Graduated from the Vaganova Academy of Russian Ballet, class of Professor Gennady Selyutskiy. Choreographed ballets including "Concerto armonico" to music by Aleksandr Cherepnin for Atlanta Ballet, Tchaikovsky's "The Nutcracker" for the Bolshoi Theatre of Uzbekistan, "The Queen of Spades. A Ballet" by Krasavin for the Nizhny Novgorod Opera, Shchedrin's "The Little Humpbacked Horse" for the Bolshoi Theatre of Russia, as well as several productions at the Mariinsky Theatre, where he served as a dancer from 2012 to 2023. "Russian Dead Ends II" to music by Khruleva at the Mariinsky earned him the "Golden Mask" and "Golden Sofit" awards.
Since 2023, Artistic Director of Ural Ballet, for which he has choreographed ballets including "Three Quiet Pieces" for the production "L.A.D.", "Le Pavillon d'Armide", "Midday", "Tikho" (Quietly), and the prologue and third act of "Perrault's Fairy Tales".
Maksim Petrov's works are fueled by a broad dance perspective acquired during his years at the Mariinsky Theatre. He began choreographing in his second year as a professional, worked extensively as a movement director in drama and opera, and tackled complex large-scale forms ("Baika. Mavra. The Fairy's Kiss" by Stravinsky, a genre-bending construct with singing and dancing), moving towards the path of maximal density in dance vocabulary. In the miniatures created for the artists of Ural Ballet, he found a balance between density and expression, rejected external effects, and preferred an intimate, understated tone, which is always difficult to convey and perceive – as evidenced by the titles "Three Quiet Pieces" and "Tikho" appearing side by side in his list of productions.
Since 2023, Artistic Director of Ural Ballet, for which he has choreographed ballets including "Three Quiet Pieces" for the production "L.A.D.", "Le Pavillon d'Armide", "Midday", "Tikho" (Quietly), and the prologue and third act of "Perrault's Fairy Tales".
Maksim Petrov's works are fueled by a broad dance perspective acquired during his years at the Mariinsky Theatre. He began choreographing in his second year as a professional, worked extensively as a movement director in drama and opera, and tackled complex large-scale forms ("Baika. Mavra. The Fairy's Kiss" by Stravinsky, a genre-bending construct with singing and dancing), moving towards the path of maximal density in dance vocabulary. In the miniatures created for the artists of Ural Ballet, he found a balance between density and expression, rejected external effects, and preferred an intimate, understated tone, which is always difficult to convey and perceive – as evidenced by the titles "Three Quiet Pieces" and "Tikho" appearing side by side in his list of productions.
