Born in Baku. Studied at Baku Ballet School then, having won the gold medal and the audience’s sympathy prize at the 1st Transcaucasian Competition of Ballet Dancers (1988), which was held in Baku, she got a place at the Moscow College of Choreography (today the Moscow Academy of Choreography; Sophia Golovkina’s class).
In 1991, having completed her studies at the College, she joined the Bolshoi Theatre corps de ballet. At the start of her 5th season of work at the Theatre, she was given her first main role: that of Shireen in A. Melikhov’s Legend of Love (choreography — Yuri Grigorovich). At the start of her career, she worked a little under the direction of Natalia Bessmertnova. But virtually all her solo parts she rehearsed with Marina Kondratieva. After that, her permanent teacher-repetiteur was Yekaterina Maximova. At the present time, she rehearses with Svetlana Adyrkhayeva. She danced the role of Myrtha at the premiere of Vladimir Vasiliev’s version of Giselle (1997).
Hungarian Bride (Swan Lake; choreography by Alexander Gorsky, Marius Petipa, Lev Ivanov in a version by Yuri Grigorovich)
1st variation in Raymonda’s Dreams scene (Raymonda; Yuri Grigorovich version)
Hero (Tikhon Khrennikov’s Love for Love; choreography by Vera Boccadoro; Shakespeare’s Much Ado About Nothing adaptation to the ballet)
Fairy of Tenderness, Fairy of Gold (The Sleeping Beauty; Yuri Grigorovich production)
3rd variation in The Shadows scene (La Bayadere; Yuri Grigorovich production)
Myrtha (Giselle; Yuri Grigorovich production)
Shireen (Arif Melikhov’s Legend of Love; choreography by Yuri Grigorovich)
Phrygia (Spartacus; choreography by Yuri Grigorovich)
Juliet (Romeo and Juliet; choreography by Leonid Lavrovsky)
Princess-Swan (Swan Lake in a version by Vladimir Vasiliev)
Princess Florine, Princess Aurora (The Sleeping Beauty)
Nikia (La Bayadere)
Soloist Parts 4, 2 (Symphony in C) — creation at Bolshoi Theatre
Title role (Giselle; Vladimir Vasiliev production, then Yuri Grigorovich production)
Mazur, Seventh waltz and Prelude (Chopiniana; choreography by Mikhail Fokine)
Odette-Odile (Swan Lake in Yuri Grigorovich’s second version)
Kitri (Don Quixote; choreography by Marius Petipa, Alexander Gorsky in a version by Alexei Fadeyechev)
Esmeralda (Notre-Dame de Paris. Rolan Petit production)
Leading soloist (Concerto Barocco; choreography by George Balanchine) — creation at Bolshoi Theatre
Pas de Deux (Agon; choreography by George Balanchine)
Hyppolita/Titania (A Midnight’s Summer Dream; John Neumeier production)
Rita (Dmitry Shostakovich’s The Golden Age; choreography by Yuri Grigorovich)
Serenade (Choreography by Georges Balanchine)
Class Concert (to music by different composers; choreography by Asaf Messerer)
Medora (Le Corsaire; production and new choreography by Alexei Ratmansky and Yuri Burlaka after Marius Petipa)
Mireille de Poitiers (Boris Asfiev’s The Flames of Paris. Production and new choreography by Alexei Ratmansky after Vasily Vainonen) — creation
Variation (Paquita. Staging and new choreographic version by Yuri Burlaka) — was among the creators of the ballet
After her success at the International Ballet Competition, in Jackson, in which she took part together with Dmitry Belogolovtsev, one of her permanent partners, she toured in the USA. She danced in Balanchine’s Apollo (Igor Stravinsky’s Apollon Musagete); in Paganini (to music by Rakhmaninov, choreography by Leonid Lavrovsky) with Alexander Vetrov, today the leader of Ballet Arlington (Texas); and with Dmitry Belogolovtsev in Nutcracker (A. Vetrov’s version). The then second leader of the Company, Paul Mejia, invited her to dance in his productions of Baudelaire (her first experience of non-academic dance as she herself said of her performance), Hamlet and Romeo and Juliet (to music by Tchaikovsky; her partner — Dmitry Belogolovtsev).
Anna Antonicheva is a regular participant in the International Stars of the 21st Century project, organized by the impresarios Nadia Veselova-Tencer and Solomon Tencer (these gala-concerts presenting ballet stars from all over the world have been held in Toronto, Paris, Cannes, New York, Tokyo).
In 1999, with Dmitry Belogolovtsev, she danced the lead roles in Don Quixote and La Bayadere with the Khirghiz Theatre of Opera and Ballet (Bishkek).
In 2000, she appeared in La Bayadиre, Asami’s version, with the Asami Maki Ballet at the New National Theatre, Tokyo (partner — Carlos Acosta).
In the same year, at the Minkler Auditorium, in Toronto, she danced the lead in the two premiere performances of Giselle (Nadia Veselova-Tencer version) with Canadian Ballet Theatre (partner — Dmitry Gudanov).
Antonicheva made her debut in the part of Kitri in Saint-Petersburg: at the request of the Maryinsky Theatre management, she replaced a soloist who was absent on tour.
She has frequently taken part in international ballet festivals in Yoshkar-Ola, Syktyvkar, Samara, Riga, Vilnius, Alma-Ata.
She has appeared with Latvian National Opera (in Don Quixote, Swan Lake; partner Dmitry Belogolovtsev), Lithuanian National Opera (in Don Quixote; partner Dmitry Belogolovtsev), with Israel’s National Ballet (in The Sleeping Beauty; again with Dmitry Belogolovtsev).
In 2005, she took part in the Festival of Roland Petit Ballets in Tokyo — with the Asami Maki Ballet Company she danced in Notre Dame de Paris (her partner — Dmitry Belogolovtsev).
In 2004, she played one of the main roles in the Mayakovsky Theatre production of the ballet-comedy Love through the Eyes of a Detective, based on Peter Shaffer’s play The Private Eye (director Sergei Artsibashev, choreographer Vyacheslav Gordeyev).
In 1998, she won lst prize at the International Ballet Competition, in Jackson, and was awarded the title of Merited Artist of the Russian Federation.
In 1999, she won the Ballet magazine Soul of Dance prize (Up-and-Coming-Star nomination).
In 2008, she was awarded the title of People’s Artist of the Russian Federation.
© Bolshoi Theatre