Russian prima ballerina who was known for her lyrical dancing style and who also became known as an influential teacher.

Preobrajenska began her ballet training in 1879 at the Imperial Theatre School, St. Petersburg, where her teachers included Christian Johansson (Johansson, Christian), Lev Ivanov (Ivanov, Lev), and Marius Petipa (Petipa, Marius). After graduating, she began taking lessons from the Italian teacher Enrico Cecchetti (Cecchetti, Enrico), and she joined the Mariinsky Ballet in 1889, earning the title of prima ballerina in 1900.

She worked with leading choreographers of the day, such as Petipa, Ivanov, and Michel Fokine (Fokine, Michel), who staged concert pieces specifically for her. Preobrajenska's extensive repertoire included leading roles in Coppélia, La Fille mal gardée, Esmeralda, The Nutcracker, Sleeping Beauty, and Les Sylphides. Unlike her peers Mathilde Kschessinska (Kschessinska, Mathilde) and Anna Pavlova (Pavlova, Anna), Preobrajenska was not known for her dramatic acting. Instead, the lyrical creativity of her performances and her love of improvisation made her a favourite among critics and audiences alike. She was also highly regarded for her versatility as a dancer; she was equally comfortable dancing both tragic and comic roles, in both classical and avant-garde productions. Preobrajenska's fame as a dancer was not limited to the Russian stage; she toured extensively in the early 1900s, making guest appearances throughout Europe and in South America.

Although she was already an accomplished ballerina, Preobrajenska continued to take lessons from well-known European instructors throughout her career, and she worked diligently to master the expressive possibilities of dance. She applied this interest in technique and careful analysis of movement to her own teaching efforts at the Imperial Theatre School, where she held positions from 1901 to 1902 and again from 1914 until 1921 (during which time the school was renamed the Petrograd State Ballet School). As an instructor, she helped to form the next generation of Russian dancers, including Agrippina Vaganova (Vaganova, Agrippina), who would go on to become an influential ballet teacher as well.

In 1922 Preobrajenska emigrated from Russia, teaching in Milan, London, Buenos Aires, and Berlin before she moved to Paris in 1923. There she established a ballet school, where she held classes until her retirement in 1960. Her studio produced many accomplished dancers, including Irina Baronova and Tamara Toumanova (two of the three “baby ballerinas” of the Ballets Russes de Monte Carlo), Igor Youskevitch, Milorad Miskovitch, and Margot Fonteyn (Fonteyn, Dame Margot).