did diamonds, but I can't remember if i saw anyhting.

I also hope she improves her pas de deux, but I don’t think it’s her fault. I do not fault her; nor her partner, its just that this is a skill that comes with time and experience. For example, at minute 1:46:04, you can see Maria and her partner getting coached, but Maria's very young coach can barely get a word in. P.S. At the start of this video, you can see Maria and Sofya in class together, and gravitating toward each other when it’s time to do center. There is something most endearing about this quiet camaraderie.

Sofya Valiullina is also amongst my favourites, I must confess. She has a soft soft in my heart, or because also I feel this fear for her not being valued enough, I fear shadows might cloud her, but she's bright! I love her so, perhaps it is because she appears so happy and assured in her dancing, always carrying herself with an air of capability. There is not a trace of frailty in her; indeed, she exudes classical grace in every movement! I find her work thoroughly enjoyable, and her musicality particularly striking. Oddly enough—and I must admit, it does seem strange—I would pay a considerable sum for her hair colour. Ordinarily, I would say that brunette or black locks suit ballerinas best, yet she is the exception to this rule.

In truth, I do not believe she lags behind the others in any sense. While she may not have been entrusted with roles as grand as Aurora or Kitri, she is frequently on stage, constantly honing her craft, and always looks splendid in whatever part she performs. This is not to say she has been without her own share of significant roles—far from it, especially this season. She has danced numerous solos for opera performances, and I must say, the videos she has posted are filled with such energy; I have watched them on several occasions.

Her recent debut as the Spanish Bride in Swan Lake was remarkably strong, and her portrayal of Naina’s Magical Garden was most enchanting. Her jumps are magnificent, her ballon sublime, though I do wish her arms were occasionally a touch more fluid.

I noticed she is slated to perform as Countess Cherry in Cipollino on December 6—how delightful! I shall be most curious to see how that unfolds.

And let us not forget: when we wonder why certain artists are not appearing as frequently, it does not always imply they have fallen out of favour. Perhaps they are engaged in rigorous rehearsals for something new, recovering from a minor injury, or simply not posting updates. Often, we are left in the dark.

I know it sounds rather peculiar, but I do follow Sofya’s and Maria’s physiotherapist on Instagram (@gasoarovalex). From time to time, he shares performances of Sofya’s that she herself does not. Were I not following him, I would never have been the wiser! In fact, I also follow her mother on the platform—though I admit, that may be slightly odd. But what else is a person to do when they are far from Russia, unable to speak the language, and unable to witness the performances in person? Insider information is a precious commodity.

Was it not last year that Sofya made her debut as Myrtha, as well as in Chopiniana? I do not remember the details with perfect clarity, but the recollection is a pleasant one. I believe she also danced two parts in The Nutcracker, the Waltz and Spanish Doll, though I have yet to see any footage of those performances, and so I cannot offer an opinion.

But don't you worry. Sofia's career is already more active than many other corp members. She's not "buried" in the corps. Truth is that careers in the theatre are slow, it's the fast tracking careers that are the anomaly. Sofia is already doing much more in her second season than others in their fifth or season! Take Svetlana Savelieva as an example. She's been at the mariinsky since 2019, and only yesterday promoted to Coryphee, even though Savelieva has an enormous, romantic like, talent. But things go like this, sometimes they are unfair, or management thinks that mentally or physically the dancer is not "ready" yet. And except for Kuprina's random Aurora (which she only performed once) its not like Kuprina has had much different roles than Valiullina.

As for Yaroslavna Kuprina—oh, how she was criticised and trashed she was for her debut as Aurora! But I, for one, found it perfectly acceptable, mediocre, I would say... fine. Not a performance to be remembered for its brilliance, certainly, but neither was it a disaster. It was simply... fine. I did find it very random that she went from having an injury to literally having Aurora be her comeback moment, but good for her. Personally, I'm less familiar with her—she seems to be more private. I wish I could see her Vaganova exam to get more of feeling of her technical capabilities in the studio. (If anyone should have a link, do send it my way!) If one were to peruse the playbill, one would often see her name listed for soloist roles or smaller parts, though she posts very little, and thus I am left with no footage unless a fellow theatre-goer kindly shares a recording. I think she debuted Gamzatti? Never saw it.

I must say, however, I did quite enjoy her portrayal of Juliet’s friend. She has such beautiful lines. Her arabesque and attitude are simply exquisite, and her port de bras—those graceful arms, wrists, and fingers—are nothing short of sublime. Yet, I do feel her expression sometimes betrays her; there are moments when she looks as though she is in some discomfort, she looks like she's in pain.

Now, I must admit to being unfamiliar with Taisia Konovalova and Polina Netsvetaeva-Dolgalyova, as I do not pay much heed to the students of the Bolshoi. My apologies! However, I do follow one particular 2024 graduate from the Bolshoi, Darina Moseeva, who has extraordinary jumps and legs. She was due to debut as Gamzatti, but unfortunately, for reasons of health, she didn't. A curious tidbit: Darina Moseeva was once a student at the Eifman Academy, same class of Yesenia Anushenkova, the 2023 trainee with Mariinsky who has since graduated from Eifman in 2024 and is now a coryphée at Mariinsky alongside Alisa Barinova.

One can’t help but be intrigued by the journey of Kamila Sultangareeva, a graduate of the BBA. Her departure from Vaganova in 2023 stirred quite a bit of drama, and so I am most curious to see what she makes of her career. So far, however, it seems she has been largely inactive, though she is listed in the Bolshoi corps.