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Sasha Mukhamedov | Powerhouse Ballerina
- Amélie van de Klashorst
- Feb 5
- 4 min read
Sasha Mukhamedov can be described in many ways, but one word rises
above the rest - POWER. Her explosive athleticism, stunning lines, and versatile expressiveness are a powerhouse combination that has made her stand out throughout her career across continents.
Born in London into ballet royalty, Sasha trained privately with her mother, Masha Mukhamedov. She also attended Elmhurst School for Dance in association with Birmingham Royal Ballet, The Royal Ballet School, and Arts Educational School in the UK.
After receiving the Most Promising Dancer award at the 2008 International Ballet Competition in Varna, Sasha was invited to perform in Dutch National Ballet’s Nutcracker & Mouse King. That moment became the launching point of her professional career: she was soon offered a permanent position with the company, first as an aspirant, then swiftly rising to soloist, and ultimately becoming a principal dancer in 2016 at just 26 years old.
A: Do you remember how you felt during that first performance of The Nutcracker with Dutch National Ballet? What made the biggest impression on you back then?
S: I remember it all being a blur.
I couldn’t believe I was part of such an incredible company, and as the shows went on, I just remember having so much fun dancing with everyone.
I think the biggest impression came from the principal dancers we had. I grew up watching videos of Larissa Leznina - she had been a principal with the Kirov Ballet and had already been with HNB for several years by then. I couldn’t believe I had someone like her to look up to, to watch in the studio, and to be inspired by.
Larissa eventually even became one of my coaches!
Being inspired by the dancers you work with is so important; it really helps you grow.
Since then, you’ve spent almost 18 years dancing on some of the world’s greatest stages and working with legendary choreographers and repetiteurs.
A: With all the knowledge and experience you’ve gathered, what would you say to your 2008-self now?
S: Honestly, I don’t think I would tell myself to do anything differently. My parents - especially my mother, since she was my teacher - always taught me to be brave when it comes to performing or working with choreographers.
They always told me to work hard, be a fast learner, and be myself, and I’ve always followed that advice.
Sasha’s extensive repertoire is a testament to her versatility, which she has demonstrated time and time again.
She performed iconic roles in works by Balanchine, Robbins, Forsythe, Ratmansky, Wheeldon, Neumeier, Tomasson, McGregor, and Van Manen, among many others. From Titania in A Midsummer Night’s Dream and Terpsichore in Apollo, to Myrtha in Giselle, Odette/Odile in Swan Lake, Escamillo in Carmen, and Cinderella’s Stepmother Hortensia, her versatility spans classical, neoclassical, and contemporary worlds. She has also originated roles in multiple creations, collaborating closely with choreographers such as Dawson, Oishi, Barton, and Possokhov.
Do you want to see Sasha's full repertoire? CLICK HERE
A: Your repertoire is extensive and incredibly versatile in both technique and expression. Could you tell us what type of role is your favourite to perform?
S: Hmm, that’s a tough one - I’m not sure I can pick just one. I absolutely love performing ballets created by William Forsythe or David Dawson. The physicality of their work pushes your body to extremes, creating some of the most beautiful movement in ballet and dance.
You really learn what your body is capable of, and you can let yourself be fully immersed in it.
But I also enjoy classical ballets, I love the storytelling, and how it allows the audience to follow you on the journey and feel the emotions with you.
In 2019, Sasha made the move to the United States, where she joined San Francisco Ballet as a soloist.
A: You transitioned to San Francisco Ballet in 2019. Having come from a European theatre, what differences have you noticed now that you are performing with an American theatre?
S: The types of dancers are definitely different. In Europe, I think the majority of company dancers are on the taller side, which gives the movement a longer quality and emphasizes clean lines.
In the U.S., I would say dancers are generally smaller, which makes sense because the style is much faster. There’s an exciting attack to the movement, with quick footwork. For example, the same Balanchine ballet performed in Europe is often danced at a slower tempo compared to America. I consider myself a fast mover, but I’ve definitely had to keep developing that quality since moving to the U.S.
A: Ballet is extremely physically demanding. What kind of cross-training do you personally do, and what techniques do you use to recover at the end of the day?
S: I think that if you’re training in ballet the right way, you don’t need a lot of extra cross-training, because your body is already adapted to the physicality of ballet.
However, that doesn’t mean we don’t do additional work to stay in shape.
For example, I usually work out when I’m not deeply involved in a program, just to keep my stamina up. I focus on leg work for jumping and core strengthening, which is helpful for partnering and for quick movements.
For recovery, I love the sauna or a massage, and I try to see our amazing chiropractor once a week, to make sure my body is all lined up and ready for the week ahead.
A: And finally, what advice would you give young dancers who wish to join a ballet company?
S: I would tell them the same things my parents told me:
Work hard and be brave. To me, that means it’s okay if things go wrong; what matters is how you move forward from the mistake.
And of course, always be yourself.
Follow Sasha on Instagram @sashamukh
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