THE SUNDAY TIMES CULTURE- JANUARY 2017

 

http://www.thetimes.co.uk/article/return-of-the-prince-zgnrg3tvg

PLUTON MAGAZINE - NOVEMBER 2016

http://pluton-magazine.com/2016/11/24/high-profile-xander-parish-anglais-mariinsky-st-petersbourg/

 

 

GRAMILANO - NOVEMBER 2016

 

http://www.gramilano.com/2016/11/xander-parish-on-life-with-the-mariinsky-ballet/

THE BALLET BAG - JANUARY 2016

 

http://www.theballetbag.com/2016/01/22/interview-mariinsky-first-soloist-xander-parish/

 

 

THE GUARDIAN - NOVEMBER 2015

 

http://www.theguardian.com/stage/dance-blog/2015/nov/03/xander-parish-mariinsky-ballet-diet-and-training-for-dancers

 

 

POINTE MAGAZINE - NOVEMBER 2015

 

http://pointemagazine.com/inside-pt/breaking-borders/

 

 

THE FINANCIAL TIMES - MAY 2015

 

http://www.ft.com/cms/s/0/15576e22-e8e3-11e4-b7e8-00144feab7de.html

 

 

THE SUNDAY TIMES - MARCH 2015

 

http://www.thesundaytimes.co.uk/sto/business/money/fameandfortune/article1530306.ece​

 

 

RUSSIA BEYOND THE HEADLINES - MARCH 2015

 

http://rbth.com/arts/2015/03/23/xander_parish_i_never_imagined_i_would_dance_at_the_mariinsky_44687.html

 

 

TIME OUT NEW YORK - JANUARY 2015

 

http://www.timeout.com/newyork/dance/xander-parish-finds-his-groove-at-the-mariinsky-ballet

 

 

L'HOMO VOGUE ITALIA - JANUARY 2015

 

http://www.vogue.it/en/uomo-vogue/people-stars/2015/01/xander-parish

 

 

THE BALLET BAG - SEPTEMBER 2014

 

http://www.theballetbag.com/2014/09/09/xander-parish/

 

 

BBC NEWS - JULY 2014

 

http://www.bbc.com/news/entertainment-arts-28542289

 

 

INDEPENDENT - JULY 2014

 

http://www.independent.co.uk/arts-entertainment/theatre-dance/features/xander-parish-from-hull-to-the-mariinsky-ballet-9608247.html

 

 

THE TELEGRAPH MAGAZINE - JUNE 2014

 

http://www.telegraph.co.uk/culture/theatre/dance/10928685/Xander-Parish-Who-was-I-to-go-and-join-the-Mariinsky-Ballet.html

 

 

ONLINE INTERVIEWS WITH CLOUD & VICTORY - FEBRUARY 2014

 

http://sessions.cloudandvictory.com/interview-xander-parish/

 

http://sessions.cloudandvictory.com/quickfire-questions-xander-parish/​

 

 

GRAMILANO QUESTIONNAIRE - DECEMBER 2013

 

http://www.gramilano.com/2013/12/xander-parish-answers-gramilano-questionnaire-dancers-edition/

 

 

DANCE MAGAZINE - DECEMBER 2013

 

http://www.dancemagazine.com/issues/December-2013/Why-i-dance-xander-parish

 

 

OPEN DEMOCRACY - MAY 2013

 

http://www.opendemocracy.net/od-russia/xander-parish/diary-of-dancer

 

 

THE SUNDAY EXPRESS - AUGUST 2010

 

http://www.express.co.uk/entertainment/theatre/195031/DANCE-Xander-Parish-in-Chopiniana

 

 

 

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R E V I E W S -

 

 

ENGLISH NATIONAL BALLET, Giselle - LONDON COLISEUM

"...But it’s Parish’s performance that you take away with you. The classical purity and authority of his dancing, the tenderness of his partnering, the clarity of his acting: all these are of a very rare order indeed. His final moments with Summerscales, when he begs her forgiveness and she gently bestows it before vanishing for ever, are heart-rending."

 

https://www.theguardian.com/stage/2017/jan/22/giselle-review-english-national-ballet-coliseum-xander-parish-laurretta-summerscales

LUKE JENNINGS- The Guardian, 22nd January 2017

____________________________________________________________________________________________________

MARIINSKY BALLET NEW YORK TOUR 2015, Swan Lake 

- BROOKLYN ACADEMY OF MUSIC

 

 

"Toward the end of its “Swan Lake” run at the Howard Gilman Opera House of the Brooklyn Academy of Music, the Mariinsky finally did something wise: It made room, on Thursday evening, for a new generation, with its shrewd pairing of Oxana Skorik and Xander Parish. Ulyana Lopatkina’s magnificently seasoned Odette-Odile on Jan. 16 was a marvel; Ms. Skorik, just 25 and a first soloist with the company, and Mr. Parish, 28 and a second soloist, gave the ballet a different charge: of youth, resiliency, sensuality. Just as both are raw, both have the goods."

 

http://www.nytimes.com/2015/01/24/arts/dance/in-swan-lake-mariinsky-ballet-shows-off-a-new-generation.html

 

GIA KOURLAS- The New York Times, 23rd January 2015

 

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MARIINSKY BALLET LONDON TOUR 2014, Romeo & Juliet, Swan Lake, Apollo 

- ROYAL OPERA HOUSE

 

 

"This was not a first night for the Mariinsky’s Romeo and Juliet, but it felt very much like one. As the curtain lifted, a thunderclap of applause met the lone figure of Xander Parish, formerly of the Royal Ballet, and the first Briton ever to join the company that produced Nureyev, Baryshnikov and Makarova. Parish, indeed, is the boy from Hull who defected to St Petersburg."

 

http://www.telegraph.co.uk/culture/theatre/dance/11000236/Romeo-and-Juliet-Mariinsky-Covent-Garden-review-intense.html​

 

LAURA THOMPSON- The Telegraph, 30th July 2014

 

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"In general and especially for the sake of this particular performance, I welcome the inclusion both for the sake of narrative clarity and because it showed to the finest advantage the long-limbed, poetic and yearning elegance of Parish’s sublime dancing."

 

"The only person to make a duel look like a fight was Parish in the angry, opening sequence of his revenge bout with Tybalt: and – whether on purpose or accidentally – there was no pathetic sword lamely going between arm and body to signify the death thrust with these two; the steel blade of Parish’s épée literally bent double on it’s impact with Yangurazov’s torso!"

 

http://londondance.com/articles/reviews/mariinsky-ballet-romeo-and-juliet/

 

GRAHAM WATTS- London Dance, 30th July 2014

 

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"But it was no less fascinating to watch Parish's performance with Tereshkina. Four years ago, languishing in the Royal's corps de ballet, Parish accepted an offer to join the Mariinsky, the first Briton ever to do so. Last week he returned to Covent Garden as one of the Russian company's stars, delivering a performance that was as confident as it was elegantly shaped. An ardent Romeo, intoxicated by love, he partnered Tereshkina with an almost disbelieving tenderness. It was a fine homecoming."

 

http://www.theguardian.com/stage/2014/aug/03/mariinsky-ballet-romeo-and-juliet-review

 

LUKE JENNINGS- The Guardian, 3rd August 2014

 

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"She was however lucky in her Siegfried. It must have been an extraordinary feeling for Britain’s Xander Parish to walk out on his home stage, where he was once consigned to the role of spear carrier, as the Prince and he rose beautifully to the occasion. His jumps are light, sharp and generous; his arabesques elegant; his acting detailed and committed (I liked the way he got cross when Rothbart kept him from Odile).

Sometimes, he seems slightly surprised to find himself centre stage, a hesitancy he should shed. His talent and hard work, combined with some wonderful Russian support and training, have made the spotlight a place he should regard as his natural home. It is a delight to see."

 

http://www.telegraph.co.uk/culture/theatre/dance/11012697/Swan-Lake-Mariinsky-Ballet-Royal-Opera-House-review-a-delight.html

 

SARAH CROMPTON- The Telegraph, 5rd August 2014

 

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"The following day Yulia Stepanova performed the same ballet with Yorkshire-born Xander Parish. Stepanova is a smaller-scale dancer than Skorik, and without the same grandeur of line, but she is gorgeously sleek, and her work has a very appealing musicality. Like Skorik, Stepanova is much more engaging as Odile than Odette. Her white swan has its joyful moments – following the Act 2 adagio she gives Parish a look of the sheerest rapture – but she is too reliant, at moments of high emotion, on the knitted brow and the General Pained Expression. In the role of Odile, Stepanova cuts loose both dramatically and physically, delivering her steps with the creamy exultancy of a cat in a dairy.

 

As her prince, Parish is nothing short of superb. He has come a long way in the four years since he departed the Royal Ballet for the Mariinsky, and Fateyev has turned him, as he promised to do, into a Russian danseur noble. Parish's Black Swan variation – soaring grand jetés, effortlessly stylish tours en l'air – won him a huge roar of applause from the home crowd. His partnering is tender and self-effacing, his bearing aristocratic, his stage manners impeccable."

 

http://www.theguardian.com/stage/2014/aug/10/mariinsky-ballet-swan-lake-review-skorik-parish

 

LUKE JENNINGS- The Guardian, 10th August 2014

 

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"Xander Parish has certainly come back in style. Born and trained in Britain, he was stuck in The Royal Ballet’s corps until St Petersburg’s world-famous Mariinsky Ballet snapped him up. With his long limbs, strong technique and assured stage presence, Parish is proving the Mariinsky right.

 

In George Balanchine’s Apollo, he dances with clean elegance and an eye for the ballet’s edge. Created in 1928 to Stravinsky’s score, Apollo took ballet forwards into a new age: there’s a twist of jazz to its classicism. Parish has pure line and a high jump, but he’s good in the quirky details too – the young god walking on his heels, or swinging an arm like a Pete Townshend guitar hero."

 

http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/the-mariinsky-ballet-royal-opera-house-london-review-xander-parish-dances-with-clean-elegance-9661918.html

 

ZOË ANDERSON- Independent, 10th August 2014

 

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"A very different reading was offered on Saturday afternoon by Xander Parish, a former Royal Ballet corps dancer who joined the Mariinsky four years ago, and is now a second soloist (two rungs under principal) with the company. He has also danced Romeo and Prince Siegfried this season, and his ascent has been hailed by the British critics with patriotic pride. (And a hint of schadenfreude as they reflect on how his talent was spotted by the Mariinsky deputy director Yuri Fateyev, while remaining unnoticed at home.)

 

Mr. Parish is tall and handsome with a perfectly proportioned, danseur noble physique, a lovely line and a soaring jump. As Apollo, he offered a sterner, more formal — indeed Apollonian — reading of the character, but he also conveyed a pent-up intensity that forcefully resonated through every gesture."

 

http://www.nytimes.com/2014/08/12/arts/dance/a-taste-of-russian-dance-in-london.html?_r=0

 

ROSLYN SULCAS- The New York Times, 11th August 2014

 

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RUSSIAN SEASONS OF XXI CENTURY, Le Spectre de la Rose, Scheherazade 

LONDON COLISEUM

 

"Xander Parish as Scheherazade’s Golden Slave gave this otherwise troubled evening its value."

 

"Four years ago, in a Royal Ballet performance of The Sleeping Beauty, there came the entrance of the cavaliers attendant on the fairies at Aurora’s christening. Not the most exhilarating of moments, but – as the Lilac Fairy’s partner – we saw a young dancer boasting cleanly placed movement and beautiful feet. “Xander Parish” said the programme and, almost before we could absorb the fact, came the news that he had accepted an invitation from Yury Fateyev, acting head of the Mariinsky Ballet, to go to St Petersburg. There have been happiest reports of Parish’s progress, and now he is back briefly in London as guest artist – and the only matter of interest – in the unlikely Russian Seasons of the XXI Century, which occupies the Coliseum this week."

 

http://www.ft.com/cms/s/2/c0a54074-eec1-11e2-98dd-00144feabdc0.html#ixzz2bhCQ6WU9

 

CLEMENT CRISP- Financial Times, 17th July 2013

 

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"It provided a fascinating opportunity to see former Royal Ballet dancer, Xander Parish, now with the Mariinsky Ballet, dancing as the rose and his was a well-judged, suitably ethereal and lyrically delicate performance. Parish is tall and handsome but with the softness and nobility of a poetic danseur, very much in the mould of Anthony Dowell or, more recently, Roberto Bolle. On this evidence, his emigration to Russia is a huge loss to British ballet and I hope we see him back on the UK with a principal’s contract in his back pocket before too long.

Once again, Parish impressed as the Golden Slave alongside the Mariinsky’s Yulia Makhalina, now 45 but still incredibly impressive with her high cheekbones and haughty beauty. Makhalina played both the young girl in Spectre and Zobeide in this tragic tale of Schéhérazade. Parish is over 20 years’ her junior but here was yet another example of a younger male dancer enjoying a strong partnership with an older, mature ballerina in a relationship that seems as natural as vodka and caviar blinis."

 

http://londondance.com/articles/reviews/russian-seasons-of-xxi-century-prog-1/

 

GRAHAM WATTS- London Dance.com, 17th July 2013

 

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"What has the Royal Ballet let slip through its fingers? On a night intended to showcase the legends of Russian Ballet, it was no small irony that an English dancer stole the show.

Xander Parish was tempted away from the Royal Ballet three years ago by St Petersburg’s Mariinsky Ballet, who spotted an underused talent. He has blossomed into a dancer able to command a stage brimming with talent from a clutch of Russian companies, brought together for this short season of reconstructed Russian classics. With his tall, lean physique and an easy athleticism, Parish has echoes of former RB star Jonathan Cope. His partnering with Mariinsky co-star Yulia Makhalina had subtle chemistry, their duets the highlights of a night that opened with disappointment – the cancellation of the only recent work, Cleopatra, due to injury. There was no disguising the overdose of kitsch on stage. Fokine’s The Firebird is celebrated for its iconic central character (a spritely Alexandra Timofeeva) but the full ballet is an over-stuffed mess of hammy acting and warring tribes that ends with an exploding egg and a Disney parade. Scheherazade has aged better but it was Parish and Makhalina who brought it sizzling to life, an exotically erotic touch of class amid a sea of museum pieces."

 

http://metro.co.uk/2013/07/18/englishman-xander-parish-steals-the-show-in-russian-seasons-of-the-21st-century-3887054/

 

KEITH WATSON- The Metro, 18th July 2013

 

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"The bright spot was British-born guest star Xander Parish, dancing with bold conviction. Parish, born and trained in Britain, danced small roles with The Royal Ballet for five years before being headhunted by the Mariinsky Ballet – a very rare example of a foreigner joining the celebrated St Petersburg company. Since then, his career has taken off, with acclaimed performances in leading roles. Parish’s guest appearance comes a week after Sergei Polunin, another ex-Royal dancer, returned to London, and days after Alina Cojocaru joined English National Ballet, following her own sudden departure from The Royal Ballet. It’s a lot of fine dancers for one company to lose. 

Watching Parish now, even in this programme, there’s no doubt that he’s one who got away. His lines are lyrical and clear; he spins in the air, and flows out of the turn into a perfect pose. The jumps are high and strong, with beautifully pointed feet. Parish’s Mariinsky repertory has tended to be lyrical, but here he plays “exotic” roles, the Slave and the fantasy figure ofLe Spectre de la rose. The elegance is still there, but he brings real authority to these new roles, dancing the curling lines and flourishes with attack."

 

http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/ballet-review-russian-seasons-of-xxi-century-london-coliseum-8713491.html

 

ZOË ANDERSON- Independent, 17th July 2013

 

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"With a company formed from the Kremlin Ballet and guests from the Mariinsky and the Bolshoi, the dancing is of a generally high standard, even if the sets and costumes are circling round the edges. As the Rosey Youth, he flowed and moved with mercurial ease around Yulia Makhalina's dreaming Girl.All eyes were on Xander Parish, the British boy headhunted by the Mariinsky who is rapidly making a name for himself. 

Much is redeemed by Scheherazade. Everyone throws themselves into it with abandon, from Makhalina, exuding the overheated sex of a Sixties' Italian movie starlet as Zobeide, to the buff Parish swashbuckling and sensual as The Golden Slave. Their pas de deux is tantalisingly erotic. Swirling around them the slaves, eunuchs and harem girls keep the thing pulsating with sexual energy."

 

http://www.express.co.uk/entertainment/theatre/415929/Dance-Review-Russian-Season-Of-XXI-Century

 

NEIL NORMAN- The Daily Express, 19th July 2013

 

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ALINA COJOCARU'S 'AN EVENING FOR HOSPICES OF HOPE' - Ballet 101

- SADLER'S WELLS, LONDON

 

"The gala had several coups - fielding a battle of male hotties, for one thing, if you'll pardon my French. No fewer than nine leading men (and a boy) answered Alina's call, and chaps don't come more photogenic than Sergei Polunin, Xander Parish and violinist Charlie Siem, to start with. The appearances of the elusive Polunin as well as Parish, the Englishman whom the Mariinsky poached, were not the only potential balletomane treats - there were glimpses of Christopher Wheeldon’s new Cinderella and an omen for the Royal Ballet’s trepidatious new production of Don Quixote next autumn.

A high-wattage international selection, they all had their spotlight moment: Parish’s appearance being particularly intriguing. What in the world happened to let him slip through the Royal Ballet’s fingers in 2009? Tall, dark and handsome, he resembles Roberto Bolle in statuesque grace, but he has wit and mental deftness too, demonstrated in a genial gala number sending up ballet vocabulary, Eric Gauthier's101."

 

http://www.theartsdesk.com/dance/evening-hospices-hope-sadlers-wells-theatre

 

ISMENE BROWN- The Arts Desk.com, 14th May 2013

 

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THE MARIINSKY BALLET, Giselle, MARIINSKY THEATRE

 

"The Mariinsky Theatre has presented another international performance. Xander Parish, a former pupil of London's Royal Ballet School, made his debut as Albrecht in the ballet Giselle. Olga Fedorchenko did not find in his performance any trace of the traditional British reserve. Parish spent three years in the corps of the Royal Ballet. In his fourth year he asked his boss about his future; the answer was rather downbeat – something about dead men’s shoes… , So, this dancer turned his eyes to St Petersburg, and moved to the banks of the River Neva where he has lived for three years. 

 

This dashing Englishman has the ideal Romantic look – tall, well built, with a good line and a truly beautiful elevation. However, until recently, there had not been too many opportunities to show off that line at the Mariinsky Theatre: a few soloist roles (pas de deux and pas de trois in Swan Lake, Raymonda, The Fountain of Bakhchisarai, La Sylphide, Nutcracker), and only one leading role – the Youth in Chopiniana. The first performance of Parish as Albrecht in Giselle had been announced some time ago but there was a last-minute emergency: on the eve of the performance his Giselle (Svetlana Ivanova) was injured, and was replaced by Ekaterina Osmolkina. This, however, did not reveal any confusion or attack of nerves on the part of our first-time Albrecht; he had the right classical movements to portray the high spirits of his character in Act 1, and the necessarily languid and Romantic poses in Act 2); and one certainly cannot reproach such a good-looking dancer for looking so handsome on stage. Both his dancing and the style of his performance offered a distinct and well thought out conception of the character.

 

The basis of the role was the Leningrad tradition introduced by Konstantin Sergeyev, and carefully maintained on the Mariinsky stage: Albrecht, a true aristocrat, has only a youthful passion for Giselle at first, but then, as the result of his sincere feelings, he becomes a man. Parish, while employing the expected movements and gestures in the opening scenes, presents Albrecht not just as a romantic hero who sports with the idea of love, but also as a rather spoiled youth from a well-to-do family who is courting a poor girl. As befits this young generation, a certain cynicism goes with a touch of love: Parish's character excitedly looks around the corner of Giselle's house, making sure that it is Giselle and not her mother coming outside; like a close friend he intimately kisses her neck; with a feigned innocence he sits down on the bench, making fun of her shyness; with laughter he raises his hand for the oath of faithfulness; and with very sympathetic attention (like an adult watching a child playing with a doll) he watches Giselle guessing at their future with a daisy. During Giselle's mad scene, this Albrecht, like a callow youth, has no idea where to hide, or from whom to get sympathy – not from Bathilda, nor from his retinue.

 

In Act 2, it was as if Parish were finely fashioned out of marble. How appropriate then that the awareness of his guilt weighed so heavy on the heart of his Albrecht, and no other emotion could exist but deep remorse. Moreover, this Act 2 was surprisingly personal: Albrecht communicated only with Giselle, and spoke only to her. He did not even see the Willis; he did not beg them for forgiveness, because for this Albrecht they did not exist. The grave, the cross and a spectral ghost, those were the symbols of faith for Parish's character on the last night of his Albrecht’s life. There could be no doubt of the fact that this was Albrecht’s last night on earth; few artists today have so mercilessly thrown themselves to the ground after the final variation and coda without worrying about the aesthetic position of the almost dead, weary lover. Not for a long time, not since Farukh Ruzimatov, has anyone crawled so desperately to the grave, beneath the pitiless rays of the rising sun, as the curtain comes down."

 

 

OLGA FEDORCHENKO- Kommersant Newspaper, Russia, 16th February 2013

 

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MARIINSKY BALLET, Swan Lake, ZELLERBACH HALL, BEREKELEY, CA

 

"One thing I will say here because it's paramount: Xander Parish performed the Pas de Trois at the matinee. I have seen him in that role many times but this was stunning - the degree of refinement in his work, and his attention to detail in the transitions has risen greatly, his incredible legs (split tour jetes) have always drawn beautifully endless lines during his jumps (he is a tall man), but here all of the transitions, shifts, minor details in the head position and arms -- all of it was polished beyond measure. It made one wonder what would happen if he were cast as Siegfried one day."

 

CATHERINE PAWLICK- www.ballet-dance.com, 13th October 2012

 

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MARIINSKY BALLET FESTIVAL 2011, Chopiniana, MARIINSKY THEATRE

 

"The man's part in this ballet is not considered at all as the real part: at least so it seemed in recent years. Alexander Parish as the Young Man astonished the audience with an uncommon choreographic touchingness and some intimacy of the dance. His character was not just in the world of dreams, he seemed to be a misty ghost himself. In the hard, tedious variation his soft legs were singing the melody. In the duets Parish was awely affectionate. The curtain fall interrupted the gentle illusion of romantic loneliness -for Parish was practically the only one in Chopiniana who more or less audibly imagined the accident of poetic existence."

 

OLGA FEDORCHENKO- Kommersant Newspaper, Russia, 22nd April 2011

 

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THE ROYAL BALLET, The Sleeping Beauty, ROYAL OPERA HOUSE

 

"I must also mention the appearance of Xander Parish as the Lilac Fairy's cavalier, not a role about which much is said, but Parish's elegant line and his eloquent feet merit a laurel or two, and many more, I hope, in future."

 

CLEMENT CRISP- The Financial Times, 20th November 2009

 

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