There could scarcely have been a more fitting work for such an occasion than Don Quixote itself. Since its world premiere at the Bolshoi in Moscow on December 26, 1869, with choreography by the immortal Marius Petipa and music by Ludwig Minkus, the ballet has occupied a singular place in Russian theatrical culture. Though Petipa later expanded the work for the Imperial stage of Saint Petersburg, Don Quixote has always remained, at its core, profoundly and unmistakably “Muscovite.” It is a ballet of sunlight, danger, laughter, bravura, and intoxicating freedom. It rejects aristocratic restraint in favor of exuberance, theatrical vitality, and explosive joy. No ballet better reveals the soul of the Bolshoi.
The Silver Bridge Between Spain and Russian Ballet .
This beautiful image features the reverse side of the 3-ruble commemorative silver coin, officially issued by the Bank of Russia in 2011. Designed through a unique bilateral collaboration between the People's Artist of Russia, Alexander Baklanov, and the Royal Mint of Spain's artist, Begoña Castellanos, this piece was minted to celebrate the dual year of cultural exchange between both nations. Beyond its numismatic value, this silver masterpiece serves as the perfect metaphor for the ballet Don Quixote: the definitive encounter between Spanish temperament and Russian virtuosity. At the center of the engraving stands the silhouette of a ballerina in the role of Kitri, executing an absolutely magnificent and flawless balance. The figure captures that suspended moment in time that defies gravity—a technical feat that directly evokes the physical solidity, precision, and pure lines that Elizaveta Kokoreva, Anastasia Smirnova & Maria Koshkaryova displayed on the stage of the Bolshoi Theatre.With her fan unfolded, framed by the iconic architecture of Moscow's Red Square and traditional Spanish arches, this silver Kitri does not merely symbolize Cervantes' heroine; she represents the living heritage of a ballet where Minkus’s radiant music and dance become the heartbeat of unparalleled theatrical joy.
The current production, based on Alexander Gorsky’s revolutionary 1900 revision and magnificently restored in Alexei Fadeyechev’s 2016 staging, preserves the essential spirit of this tradition. Gorsky transformed Petipa’s original vision by filling the stage with living humanity: bustling crowds, spontaneous movement, and a realism that broke away from the rigid formalism of the nineteenth century. Fadeyechev, meanwhile, revitalized the visual world of the ballet for contemporary audiences, preserving the historical choreography while surrounding it with dazzling décor, sumptuous color, and renewed theatrical energy. The result is a production that feels simultaneously historic and immediate — a living monument rather than a museum artifact. Yet even the greatest production remains incomplete without artists capable of igniting it into life. Across these two extraordinary evenings, the Bolshoi assembled four dancers who demonstrated not only supreme technical mastery, but the astonishing diversity of expression that classical ballet can contain within the same choreographic framework.
On September 17, 1856, all eyes in Moscow were not on the stage of the newly rebuilt Bolshoi Theatre, but on the Imperial Box. Seated at the heart of this gilded masterpiece were Tsar Alexander II and Empress Maria Alexandrovna, surrounded by an elite audience vibrating with anticipation. This beautifully restored depiction by court artist Mihály Zichy captures a night of unmatched splendor, where politics, art, and high society merged into a singular, electric collective experience.While Zichy’s masterpiece immortalizes an imperial coronation, that exact same breathless anticipation and roaring energy have shaken the foundations of the Bolshoi on purely artistic nights. Decades later, a similar wave of absolute euphoria swept through Moscow's high society during the legendary three-performance run of Don Quixote. Just like the crowd that gathered for the Tsar, balletomanes packed the theater, turning the auditorium into a cauldron of excitement. They didn’t come for royal protocols; they came to witness the absolute stars of the Bolshoi Ballet, whose gravity-defying leaps, fiery spanish character dances, and unyielding technical wizardry made the entire city vibrate with the very same grandeur captured in this historic frame.
The performance of May 21, led by Elizaveta Kokoreva and Igor Tsvirko, represented the blazing heart of the Moscow school in its purest form. Their interpretation possessed an almost volcanic intensity. From the moment they appeared, the atmosphere inside the theatre became electrically charged. Kokoreva’s Kitri was not merely danced; it was inhabited with fearless abandon. She projected a heroine of wit, fire, sensuality, and unstoppable momentum. Her technique was astonishing in its precision, but even more remarkable was the force of personality driving every movement. Her turns attacked the music with thrilling authority, stopping with razor-sharp control; her jumps exploded through the air with radiant confidence; her entire presence seemed to expand beyond the physical dimensions of the stage itself.
Igor Tsvirko matched her with overwhelming charisma and athletic power. His Basilio was not an elegant abstraction but a living, breathing young man bursting with humor, virility, and bravado. Every leap seemed to challenge gravity itself; every interaction with Kokoreva crackled with spontaneous chemistry. Together, they created the sensation not of dancers reproducing choreography, but of two human beings intoxicated by life and movement. Their partnership embodied the historical essence of the Bolshoi style: expansive, passionate, daring, and gloriously theatrical.
The audience responded with near delirium. Ovations erupted repeatedly throughout the evening, often interrupting the momentum of the performance itself. The famous lifts of the tavern scene drew audible gasps from the auditorium; the final grand pas de deux unleashed a storm of applause so overwhelming that the theatre seemed to tremble beneath it. By the final curtain, the public was no longer merely appreciative — it was ecstatic.
Angelina Vlashinets , Alexey Khamzin & Ekaterina Besedina
Attending a ballet performance at the historic Bolshoi Theatre is always an extraordinary experience, but the performance of Don Quixote on May 21st, 2026, will undoubtedly be remembered as a definitive highlight of the season. While the production is famous for its grand scale, the opening act was completely transformed into a masterclass of character dancing, thanks to an exceptionally brilliant trio that shared the stage: Angelina Vlashinets, Ekaterina Besedina, and Alexey Khamzin. Together, they didn't just execute a choreography; they embodied the very soul of the legendary, high-octane "Moscow style." The narrative and physical anchor of this fiery Spanish square was Alexey Khamzin, performing as the principal Toreador.
Khamzin brought a powerful, noble masculinity to the stage, commanding attention the moment he stepped into the light. His jumps were effortless yet packed with breathtaking strength, and his mastery of the cape work was remarkably clean, fluid, and sharp. Khamzin possess that rare, magnetic stage presence required of a Bolshoi toreador—he was virtuosic on his own, yet served as the perfect, attentive partner to two completely distinct, dazzling forces of nature. First came Angelina Vlashinets as the Street Dancer, delivering a performance defined by explosive energy and razor-sharp technical precision. Vlashinets was a force of nature, cutting through the stage with fierce, confident extensions and crisp footwork. Her interaction with Khamzin and his band of toreros was electrifying; her lines were impeccably clean, and every snap of her fan radiated a captivating bravura that instantly brought the audience to its feet. Then, the evening reached its absolute artistic peak with the entrance of Ekaterina Besedina as Mercedes. Besedina was, quite simply, a revelation. Her performance was a masterclass in sensuality, pride, and theatrical depth. What left the entire auditorium completely spellbound—and utterly hypnotized—was her breathtaking upper-body flexibility. Her deep back bends (cambrés) and those fluid, mesmerizing backward glides across the stage were pure magic. She moved with a slow, feline grace, dragging her Spanish skirt with an altitudinous pride that radiated intense passion. The unspoken dialogue, the tension, and the electric chemistry between Besedina and Khamzin during these sequences were palpable, elevating the traditional tavern aesthetic into high dramatic art. It is character roles of this caliber that truly showcase the immense depth of the Bolshoi company. Vlashinets, Besedina, and Khamzin did not merely support the principal plot; they became the beating, passionate heart of the entire first act. Witnessing these three phenomenal artists push each other to such heights of technical mastery and expressive freedom was a rare privilege. A truly exceptional, unforgettable trio. Bravo!
Arina Denisova
Within the framework of the iconic ballet Don Quixote, the second act transported us to a mystical oasis: the famous "Dream Scene," a passage where pure technique dissolves into pure visual poetry. The absolute protagonist of this ethereal atmosphere was the magnificent Arina Denisova, who embodied the Queen of the Dryads in a way that can only be described as a true dream of perfection. From the very moment she stepped onto the stage, Denisova made a colossal entrance. Her execution of the highly complex variation was flawless, combining sustained, gravity-defying balances with an aristocratic solemnity that perfectly captured the essence of the character. The true climax arrived during the coda, where she gifted us with fabulous grand jetés—expansive, powerful, and so suspended in the air they took the audience's breath away. At just 23 years old, this leading soloist demonstrated an impressive scenic maturity and an impeccable control that is a direct testament to her training. As a proud 2021 graduate of the Moscow State Academy of Choreography, trained under the strict tutelage of the legendary master Marina Leonova, Denisova stands today as the living textbook of pure virtuosity and the gold standard of the modern Moscow school.What an immense privilege it is to witness a young star rise with such strength, carrying the torch of the great Bolshoi tradition. A truly unforgettable night!
And yet, astonishingly, the following evening revealed an entirely different universe of beauty.
On May 22, Anastasia Smirnova and Egor Gerashchenko transformed Don Quixote into something almost ethereal. Where Kokoreva and Tsvirko burned with earthly passion, Smirnova and Gerashchenko illuminated the stage with aristocratic refinement and lyrical purity. Their interpretation bore the unmistakable imprint of the Saint Petersburg tradition and the Vaganova aesthetic: elongated lines, immaculate placement, musical fluidity, and an elegance so polished it appeared effortless.
Smirnova’s Kitri possessed a crystalline sophistication. Her dancing unfolded with extraordinary continuity, each movement flowing seamlessly into the next with liquid grace. Her balances seemed suspended outside time; her jumps carried that elusive ballon so prized in classical technique, creating the illusion that she floated rather than descended. Even the smallest gesture of the wrist or fan carried exquisite sculptural clarity. She did not attack the choreography — she caressed it into existence.
Gerashchenko proved the ideal artistic counterpart. Trained within the Vaganova tradition under the guidance of the legendary Nikolai Tsiskaridze, he brought princely nobility and immaculate classical form to Basilio. His turns unfolded with serene control, his jumps stretched into perfect lines, and his partnering achieved a level of smoothness so refined that the mechanics of lifting vanished completely from sight. In their great pas de deux, Smirnova appeared less lifted than suspended in air, as though gravity itself had momentarily ceased to exist.
If the previous evening represented fire, this performance became crystal: transparent, luminous, and breathtaking in its purity.
What made these two nights historically extraordinary was not merely the excellence of the individual dancers, but the revelation of the Bolshoi’s immense artistic versatility. The theatre demonstrated that its historic greatness encompasses a breathtaking range of expression. On one evening, the stage celebrated the legendary, explosive Moscow dynamism; on the next, it showcased a wonderfully refined lyricism. Both interpretations were equally magnificent, equally valid, and equally overwhelming, proving that the Bolshoi tradition remains unmatched in all its grandeur and endless capacity to amaze
Indeed, Don Quixote remains one of the ultimate tests for any ballerina and danseur. Few ballets expose weaknesses so mercilessly. The role of Kitri demands not only flawless classical technique, but stamina, theatrical intelligence, musicality, charisma, speed, humor, and near-superhuman confidence. It requires the dancer to dominate the stage completely while maintaining effortless brilliance under relentless technical pressure. Basilio demands no less: explosive jumps, virtuosic turns, fearless partnering, and an ability to sustain charm and vitality through every moment of the evening. To triumph in these roles at the Bolshoi is already a monumental achievement. To create the kind of collective hysteria witnessed across these two performances is something rarer still.
These four artists did not merely succeed; they entered that elevated realm reserved for the unforgettable interpreters of the ballet. Each in a radically different way, each faithful to their own artistic lineage, each revealing dimensions of the work invisible in the others. Together, they proved that the immortality of classical ballet lies precisely in this infinite capacity for reinvention through personality.
An Absolute Triumph of Academic Ballet: A Trio of Pure Luxury (22 May 2026 )
The "Dream Scene" in Don Quixote is a sublime oasis of pure classical academicism, and witnessing it performed by a cast of this caliber is a rare and unforgettable privilege for any ballet enthusiast. This specific trio brought to life the perfect balance of contrasting archetypes, showcasing the pinnacle of Russian training.
Anastasia Smirnova as Kitri: Smirnova embodies the very soul of the character with her explosive energy and fiery charisma. The role demands brilliant speed, sharp musicality, and a grounded, earthbound vitality. She delivers exactly that—captivating the audience with her dazzling turns and a vivacious presence that sets the stage on fire.
The Imperial Night of Alena Kovaleva: The Triumph of a Queen at the Bolshoi
There are nights in the theater that remind us why classical ballet remains an immortal art form. Last Friday, the audience at the Bolshoi Ballet witnessed one of those scenic miracles that happen when pure talent meets absolute majesty. Alena Kovaleva took the stage as the Queen of the Dryads in Don Quixote, and what could have been just another repertory role was transformed into the absolute climax of the entire evening. From her very first entrance in the Dream Scene, Kovaleva commanded the stage with an aristocratic and imperial presence. Her silhouette, blessed with the infinite lines of the great St. Petersburg school, brought the pure elegance of the "ballet blanc" into the midst of the production's vibrant Spanish whirlwind. Her initial variation was, quite simply, supreme. It was a masterclass in control, where the crisp precision of her pointe work and the poetic fluidity of her port de bras completely hypnotized the auditorium. Every balance seemed to defy gravity with a breathtaking serenity, making extreme difficulty look like effortless poetry. But the true explosion of awe came during the final coda. Following the grueling demands of her variation, Kovaleva burst onto the stage, devouring the space with a series of entrance grand jetés that defied all logic. Her breathtakingly long legs drew perfect geometries in the air, achieving that miraculous fraction of a second where the dancer seems to float, suspended in mid-air, before descending as light as a feather. It was a dazzling display of ethereal power and virtuosity.The audience, completely captivated by this demonstration of greatness, erupted into wild, thunderous applause. It took only a few minutes of dancing, but it was more than enough to give the entire evening an unforgettable, majestic touch. Last Friday, Alena Kovaleva proved that true stars do not need a full three-act ballet to claim theater history; a single, flawless variation is all it takes to touch the sky and take the audience right along with them.
Sofia Maymula as Cupid: Maymula injects the scene with a delightful lightness and crystalline precision. The role of Cupid requires brisk, meticulous pointework and a joyful, fleeting quality. She executes her swift variations with flawless control, acting as the perfect, delicate bridge between Kitri’s earthly passion and the Queen’s serene majesty. Together, these three extraordinary dancers turned a demanding classical act into a masterclass of style and distinction. A true luxury for everyone in attendance.
The Magnetism of a Matador: Nikita Kapustin’s Brilliant Turn as Espada
Within the rigorous ranks of the Bolshoi Theatre, there are dancers whose mere presence on stage transcends their official titles. Nikita Kapustin is the perfect example. His performance in the role of Espada in the ballet Don Quixote was not only technically flawless, but absolutely brilliant. Possessing a commanding stature and an acting charisma worthy of classic Hollywood, Kapustin infused the Toreador with a sophisticated, seductive edge that instantly captivated the audience. His magnetic energy and sculpted features inevitably evoke the striking look of international stars like Hugo Marchand of the Paris Opera Ballet, proving that he has the temperament and raw talent of an undeniable star. It was a memorable performance that firmly reaffirms his artistic ascent.
A Celebration of Pure Academic Precision: Ulyana Moksheva in Don Quixote
The final act of Don Quixote is a grand celebration of classical dance, and witnessing Ульяна Мокшева (Ulyana Moksheva) perform the soloist variation during the wedding scene was an absolute delight.While the ballet is often celebrated for its explosive, fiery character, Moksheva brought a refreshing sense of pristine academicism and delicate grace to the stage.
Her performance was a masterclass in clean technique:Crystalline Pointework: She executed every swift relevé and transition with effortless lightness and razor-sharp precision. Refined Elegance: Instead of pure athletic force, she offered a fluid, harmonious interpretation that reflects the finest traditions of Russian schooling. Festive Charm: Her radiant stage presence perfectly captured the celebratory spirit of the wedding, framing the grand finale with pure distinction. A truly sophisticated performance that added another layer of luxury to an unforgettable night of ballet.
The triumph, however, belonged not only to the principal dancers. The orchestra performed Minkus’s score with tremendous vitality, elegance, and rhythmic brilliance. Under the golden acoustics of the historic Bolshoi stage, the music shimmered with irresistible energy, propelling the dancers forward with infectious momentum while preserving every nuance of lyric tenderness. Minkus’s music was absolutely magnificent; it is a brilliant masterpiece that serves as the ultimate engine of theatrical joy, filling the entire theatre with an irresistible, festive energy.
Equally magnificent was the corps de ballet and the ensemble of soloists, whose contribution transformed the production into a true celebration rather than a mere star vehicle. The Bolshoi corps danced with extraordinary cohesion, power, and theatrical conviction. Every tavern scene pulsed with life; every crowd sequence radiated authenticity and exuberance. The stage never appeared decorative or static — it lived, breathed, laughed, and celebrated. One felt not the mechanical precision of routine performance, but the collective intoxication of an entire company dancing at the height of inspiration.
What unfolded on 23 May at the historic Bolshoi Theatre was not merely another performance of Don Quixote — it was a blazing celebration of classical ballet at its most exhilarating, virtuosic, and emotionally irresistible. The entire evening radiated triumph from the very first notes of Ludwig Minkus’ sparkling score to the thunderous final ovation that shook the theatre. The audience witnessed a company dancing at full power, inspired by two incandescent leading stars and supported by an exceptionally strong ensemble cast whose brilliance elevated the performance into something unforgettable.
At the center of this extraordinary success stood the magnificent partnership of Igor Tsvirko and Maria Koshkaryova, who conquered the stage with overwhelming charisma, technical mastery, and a palpable chemistry that electrified the auditorium from their very first entrance.
Maria Koshkaryova proved beyond any doubt why she is rapidly becoming one of the most exciting young stars of the Bolshoi Ballet. Her Kitri was the perfect embodiment of youthful fire, elegance, humor, and fearless virtuosity. From the opening scenes in the bustling Barcelona marketplace, she commanded attention effortlessly. Her playful use of the fan, sparkling smile, and spirited dramatic instincts created a heroine who felt vividly alive rather than merely interpreted. She did not simply dance Kitri — she became her completely.
Technically, her performance was breathtaking. Every diagonal of turns was executed with astonishing speed and immaculate precision. Her balances seemed endless, suspended in time with remarkable calm and security. The famous fouettés in the Grand Pas de Deux drew explosive applause for their clarity and unwavering control, while her jumps possessed an extraordinary buoyancy that gave the illusion of flight. Koshkaryova’s Vaganova schooling could be seen in every detail: the purity of her lines, the refined placement of the arms, the seamless coordination between upper body and footwork, and the exquisite musical phrasing that transformed technical feats into poetry.
Yet what made her interpretation truly exceptional was her emotional spontaneity. She danced with joy radiating from every movement. Her Kitri was mischievous, flirtatious, daring, and irresistibly warm. Even in moments of extreme technical complexity, she never lost the freshness of character. The audience responded instantly to her authenticity, rewarding nearly every major variation with enthusiastic applause.
Alongside her, Igor Tsvirko delivered a Basilio of overwhelming theatrical force — a performance that can only be described as incandescent. Tsvirko possesses that rare Bolshoi quality of dominating the stage through pure presence alone. The moment he appeared, the atmosphere changed completely. His Basilio was witty, seductive, proud, and explosively energetic, combining old-fashioned masculine bravura with genuine dramatic charm.
His physical performance throughout the evening bordered on astonishing. Considering that he had already danced Basilio earlier in the same week with Elizaveta Kokoreva, his stamina and power on 23 May seemed almost superhuman. His jumps soared with enormous amplitude and thrilling elevation, eliciting gasps from the audience. His double tours and turning sequences were delivered with fearless attack and complete confidence. Every variation carried tremendous momentum, yet never descended into empty athleticism. Tsvirko dances with generosity and intelligence, shaping every phrase musically and dramatically.
Perhaps most impressive of all was his partnering. He gave Maria Koshkaryova absolute confidence throughout the demanding pas de deux, allowing her to dance with total freedom and brilliance. The one-handed lifts in the final Grand Pas de Deux appeared effortless, despite their tremendous difficulty. Their partnership felt organic and alive, filled with playful interaction, mutual trust, and genuine emotional connection. Together they transformed the ballet from a technical showcase into a living theatrical experience bursting with passion and joy.
The audience clearly sensed that something special was happening. The applause after their final act variations erupted instantly into roaring cheers, and the curtain calls became a true celebration. It was the kind of response reserved only for performances that transcend expectation and become memorable theatrical events.
The triumph of the evening, however, extended far beyond the leading pair. The supporting cast contributed enormously to the richness and brilliance of the performance.
Kristina Petrova and Angelina Yurkevich
The first act was further enriched by the spirited performances of Kristina Petrova as Juanita and Angelina Yurkevich as Piccilia. Both dancers contributed infectious vitality, precision, and sparkling ensemble work. Their synchronized dancing alongside Maria Koshkaryova helped establish the festive atmosphere of the marketplace scenes, adding warmth, humor, and youthful exuberance to the production.
An Exceptional Trio: Pure Dynamite and Flawless Artistry at the Bolshoi . Saturday night’s performance of Don Quixote at the bolshoi_theatre was an absolute tour de force, but if there is one image that remains perfectly etched in my mind, it is the exhilarating chemistry of an exceptional trio. During Act I, the stage erupted into pure fireworks during the famously fast and demanding variation where Basilio interacts directly with Kitri’s two friends. It was a moment of sheer theatrical adrenaline. The sensational Principal Dancer Igor Tsvirko was nothing short of brilliant as Basilio. His explosive energy, breathtaking leaps, and magnetic stage presence completely commanded the plaza of Seville. He is a powerhouse of a dancer, and on Saturday, he pushed the tempo to its absolute limit. Yet, what made this rapid sequence truly unforgettable was how magnificently he was accompanied. Kristina Petrova and Angelina Yurkevich didn’t just keep up with Igor’s relentless speed—they matched his fiery enthusiasm step for step, turn for turn. The synchronization between the three of them was mathematically precise, creating a whirlwind of flawless footwork, sharp musicality, and captivating charm that left the audience completely breathless.
Yaroslavna Kuprina : Queen of the Dryads
Having previously witnessed the sublime artistry of Yaroslavna Kuprina, I thought I knew the depths of her talent. However, her performance as the Queen of the Dryads in Don Quixote proved to be an unexpected, breathtaking revelation—a masterclass in classical purity and refinement.In the grand tapestry of classical ballet, the Queen of the Dryads is often treated as a stepping-stone role for rising soloists. Yet, when a dancer of Kuprina’s immense caliber steps into this enchanted garden, the entire character is elevated to a realm of pure, unadulterated luxury. For the audience, it was nothing short of an absolute privilege.From the moment she materialized on stage during Don Quixote's dream sequence, Kuprina commanded the space with an undeniable regal authority.
Equally enchanting was Ulyana Moksheva as Cupid. Her dancing sparkled with youthful lightness and technical clarity. The quick allegro footwork was executed with dazzling precision, and her jumps possessed an airy brightness perfectly suited to the character. She brought warmth, charm, and delightful vivacity to the dream sequence, beautifully complementing the grandeur of Kuprina’s Queen of the Dryads.
Olga Marchenkova made a powerful impact as the Street Dancer. Her performance injected the first act with fiery Spanish temperament and magnetic theatricality. She danced with commanding attack, dramatic intensity, and fearless confidence. Her backbends and épaulement displayed remarkable flexibility and expressive flair, while her handling of the cape alongside Espada demonstrated both precision and dramatic sophistication. Her variation crackled with rhythmic force and ignited one of the first major bursts of applause of the evening.
As Espada, Gleb Asadchenko brought elegance, swagger, and aristocratic confidence to the stage. His partnering with Marchenkova carried genuine dramatic electricity, and his sharp classical line combined beautifully with the stylized Spanish character work demanded by the role. He projected authority and glamour throughout every appearance.
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Ekaterina Varlamova & Elizaveta Kruteleva
Although the eyes and applause of Saturday night were justifiably fixed on the evening's main star—the magnificent Maria Koshkaryova, who delivered a dazzling, charismatic, and technically superlative Kitri—the Grand Pas of the third act offered a duel of peripheral virtuosity that deserves closer analysis. Just before the final coda, the wedding scene paused to make way for two solo variations that turned into a masterclass in dance history, courtesy of Ekaterina Varlamova and Elizaveta Kruteleva. Both variations are widely known among aficionados for being equally grueling and technically demanding, yet the true fascination of Saturday night lay in witnessing how two artists from radically different training backgrounds conquered the exact same technical summit using entirely contrasting artistic tools. The Athletic Explosion of St. Petersburg: Ekaterina Varlamova . The first to electrify the auditorium was Ekaterina Varlamova. Varlamova breaks the standard Moscow mold; though trained in St. Petersburg, she is not a Vaganova graduate, but rather a product of the prestigious Boris Eifman Dance Academy (Class of 2022). The Eifman school is world-renowned for demanding extreme physical plasticity and near-superhuman power from its dancers. That specific DNA was evident from her very first notes. Varlamova tackled her solo with overwhelming force, gifting us with fabulous grand jetés—expansive, breathtakingly high, and flawlessly suspended in the air (ballon) as if defying the laws of gravity. The aerobic stamina and muscular power required to project that kind of elevation during the third act of a full-length ballet are monumental, and Ekaterina made it look effortless, triggering a thunderous ovation.
Immediately afterward, the stage welcomed Elizaveta Kruteleva for the second variation, offering a magnificent, absolute masterstroke of contrast. Kruteleva serves as the perfect counterweight: a dancer of pure Moscow stock and, to the delight of traditional purists, a direct graduate from the legendary class of Marina Leonova at the Bolshoi Academy .Where Varlamova proposed a volcanic elevation, Kruteleva responded with iron-clad, milimetric, and aristocratic control. Her variation is one of the most "exposed" solos in the classical repertoire; there are no big jumps to disguise a flaw, everything relies on perfect balance on a single pointe, clean turns, and rapid footwork (petit allegro). Elizaveta proved exactly why Leonova is a teacher of teachers: her lines were impeccably clean, weaving through the music with filigree precision and an imperturbable calmness. While the audience remained enthralled by the brilliant Kitri of Maria Koshkaryova, the Bolshoi demonstrated why it remains an unreachable beacon in the ballet world. To witness the contemporary plasticity of the Eifman school through Varlamova compete at the highest level of difficulty against the mathematical rigor and traditional discipline of Leonova's class embodied by Kruteleva was an absolute privilege. It was a flawless evening where the stars shone brightly, but the soloists proved that at the Bolshoi, every single corner of the stage is covered in pure genius.
The corps de ballet also deserves enormous praise for maintaining exceptional energy and discipline throughout the performance. The Dryads danced with admirable synchronization and lyrical elegance, creating the illusion of a dreamlike enchanted forest. The tavern scenes overflowed with color and animation, while the ensemble passages retained impressive clarity despite the enormous complexity of the choreography.
What made this performance especially remarkable was the balance between technical brilliance and genuine theatrical spirit. Every artist onstage seemed fully committed not only to executing choreography flawlessly, but to bringing the world of Don Quixote vividly to life. There was an unmistakable sense of collective inspiration running through the company — the feeling of dancers pushing one another toward greatness in real time before an ecstatic audience.
By the final curtain, the atmosphere inside the Bolshoi Theatre had become electric. The ovations were long, deafening, and deeply deserved. Spectators understood they had witnessed something rare: a performance where every element aligned perfectly — star power, youthful energy, supreme technique, dramatic chemistry, orchestral vitality, and ensemble excellence.
The 23 May performance of Don Quixote will undoubtedly be remembered as one of the great triumphs of the current Bolshoi season. Above all, it confirmed the sensational artistic rise of Maria Koshkaryova and reaffirmed Igor Tsvirko’s status as one of the defining male stars of today’s Bolshoi Ballet. Together, they created a night of ballet that was not only technically extraordinary, but emotionally unforgettable — the kind of performance that leaves an audience exhilarated long after the curtain falls.
By the conclusion of these three evenings, the sensation within the theatre was unmistakable: the audience understood it had witnessed something exceptional. These were not simply successful performances within a repertory season. They were nights that reaffirmed the enduring greatness of the Bolshoi tradition itself. Nights in which history, pedagogy, personality, music, choreography, and theatrical electricity fused into a singular artistic event.
Years from now, those who sat inside the Bolshoi on May 21,22 and 23, 2026, will remember the roar of the applause, the delirious standing ovations, the impossible brilliance of the dancing, and the feeling that for a few fleeting hours the boundaries between technique and miracle had disappeared completely.
For three unforgettable nights, Don Quixote ceased to be merely a ballet.
It became a celebration of everything the art form can achieve at its absolute summit.
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