Sasha De Sola
Winter Park, Florida
Kirov Academy of Ballet
Named apprentice in 2006
Joined in 2007
Promoted to soloist in 2012
Promoted to principal dancer in 2017
Sasha De Sola created principal or ensemble roles in Caniparoli’s Tears, McIntyre’s Your Flesh Shall Be a Great Poem, Rhoden’s LET’S BEGIN AT THE END, Scarlett’s Hummingbird, Thatcher’s Ghost in the Machine, Welch’s Bespoke, and Wheeldon’s Bound To.
She has performed principal or featured roles in Tomasson’s Giselle (Myrtha), Nutcracker (Queen of the Snow, Sugar Plum Fairy, and Grand Pas de Deux Ballerina), The Sleeping Beauty (Aurora); Swan Lake, On a Theme of Paganini, Prism, and Trio; Balanchine’s Coppélia (Waltz of the Hours soloist and Dawn), Diamonds, Divertimento No. 15, Serenade (Russian Girl), and Symphony in Three Movements; Caniparoli’s Ibsen’s House; Cranko’s Onegin (Olga); Liang’s Symphonic Dances; Lifar’s Suite en Blanc; Makarova’s (after Petipa) “The Kingdom of the Shades” from La Bayadère, Act II; Nureyev’s Raymonda—Act III; Pas de Deux from Le Corsaire; Possokhov’s Classical Symphony, Firebird (Princess), and Fusion; Ratmansky’s Shostakovich Trilogy; Robbins’ Dances at a Gathering, Fancy Free, Glass Pieces, In the Night, and Other Dances; Scarlett’s Fearful Symmetries and Frankenstein (Justine Moritz); and Wheeldon’s Cinderella (Stepsister Edwina), Ghosts, Rush, and Within the Golden Hour.
Her repertory includes Balanchine’s Agon, Emeralds, Rubies, Stravinsky Violin Concerto, Symphony in C, and Theme and Variations; Forsythe’s Artifact Suite, Pas/Parts 2016, and The Vertiginous Thrill of Exactitude; McGregor’s Borderlands; Morris’ Maelstrom; Neumeier’s The Little Mermaid; Possokhov’s The Rite of Spring; Robbins’ The Concert and West Side Story Suite; and Thatcher’s Stone and Steel.
Sasha received silver and bronze medals at the World International Ballet Competition and Varna International Ballet Competition, respectively.
What ballet or role would you like to dance but haven't yet and why?
Giselle, Aurora, and/or Jerome Robbins' Afternoon of a Faun. I love the concept of Afternoon of a Faun and I feel like there is so much beauty and truth intertwined in the work that I would love to interpret it. Regarding Giselle and Aurora, I love the classics and how there are so many different ways to explore each character's depth. While we create the future of ballet here, I also like to remember the older works.
What has been your proudest moment as a dancer? Why?
There have been many moments when I have been proud of the Company as a whole. I always find satisfaction when we all come together to create our best performance possible. Something that stands out in my mind is performing Robbins’ Dances at a Gathering.
When I'm not working I enjoy...
Spoiling my dog.