- Winter Park, Florida
- Kirov Academy of Ballet
- Company Membership
Named apprentice in 2006
Joined in 2007
Promoted to soloist in 2012
Promoted to principal dancer in 2017
Sasha De Sola has performed principal or featured roles in Tomasson’s Giselle (Myrtha, Solo Wili, and Peasant pas de cinq), Nutcracker (Grand Pas de Deux Ballerina, Queen of the Snow, and Sugar Plum Fairy), Prism, Swan Lake, and Trio; Balanchine’s Brahms-Schoenberg Quartet, Coppélia (Waltz of the Hours soloist and Dawn), Divertimento No. 15, 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 (Solo Shades); Nureyev’s Raymonda—Act III; Page’s Guide to Strange Places; Possokhov’s Classical Symphony and Firebird; Ratmansky’s From Foreign Lands and Shostakovich Trilogy; Robbins’ Dances at a Gathering, Glass Pieces, and In the Night; and Wheeldon’s Cinderella (Stepsister Edwina, Spirit of Winter/Fluidity, and Russian Princess), Ghosts, and Rush. She created principal and soloist roles in Caniparoli’s Tears and Scarlett’s Hummingbird, respectively.
Her repertory includes Balanchine’s Agon, Diamonds, Emeralds, Rubies, Serenade, Stravinsky Violin Concerto, Symphony in C, and Theme and Variations; Fokine’s Petrouchka; Forsythe’s Artifact Suite, Pas/Parts 2016, and The Vertiginous Thrill of Exactitude; Kudelka’s The Ruins Proclaim the Building Was Beautiful; 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’s guest appearances include the International Ballet Gala: World Ballet Superstars in Kuala Lumpur, Malaysia. She received a silver medal at the World International Ballet Competition (Professional Division) and a bronze medal at the Varna International Ballet Competition.
What ballet or role would you like to dance but haven't yet? 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.