Moscow vs. St. Petersburg

 

Moscow vs. St. Petersburg: School, Myth, or Artistic Identity?

Reflections on Kokoreva, Smirnova, Koshkaryova, Krysanova, and Tereshkina

For more than a century, ballet criticism in Russia has revolved around one enduring artistic duality: Moscow versus St. Petersburg. The debate extends far beyond geography. It concerns aesthetics, theatrical philosophy, pedagogy, musicality, and even the psychological nature of performance itself. To many ballet lovers, the contrast appears immediately recognizable. The Bolshoi tradition is often associated with expansiveness, theatrical fire, attack, emotional projection, and physical amplitude. St. Petersburg, particularly through the Vaganova Academy and the Mariinsky Theatre, has historically been associated with refinement, purity of line, aristocratic restraint, lyrical continuity, and architectural precision.

But how real are these distinctions today? Are they still visible on stage? Or have they become romantic myths repeated by critics and audiences nostalgic for older eras of ballet history?

The recent Bolshoi performances of Don Quixote offered a fascinating opportunity to revisit these questions through three young ballerinas: Elizaveta Kokoreva, Anastasia Smirnova, and Maria Koshkaryova. Watching them dance the same role over consecutive evenings revealed something extraordinary: not merely three different interpretations of Kitri, but three distinct relationships to ballet tradition itself.

The Historical Origins of the Divide

The roots of the Moscow–St. Petersburg distinction are deeply historical.

St. Petersburg, as the imperial capital of the Romanov dynasty, cultivated ballet as a court art. The Mariinsky tradition inherited the values of imperial classicism: harmony, elegance, noble restraint, and technical purity. Even today, dancers formed through the Vaganova Academy often display extraordinary clarity of épaulement, seamless transitions, elongated academic lines, and a profound sensitivity to musical phrasing.

Moscow developed differently. The Bolshoi Theatre evolved not as an imperial salon, but as a grand public theatre designed for emotional impact and dramatic scale. The Moscow school consequently emphasized projection, amplitude, attack, physical power, and theatrical immediacy. Bolshoi dancers historically danced “outward,” filling vast theatrical spaces with energy and personality.

This distinction became especially visible in Soviet ballet criticism throughout the twentieth century. Critics frequently contrasted the “apollonian” refinement of Leningrad (St. Petersburg) with the “dionysian” passion of Moscow.

Of course, such categories can become oversimplifications. Yet traces of these traditions undeniably survive.

Why Kitri Reveals Everything

There is perhaps no better role than Kitri to expose these stylistic nuances.

Technically, the choreography remains largely identical. The steps themselves do not fundamentally change between the Bolshoi and the Mariinsky. Fouettés remain fouettés; grand jetés remain grand jetés. But ballet style is never merely about steps. It lies in attack, timing, accentuation, épaulement, musical elasticity, theatrical projection, and emotional temperature.

A Mariinsky Kitri often emphasizes crystalline precision, buoyancy, musical sophistication, and aristocratic control beneath the Spanish character. The role can appear lighter, more refined, almost jewel-like.

At the Bolshoi, Kitri frequently becomes larger than life — more impulsive, more dangerous, more explosive. The phrasing attacks the music differently. The use of the upper body becomes broader. The dancer often projects outward with an immediacy that feels almost volcanic.

This does not mean one interpretation is superior to the other. They simply emerge from different theatrical philosophies.

Elizaveta Kokoreva: Pure Moscow

Among the younger generation, Elizaveta Kokoreva may currently represent one of the clearest continuations of the Bolshoi aesthetic tradition.

Her dancing possesses extraordinary amplitude and attack. She does not merely execute choreography; she projects it outward with almost overwhelming theatrical force. Her Kitri burns with impulsive vitality. Even her preparation for turns carries dramatic intention. Her jumps travel expansively across space, and her phrasing often pushes slightly ahead of the music in a way that creates thrilling momentum.

Most importantly, Kokoreva dances with emotional generosity. This quality has always been central to the Bolshoi identity. The audience feels included in the performance. Nothing is withheld.

In this sense, Kokoreva recalls the great Moscow lineage associated with dancers such as Ekaterina Krysanova — another ballerina whose dancing radiates brilliance, theatrical instinct, speed, attack, and fearless stage projection.

Krysanova herself became one of the defining symbols of modern Bolshoi style precisely because she fused supreme academic technique with irrepressible theatrical energy. Watching Kokoreva today, one senses that same inheritance continuing into a younger generation.

Viktoria Tereshkina: The Mariinsky Ideal

If Krysanova represents the blazing extroversion of Moscow, Viktoria Tereshkina represents the enduring majesty of the St. Petersburg ideal.

Tereshkina’s greatness lies not in overt theatricality, but in absolute control. Her dancing possesses extraordinary structural perfection. Every line appears inevitable. Every movement unfolds with sculptural inevitability and musical intelligence. Even in technically difficult passages, nothing appears forced or aggressive.

Her Kitri differs profoundly from a Bolshoi interpretation. Rather than explosive theatrical attack, Tereshkina often emphasizes clarity, brilliance, serenity within virtuosity, and supreme academic polish. The result feels imperial rather than volcanic.

This distinction illustrates something fundamental: style in ballet is not only technical training. It is also a philosophy of presence.

Anastasia Smirnova: Between Traditions

Anastasia Smirnova presents a particularly fascinating case because her artistic identity seems suspended between traditions.

Her academic formation clearly reveals the influence of St. Petersburg aesthetics. One notices it immediately in the purity of her lines, the refinement of her upper body, the cleanliness of transitions, and the elegance of her placement. There is a softness and continuity to her phrasing deeply associated with Vaganova training.

Yet now, dancing within the Bolshoi environment, another transformation seems to be occurring.

Gradually, Smirnova appears to be acquiring greater theatrical breadth and projection. The Bolshoi stage itself demands this evolution. Dancers entering the company often absorb elements of Moscow style over time — broader phrasing, stronger projection, more expansive dramatic attack.

Importantly, however, Smirnova does not lose her northern refinement. Instead, she creates a synthesis. Her Kitri retains aristocratic polish while developing greater warmth and theatrical immediacy.

This evolution demonstrates that ballet schools are not prisons. Artistic identities remain fluid.

Maria Koshkaryova: The Most Interesting Paradox

Maria Koshkaryova may represent the most intellectually fascinating example of all.

Technically and educationally, she belongs to the Vaganova tradition. Yet emotionally and theatrically, she often feels astonishingly close to Moscow aesthetics.

Her dancing combines elongated St. Petersburg line with remarkable Bolshoi-style expansiveness. Unlike the cooler reserve often associated with Mariinsky classicism, Koshkaryova projects outward with warmth, openness, and emotional immediacy.

This creates a remarkable hybrid quality. Watching her, one realizes how artificial rigid stylistic categories can become.

Perhaps Koshkaryova represents the future of Russian ballet itself: dancers formed through multiple influences rather than singular traditions.

Are Schools Destiny?

This ultimately leads to the central question: are ballet schools lifelong artistic identities, or merely technical foundations?

Historically, the answer may once have leaned toward permanence. Soviet ballet systems were highly centralized, and dancers often remained within one institutional culture for life.

Today, however, globalization, guest coaching, international competitions, social media exposure, and stylistic exchange have transformed ballet culture entirely.

Young dancers absorb influences constantly. A Vaganova graduate dancing at the Bolshoi may gradually acquire Moscow attack. A Bolshoi dancer coached by former Mariinsky artists may refine musical phrasing and line. Artistic personalities evolve continuously.

And yet, traces of early formation almost always remain visible. The body remembers its first language.

One sees this clearly in the contrast between Kokoreva and Smirnova. Even while both evolve within the same company, their instincts remain fundamentally different. Kokoreva attacks movement from the center outward; Smirnova shapes movement through line and musical continuity.

Neither approach is more authentic. Both reveal different truths about ballet.

Beyond Geography

Perhaps the greatest mistake is to reduce dancers entirely to schools.

At the highest level, truly exceptional ballerinas transcend institutional categories. Tereshkina is not merely “Mariinsky.” Krysanova is not merely “Bolshoi.” Their greatness lies precisely in how they transformed inherited traditions into profoundly personal artistic languages.

The same may eventually become true for Kokoreva, Smirnova, and Koshkaryova.

What audiences witnessed during those extraordinary performances of Don Quixote was not simply the continuation of two rival schools. It was the living evolution of ballet itself — tradition being preserved, questioned, blended, and reinvented in real time.

And perhaps that is the real beauty of ballet: the choreography may remain unchanged for generations, yet every great artist reveals a completely different soul hidden within the same steps.

Are Schools Destiny? The Case of Raymonda 

Historically, the answer may once have been absolute: design dictated destiny. A dancer’s stylistic allegiance was permanently forged by the architecture of their training. Today, however, while modern globalization has softened the rigid borders of classicism, certain canonical ballets remain structural fortresses of regional identity. There is perhaps no greater test of this cultural topography than Marius Petipa’s Raymonda.

To witness Raymonda at the Mariinsky is an exercise in contemplating a living museum of imperial classicism. Conversely, experiencing it at the Bolshoi is to submerge oneself in a symphonic drama of heightened theatricality. This divergence is crystallized with absolute clarity when contrasting two contemporary icons: the Mariinsky’s Oxana Skorik and the Bolshoi’s Anna Nikulina.

Oxana Skorik: The Aristocratic IdealIn the hallowed spaces of St. Petersburg, Oxana Skorik embodies the Apollonian ethos of the Vaganova tradition. Her Raymonda is defined by a crystalline, almost melancholy restraint. Skorik does not merely execute lines; she stretches them into infinity, exhibiting a profound geometric purity where every épaulement feels predestined.In the iconic Hungarian Variation of Act III—where the claps of the hands introduce a stylized, courtly exoticism—Skorik eschews overt passion in favor of architectural precision and musical sophistication. Her performance feels jewel-like, etheal, and unreachable. She plays a medieval countess untouched by the mundane world, a vision of porcelain perfection that addresses the audience through the lens of supreme aristocratic control.

Anna Nikulina: The Volcanic MajestyStep onto the vast stage of Moscow’s Bolshoi Theatre, and Anna Nikulina offers an interpretation that belongs to an entirely different emotional ecosystem. Under the lingering dramatic lineage of Yuri Grigorovich, Nikulina’s Raymonda is not an unreachable portrait, but a woman of flesh, blood, and profound internal conflict.Nikulina commands the space with the characteristic Bolshoi amplitude. Her movement is grounded, expansive, and texturized by an irrepressible dramatic weight. When she approaches the same third-act variation, the syncopated claps are delivered with a rhythmic attack and an unapologetic pride that cuts through the auditorium. Where Skorik offers symmetry, Nikulina offers presence; where St. Petersburg whispers of historical lineage, Moscow roars with immediate, theatrical vulnerability.

The Fluidity of Modern Classical IdentityUltimately, the juxtaposition between Skorik and Nikulina proves that while technique has become universal, regional philosophy remains sovereign. Schools are not prisons, but they are undeniably the languages through which artists speak. Through these two distinct ballerinas, Raymonda ceases to be a static late-nineteenth-century relic. Instead, it becomes a dynamic dialogue between the sacred architectural stillness of the North and the volcanic, expressive fire of the South.

he Architecture of the Sacred: La Bayadère at the Bolshoi and the Mariinsky

If Raymonda serves as a test of courtly aristocracy, Marius Petipa’s La Bayadère represents something more metaphysical: it is the supreme barometer of a company’s collective soul and ritualistic precision. The ballet exists in a delicate balance between the melodramatic passion of the exoticized East and the abstract, sacred geometry of the Kingdom of the Shades. When this monumental work is staged, the structural and philosophical chasm between Moscow and St. Petersburg reveals itself not just in the solos, but in the very breath of the corps de ballet.

The Mariinsky: The Hypnotic Symphony of the NorthAt the Mariinsky Theatre, La Bayadère—and specifically the Kingdom of the Shades—is approached as a sacred architectural ritual. The descent of the thirty-two shades down the ramp is executed with an almost terrifying uniformity of line, where individual identity is willingly surrendered to the collective whole. The St. Petersburg aesthetic treats this act as a living canvas of symphonic minimalism. The port de bras is soft, fluid, and suspended, mimicking the ethereal quality of opium-induced spirits.

This ideal of pure, unblemished classicism is perfectly captured by the Mariinsky’s Eleonora Sevenard. Her Nikiya does not fight her tragic destiny; she transcends it. Sevenard’s dancing possesses that trademark Vaganova fluidity, where the transition between steps feels completely seamless. In her famous scarf duet or her mournful monologue in Act II, her grief is internalized, poetic, and pristine. It is a masterclass in tragic restraint—a performance that draws its power from the strict adherence to academic symmetry and architectural stillness.

The Bolshoi: The Volcanic Drama of the SouthCross over to the Bolshoi Theatre, and La Bayadère transforms from an opium dream into an immediate, high-stakes human tragedy. The Moscow tradition refuses to let the choreography remain entirely abstract; instead, it injects the choreography with visceral weight and theatrical heat. The Bolshoi’s Shades descend with a heightened sense of dramatic breath, prioritizing physical amplitude and a commanding stage presence that fills the vast auditorium with palpable energy.

This mammalian, expressive force is epitomized by the Bolshoi's Alena Kovaleva. Standing as a statuesque and commanding presence, Kovaleva’s Nikiya is a creature of fierce devotion and shattering betrayal. Her movements are characterized by an explosive expansiveness. When she dances in the temple, her back bends with an elastic, dramatic desperation that commands the audience's absolute attention. Where the Mariinsky whispers of cosmic order, Kovaleva and the Bolshoi tradition roar with earthly passion, turning the choreography into an emotionally charged narrative of love, jealousy, and divine retribution.Conclusion: The Sacred and the ProfaneUltimately, La Bayadère exposes the eternal duality of Russian ballet at its most profound level. 

The Mariinsky Theatre looks inward, seeking the eternal, geometric perfection of a spiritual realm. The Bolshoi Theatre projects outward, capturing the fiery, immediate truths of human emotion. Through these differing lenses, Petipa's masterpiece remains a breathtaking double portrait: the North offering the serene architecture of the spirit, and the South offering the magnificent, volcanic theater of the human heart.

Moscow - Don Quixote - Bolshoi Ballet - 21 / 23 May 2026

There are ballet performances that delight the audience for an evening, and there are others that transcend the ordinary rhythm of a theatrical season to become genuine artistic events — nights so incandescent, so overwhelmingly alive, that they remain engraved in the memory long after the final curtain falls.

The extraordinary series of Don Quixote performances at the Bolshoi Theatre on May 21st, 22nd, and 23rd, 2026, unquestionably belonged to the latter category.

For three consecutive nights, the historic stage of the Bolshoi became the beating heart of Spain, transformed through the brilliance of Ludwig Minkus’s intoxicating score, the explosive grandeur of the Moscow school, and the artistry of five unforgettable dancers who turned these performances into the triumph of the entire month of May.

The public did not merely applaud these performances — the audience erupted. Bravos thundered through the theatre long after the curtain calls had ended. Ovations continued while the house lights slowly faded. Every evening carried the unmistakable sensation that something exceptional was unfolding before our eyes.

And perhaps the most magical aspect of these performances was this: each night felt completely different.

The choreography remained the same. The music remained the same. Yet every cast transformed Don Quixote into a new world, proving once again the eternal miracle of ballet — that the same steps can become entirely different works of art depending on the soul of the artists dancing them.

To witness three consecutive performances with three different Kitris and two extraordinary Basilios was an absolute privilege.

And what a revelation it was.

Elizaveta Kokoreva and Igor Tsvirko

The opening performance on May 21st belonged to the blazing supernovas of the Bolshoi stage: Elizaveta Kokoreva and Igor Tsvirko.

Together, they embodied the purest essence of the Moscow tradition — expansive, fearless, explosive, theatrical.

From the moment Kokoreva entered the stage, the atmosphere inside the theatre changed completely. Her Kitri was not simply a technical triumph; it was a force of nature. She danced with an almost reckless joy, radiating fire, sensuality, wit, and unstoppable energy. Every movement felt alive with personality. Her turns attacked the music with thrilling speed and razor-sharp precision, while her jumps seemed to burst through the air with dazzling confidence.

Yet what makes Kokoreva truly extraordinary is not only her formidable technique, but the immense force of character behind every step. She possesses that rare quality shared only by true stars: the ability to expand beyond choreography and dominate the entire theatre through sheer artistic presence.

Beside her stood the magnificent Igor Tsvirko, my absolute favorite male dancer of the Bolshoi. Tsvirko’s Basilio is the very definition of charismatic virtuosity. His dancing combines overwhelming power with irresistible theatrical magnetism. Every leap feels heroic, every turn fearless, every interaction charged with humor and masculine brilliance.

The chemistry between Kokoreva and Tsvirko was simply electrifying. They danced not like partners executing choreography, but like two flames feeding each other’s intensity. Their Act I scenes exploded with Spanish vitality, while the final Grand Pas de Deux became a breathtaking competition of virtuosity and passion.

The audience was beside itself.

And then came the astonishing surprise: Tsvirko returned once again on Saturday, dancing a second Basilio with the same volcanic energy and commanding brilliance. It felt almost superhuman.

Anastasia Smirnova and Egor Gerashchenko

If Kokoreva and Tsvirko represented fire, then the May 22nd performance of Anastasia Smirnova and Egor Gerashchenko revealed another dimension of beauty entirely — one of refinement, lyricism, and aristocratic elegance.

Anastasia Smirnova’s Kitri was absolutely mesmerizing.

Where Kokoreva burns with explosive theatricality, Smirnova enchants through purity, fluidity, and sculptural perfection. Her dancing carried the unmistakable refinement of the Vaganova tradition: endless lines, immaculate placement, floating jumps, and movements that seemed to melt seamlessly into one another.

Every gesture possessed grace. Every balance felt suspended in time.

Her Kitri was playful and radiant, yet touched with a softer sophistication — a heroine less fiery perhaps, but no less captivating. Watching her dance felt like watching silk move through the air.

Egor Gerashchenko proved the ideal artistic counterpart.

His Basilio possessed princely elegance and impeccable academic clarity. His turns unfolded with serene confidence, his jumps stretched into beautifully clean lines, and his partnering achieved extraordinary smoothness and refinement. Together, Smirnova and Gerashchenko created an atmosphere entirely distinct from the previous evening: less explosive perhaps, but utterly enchanting in its harmony and beauty.

They transformed Don Quixote into poetry.

And the audience adored them for it. 

Maria Koshkaryova and the Return of Igor Tsvirko

Then came May 23rd — the glorious conclusion to this unforgettable trilogy of performances.

Maria Koshkaryova brought yet another completely unique vision of Kitri, proving once again the astonishing richness of the Bolshoi roster.

Her interpretation radiated freshness, brilliance, and youthful luminosity. There was something wonderfully spontaneous about her dancing, a sense of freedom and joy that immediately captivated the audience. Her Kitri sparkled with charm and vivacity, while her technique remained dazzlingly secure and musical.

Most importantly, she never imitated the previous interpretations.

That was the true miracle of these three nights: Kokoreva, Smirnova, and Koshkaryova each created fully individual Kitris. Three ballerinas dancing identical choreography, yet producing three completely distinct emotional universes.

That is the magic of ballet.

That is why live theatre can never be replaced.

And opposite Koshkaryova once again stood Igor Tsvirko, returning triumphantly for a second performance that confirmed his status as one of the great Basilios of today’s Bolshoi. Remarkably, he adapted himself beautifully to the completely different personality of his new partner, reshaping the chemistry and dramatic energy of the ballet without losing any of his overwhelming charisma.

This flexibility is the mark of a true great artist.

The Triumph of Five Artists

What made this series so unforgettable was not simply the excellence of individual dancers, but the astonishing success of all five artists together.

Elizaveta Kokoreva.

Anastasia Smirnova.

Maria Koshkaryova.

Igor Tsvirko.

Egor Gerashchenko.

Five dancers.

Five magnificent triumphs.

Each performance had its own atmosphere, its own rhythm, its own emotional color. One night burned with volcanic Moscow energy; another shimmered with aristocratic elegance; another glowed with youthful radiance and joy.

And yet all three evenings remained unmistakably Bolshoi.

This is the true greatness of the theatre: its ability to preserve tradition while allowing each artist complete individuality. No two nights are ever identical. No two Kitris are the same. No two Basilios tell the same story.

That is precisely why audiences return again and again.

Because at the Bolshoi, ballet is alive.

These three performances of Don Quixote became far more than repertory evenings. They became an artistic celebration — a festival of personality, virtuosity, beauty, humor, passion, and theatrical grandeur.

The orchestra sounded magnificent throughout, filling the vast theatre with the irresistible pulse of Minkus’s score. The corps de ballet and soloists danced with infectious vitality and dazzling cohesion, turning every crowd scene into a living painting overflowing with Spanish sunlight and joy.

By the end of the final curtain on May 23rd, the feeling inside the theatre was unmistakable: this had been the great triumph of the season.

A triumph nobody who witnessed it will forget for many months to come.

And already, impossibly, one thought remains:

I cannot wait for Don Quixote to return once again to the Bolshoi stage.

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.

A Three-Night Masterclass at the Bolshoi: The Endless Magic of Don Quixote and the Reign of Kokoreva and Tsvirko

This past week, the Bolshoi Theatre felt less like a traditional opera house and more like the premiere of an elite, highly anticipated miniserie. Across three unforgettable nights—Thursday May 21st, Friday May 22nd, and Saturday May 23rd—the stage became a battleground of absolute perfection, technical brilliance, and theatrical fire. Witnessing three consecutive performances of Don Quixote with three completely distinct casts was nothing short of a luxury. It served as a breathtaking reminder of the true magic of classical ballet: how the exact same choreography can be completely reborn each night through the unique soul and style of different legendary artists. These five dancers have left me with a marvelous, radiant memory that will fuel my passion all through the summer.The Blazing Heart of Moscow: Elizaveta Kokoreva and Igor TsvirkoThe performance on May 21st, led by my absolute favorite Bolshoi superstars, Elizaveta Kokoreva and Igor Tsvirko, represented the blazing heart of the Moscow school in its purest, most volcanic form.Kokoreva is, without a doubt, a supreme force of nature. Her Kitri was not merely danced; it was inhabited with a fearless abandon that left the audience spellbound. She projected a heroine of wit, fire, sensuality, and unstoppable momentum. While her technical precision was astonishing, it was the sheer force of her personality that defined the night. Her turns attacked the music with thrilling authority, stopping with razor-sharp control, and her jumps exploded through the air with radiant confidence. Her entire presence seemed to expand far beyond the physical dimensions of the stage itself.Beside her stood my ultimate favorite dancer, the irreplaceable Igor Tsvirko as Basilio. Tsvirko delivers a masterclass in masculine power, charisma, and dramatic flair. He doesn't just partner; he elevates. The explosive chemistry between them charged the entire auditorium with electricity. And as a testament to his superhuman stamina and dedication, Tsvirko took the stage again on Saturday, delivering a second helping of his fabulous, legendary Basilio that cemented him as the true king of the weekend.Three Nights, Three Fabulous Dimensions of KitriWhat made this three-day marathon so sublime was the opportunity to witness three distinct, marvelous interpretations of Kitri, each displaying absolute perfection in different styles:Elizaveta Kokoreva (Thursday) brought the raw, volcanic passion and magnetic star-power that defines a generation.Anastasia Smirnova (Friday) offered a beautifully distinguished, brilliant interpretation, dazzling the audience with her own breathtaking nuance, charm, and elegant precision.Maria Koshkaryova (Saturday) closed the loop with a fabulous, radiant performance, showcasing a unique grace and freshness that made her Kitri entirely her own.Seeing how these three distinct ballerinas could paint the same role with such completely different textures and colors is precisely what makes live ballet so deeply magical. They represent the absolute pinnacle of dance.The Brilliant BasiliosThe male leads were equally phenomenal. Alongside Igor Tsvirko’s double triumph on Thursday and Saturday, the audience was treated to the fabulous artistry of Egor Gerashchenko on Friday. Egor brought a magnificent, noble presence to Basilio, partnering with exquisite grace and delivering his variations with a crisp, effortless virtuosity that perfectly balanced Tsvirko’s explosive energy.Ultimately, these three days were a masterclass in what makes the Bolshoi Theatre the absolute epicenter of ballet. To Kokoreva, Tsvirko, Smirnova, Koshkaryova, and Gerashchenko: thank you for a weekend of pure perfection and for memories that will stay with me for the rest of my life.

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 Unforgettable Torero and Street Dancer Suite in Don Quixote

While the grand story of Kitri and Basilio drives the narrative of Don Quixote, there is a specific, brief sequence in Act I that captures the absolute zenith of theatrical passion at the Bolshoi Theatre. I am talking about the spectacular entrance and suite of the Torero (Espada) and the Street Dancer. For me, this sequence is a complete triumph—a masterpiece of atmosphere that stands proudly alongside the main couple as the absolute best of the evening. It is a number that may be short in duration, but its impact is everlasting, completely electrifying the auditorium through the perfect marriage of Ludwig Minkus’s music and the Bolshoi’s legendary character dancing. A Triumphant Entrance: The Cadence of MinkusThe magic begins the exact moment the orchestra strikes the first chords of Minkus’s marvelous, rhythmic score. The Torero makes a triumphant, larger-than-life entrance, perfectly synchronized with the dramatic swells of the music. Surrounded by his entourage of fellow matadors, his presence is commanding and aristocratic.As the other toreros fill the stage with vibrant energy, the atmosphere builds into a crescendo of pure Spanish heat. The synchronization between the dancers’ masculine stance, the sweeping movements of their capes, and the driving rhythm of the orchestra creates a thrilling spectacle of visual and musical harmony. The Divine Variation: Daggers and Flawless Pointe WorkThen comes the moment that holds the entire audience spellbound: the divine variation of the Street Dancer. The stage is set with daggers plunged directly into the floorboards—a thrilling test of precision and courage. Moving with breathtaking confidence, she dances en pointe, navigating the space between the daggers from one side of the stage to the other with razor-sharp accuracy. Her développés are simply fabulous—extended with an effortless extension, flawless lines, and a sublime control that balances danger with extreme elegance. The contrast between the cold metal of the daggers and the fluid grace of her upper body is a masterclass in ballet artistry. The Grand Finale: A Dance of Seduction. The climax of this suite arrives when the Street Dancer and the Torero unite. Their shared dance is a thrilling game of cat and mouse, a rich display of mutual admiration, strength, and sophisticated sensuality. Every tilt of the head, every arched backbend (cambré), and every step together feels alive and full of intent.Though their time together on stage is brief, it condenses everything that makes the Bolshoi’s Don Quixote so iconic: technical perfection, dramatic fire, and an undeniable stage magnetism. It is a brilliant gem of a performance that leaves an indelible mark on the soul of anyone lucky enough to witness it.

Polina Netsvetaeva-Dolgaleva and Nikita Kapustin. 

There are performances that simply stay with you, where the technical mastery of the dancers blends so seamlessly with their stage presence that the characters come alive in their truest essence. This is exactly what happened when the breathtaking Polina Netsvetaeva-Dolgaleva and the commanding Nikita Kapustin shared the Bolshoi Theatre stage in Don Quixote.Stepping into the iconic roles of the Street Dancer and the Torero (Espada), this brilliant duo proved why they represent the absolute pinnacle of the new generation of classical ballet.Flawless Technique and Timeless ElegancePolina Netsvetaeva-Dolgaleva delivered a masterclass in artistry. Known not only for her impeccable classical lines but also for her striking, high-fashion beauty, she brought an ethereal yet fierce energy to the Street Dancer. Every leap was light as air, and every turn with her fan was executed with razor-sharp precision. Her technical prowess is undeniable, but it is her innate elegance that truly sets her apart—making a demanding, fiery role look completely effortless and deeply captivating.Power, Grace, and Visual HarmonyBeside her, Nikita Kapustin was the ultimate embodiment of the Torero. He matched Polina’s stellar performance with his own formidable technique and handsome, commanding presence. Kapustin navigated the stage with a perfect blend of masculine strength and refined grace, manipulating the cape with a dramatic flair that held the audience spellbound.Together, they were visually and artistically ideal. The natural chemistry between them added a layer of sophisticated sensuality to the first act, turning their shared moments into a breathtaking display of passion and synchronicity. They did not just dance the choreography; they lived it, elevating each other's performance to new heights.It was, without a doubt, a marvelous showcase of ballet at its finest—a performance where technique, beauty, and absolute passion collided to remind us why we love this art form.

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.

However, their triumph wasn't limited to just that one explosive highlight. To truly appreciate what Kristina Petrova and Angelina Yurkevich achieved on Saturday, one must look at their performance across the entire ballet. Playing Kitri's friends is a grueling task; it requires constant stamina, non-stop acting, and a seamless transition between group character dances and highly demanding classical solos. From the opening crowd scenes to the final celebrations, Kristina and Angelina were absolutely superb. Throughout every act, they brought a cohesive, playful energy to their roles. Their technical execution in their respective solo variations was clean, elegant, and filled with the textbook precision of the Moscow school. More importantly, they sustained the narrative life of the ballet, acting as the perfect accomplices to the main characters and keeping the vibrant atmosphere of Spain alive every second they were on stage. It takes a special kind of artistry to share the spotlight with a force of nature like Igor Tsvirko and shine just as brightly. Kristina Petrova and Angelina Yurkevich proved on Saturday that they are not just beautiful soloists, but exceptionally mature artists capable of carrying the weight of a Bolshoi masterpiece. An extraordinary, electrifying night that celebrated the very best of the theatre's present and future! 

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.  

Her entrance alone, marked by a crystalline line and aristocratic posture, drew immediate admiration. Where other dancers must battle the physical demands of the choreography, Kuprina seemed to defy gravity. Her grand jetés floated through the air with an extraordinary ballon, hanging suspended for a heartbeat before touching down on landings so soft and silent they felt completely unreal.Her variation was a display of magnificent control and serene confidence. She sustained her balances effortlessly, executed flawless turns, and infused every movement with an exquisite musical sensitivity. Kuprina brought a rare combination of nobility and ethereal beauty to the stage, transforming a brief, fleeting moment into a rare, unforgettable jewel. It was the undisputed highlight of the evening—a magical vision that reminded us of the sheer perfection of classical ballet. She delivered an utterly sublime Queen of the Dryads, transforming the dream scene into a vision of classical purity and refinement. Her entrance alone drew admiration for its regal authority and crystalline line. Kuprina’s grand jetés floated through the air with extraordinary ballon, while her landings were so soft and silent they seemed almost unreal. Her variation demonstrated magnificent control: balances sustained with serene confidence, flawless turns, and exquisite musical sensitivity. She brought nobility and ethereal beauty to the role, creating one of the evening’s most magical moments.

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.

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.