The Mariinsky Theatre has witnessed more than two centuries of ballet history, yet even within that extraordinary legacy there are evenings that seem destined to transcend the ordinary and enter the realm of legend. The performances of La Bayadère on May 22, 23, and 24, 2026 promise precisely that: three magnificent evenings shaped by artistry, grandeur, and the timeless splendor of the imperial Russian ballet tradition. But above all, the opening performance on May 22 stands as an event of truly historic proportions — a convergence of artistic titans that ballet lovers may speak about for decades to come.
At the very theatre where La Bayadère was born, the Mariinsky will unveil what can only be described as an absolute “Dream Team” of classical ballet. To witness Viktoria Tereshkina, Kimin Kim, and Renata Shakirova sharing the same stage in this immortal masterpiece is not merely a remarkable casting choice — it is an artistic phenomenon. Such constellations of greatness are extraordinarily rare in the ballet world. These stars each dominate the repertory in their own right, often appearing in separate productions, partnered with different artists, inhabiting different universes of interpretation. To see them united in one single evening, in one of the greatest ballets ever created, is the kind of occasion that defines an era.
The legendary “Kingdom of the Shades” scene alone promises to become unforgettable. There are performances that audiences admire, and there are performances that become part of ballet mythology. The combination of Tereshkina and Kimin Kim in this sacred act of classical dance belongs unmistakably to the latter category. The poetic purity of the choreography, the hypnotic geometry of the corps de ballet, and the spiritual atmosphere of the scene will be elevated even further by the presence of two of the most celebrated artists of our time.
As Nikiya, Viktoria Tereshkina represents the pinnacle of Mariinsky classicism. Few ballerinas in the modern era possess such aristocratic refinement, such absolute command of line, or such profound dramatic intelligence. Tereshkina does not merely dance Nikiya — she becomes the very embodiment of the role’s spirituality, tragedy, and transcendence. Her legendary control allows every movement to breathe with infinite musicality. In the famous Snake Variation, her arms seem less like physical limbs and more like living extensions of the soul itself, unfolding with hypnotic delicacy and mystery.
Yet it is in the “Kingdom of the Shades” that Tereshkina reaches an almost supernatural dimension. Her arabesques possess an architectural purity that recalls the great imperial ballerinas of another century. Every balance appears suspended outside of time; every transition carries a sense of inevitability and serenity. She dances not only with technical perfection, but with an inner radiance that transforms classical form into poetry. Tereshkina’s Nikiya is not simply a role interpretation — it is an artistic statement of the highest order.
Opposite her stands Kimin Kim, one of the most electrifying male dancers of the modern age and unquestionably one of the defining stars of the Mariinsky Theatre today. His Solor promises to be a revelation of heroic brilliance. Kimin Kim has redefined what audiences believe possible in male classical technique. His ballon — that miraculous illusion of flight — borders on the unbelievable. He seems to suspend himself in the air with impossible lightness, defying gravity with every leap.
Yet his greatness extends far beyond virtuosity alone. Kim brings nobility, charisma, and emotional intensity to Solor, transforming the warrior into a figure of genuine tragic grandeur. His turns blaze with astonishing speed and precision, his stage coverage is monumental, and his musical instincts are exceptional. Every variation becomes an act of triumph. In the great Act II passages, his explosive elevation and breathtaking power are certain to ignite the theatre with ovations.
What makes this casting even more extraordinary is the artistic chemistry that exists between these performers. Kimin Kim’s refined partnering and instinctive responsiveness allow his ballerinas to shine with complete freedom. Alongside Tereshkina, the pas de deux are likely to achieve a rare equilibrium between grandeur and intimacy, strength and vulnerability. Their partnership alone would already make this performance essential viewing for any serious balletoman.
And yet the evening offers even more.
The presence of Renata Shakirova as Gamzatti transforms the performance into something truly exceptional. Shakirova is among the most magnetic and versatile ballerinas of her generation — an artist capable of combining incandescent technical brilliance with overwhelming dramatic force. Her Gamzatti is not merely a rival to Nikiya; she becomes a fully realized queenly presence, proud, intelligent, dangerous, and irresistibly captivating.
Shakirova’s technique possesses a diamond-like sharpness and authority. Her celebrated Italian fouettés explode across the stage with fearless precision, while her attack, speed, and brilliance make every variation feel exhilarating. Yet what elevates her beyond pure virtuosity is the richness of her artistic personality. She infuses Gamzatti with complexity and emotional truth, revealing both imperial pride and human vulnerability.
On stage, Shakirova radiates fire. Her dramatic confrontations crackle with electricity, and nowhere will this be more evident than in the iconic confrontation scene between Gamzatti and Nikiya. To see Shakirova and Tereshkina — two colossal artistic personalities — facing one another with Kimin Kim at the center promises theatrical tension of the highest intensity. The collision between Tereshkina’s ethereal melancholy and Shakirova’s blazing determination may well become one of those rare moments in ballet when drama and dance merge into pure stage alchemy.
Together, these three artists embody the ultimate balance of classical archetypes. Tereshkina represents spiritual purity and tragic nobility. Kimin Kim embodies heroic elevation and masculine brilliance. Shakirova incarnates ambition, fire, and regal power. United by the incomparable discipline and aesthetic tradition of the Mariinsky Theatre, they create a triumvirate of astonishing artistic harmony.
To gather three principal dancers of this stature in a single performance is a luxury almost unimaginable in today’s ballet world. Only a theatre with the artistic depth and imperial heritage of the Mariinsky could present such an evening. For audiences fortunate enough to be present on May 22, 2026, this will not simply be another performance of La Bayadère. It will be an historic event — the kind of night that remains engraved in memory forever.
And yet the magnificence of this Mariinsky series does not end with the opening gala-like performance.
The last evening, May 24, 2026, promises another superb interpretation of this immortal ballet, featuring an entirely different constellation of remarkable artists. Under the baton of Valery Ovsyanikov, the Mariinsky stage will welcome Nadezhda Batoeva as Nikiya, Yana Peneva as Gamzatti, and Minchul Jeon as Solor.
Nadezhda Batoeva brings to Nikiya an exquisite lyricism and emotional sincerity that perfectly suit the role’s spiritual nature. Her dancing possesses softness, refinement, and luminous musical sensitivity. Batoeva has the rare ability to make classical choreography appear entirely natural, as though each movement were born organically from the music itself. Her interpretation promises tenderness and emotional authenticity of great beauty.
Yana Peneva offers a Gamzatti of striking elegance and commanding temperament. Her stage presence combines regal sophistication with fearless technical confidence. Peneva’s artistry gives the princess dignity and dramatic depth, creating a formidable counterpart to Nikiya’s vulnerability. Her interpretation is likely to reveal the full complexity of the character: proud yet human, majestic yet emotionally charged.
Meanwhile, Minchul Jeon continues to establish himself as one of the most exciting emerging male artists of the company. His Solor promises vitality, youthful nobility, and impressive technical assurance. Jeon dances with clarity, strength, and dynamic energy, bringing freshness and sincerity to the role of the conflicted warrior.
Together, this cast offers a beautifully balanced and deeply musical vision of La Bayadère — one that highlights the extraordinary breadth of talent within the Mariinsky company.
Among the remarkable succession of La Bayadère performances at the Mariinsky Theatre in May 2026, the cast of May 24 possesses a distinctive artistic identity of its own — one defined by lyrical refinement, dramatic contrast, and the irresistible emergence of a new generation of Mariinsky brilliance. If the opening evening carries the aura of a legendary gala of world stars, the third performance offers something equally precious: the perfect meeting point between the theatre’s immortal classical heritage and the dazzling vitality of its rising artists.
The 23 May performance promises an interpretation of La Bayadère rooted deeply in the essence of the Mariinsky tradition — purity of line, emotional sophistication, musical sensitivity, and aristocratic grandeur. Under the baton of Arseny Shuplyakov, the evening is poised to unfold with exceptional cohesion and atmosphere, shaped by an orchestra that breathes alongside the dancers with living, organic precision.
At the center of the performance stands Oxana Skorik as Nikiya, a role that seems almost divinely suited to her unique artistic nature. Skorik has long been celebrated as one of the most aesthetically refined ballerinas of her generation — an artist whose classical purity recalls the great imperial traditions of the Mariinsky at their most exalted. Her dancing possesses an unmistakable nobility: elongated, seamless lines; immaculate academic placement; and an extraordinary softness that allows every movement to dissolve into music with breathtaking fluidity.
As Nikiya, Skorik becomes the very embodiment of spiritual fragility and poetic transcendence. Few ballerinas are capable of creating such a hypnotic atmosphere through stillness alone. Her celebrated “cantilena” of the arms and neck gives her dancing an almost vocal quality, as though each phrase were being sung rather than executed. In moments of lyrical adagio, time itself seems suspended around her.
It is in the “Kingdom of the Shades,” however, that Skorik enters her true kingdom. Her arabesques appear infinite, sculpted with geometric perfection and sustained with astonishing calm. The purity of her balance, the serenity of her épaulement, and the ghostly transparency of her movement create an ethereal vision that defines the very soul of the Mariinsky style. Watching Skorik descend the great diagonal of the Shades is not simply watching ballet — it is witnessing one of the highest expressions of classical beauty.
Opposite this spiritual luminosity stands Maria Bulanova as Gamzatti, bringing an entirely different but equally compelling force to the stage. Bulanova represents the thrilling power of the Mariinsky’s younger generation: fearless, commanding, technically formidable, and dramatically vibrant. Her Gamzatti is no passive princess, but a woman of immense authority and consuming pride.
From her very first entrance, Bulanova possesses the rare ability to dominate the stage completely. She radiates aristocratic confidence, using her bold attack and brilliant technical assurance to shape a Gamzatti of commanding presence and volcanic intensity. Every gesture carries intention; every variation burns with energy and determination.
Technically, Bulanova thrives in the demanding virtuosity of Act II. Her dancing combines crystalline precision with fearless projection, creating a Gamzatti that feels both regal and dangerous. Yet beyond the technical brilliance lies a sophisticated dramatic instinct. She transforms the princess into a multidimensional figure — proud, intelligent, passionate, and deeply human.
The dramatic contrast between Skorik and Bulanova promises to become one of the defining elements of the evening. The ethereal spirituality of Nikiya colliding with the fiery majesty of Gamzatti creates exactly the kind of dramatic polarity that gives La Bayadère its enduring power. Their confrontation scene has the potential to become electrifying theatre: a clash not merely of rivals, but of worlds, philosophies, and emotional truths.
As Solor, Nikita Korneyev brings gallantry, youthful nobility, and increasingly impressive artistic maturity to the role. Korneyev has rapidly emerged as one of the Mariinsky’s most promising young male dancers, admired not only for his technical accomplishments but also for the elegance and sincerity of his stage presence.
What distinguishes Korneyev particularly is his exemplary partnering. In a ballet as demanding as La Bayadère, Solor must serve not only as a virtuoso technician but also as the dramatic and physical axis around which the ballet revolves. Korneyev fulfills this responsibility with remarkable assurance. His partnering is refined, attentive, and noble, allowing his ballerinas complete freedom while maintaining absolute stability and harmony.
As a soloist, he combines clean classical form with vibrant athleticism. His jumps possess elevation and buoyancy, his turns are secure and expansive, and his phrasing demonstrates increasing musical intelligence. Yet beyond technique, Korneyev projects an authentic heroic presence that makes his Solor emotionally convincing. He dances not merely as a prince of classical ballet, but as a tragic protagonist torn between love, duty, and destiny.
Binding all these elements together is conductor Arseny Shuplyakov, whose role in shaping the evening cannot be overstated. A conductor with a deeply instinctive understanding of rhythm and theatrical timing, Shuplyakov approaches La Bayadère with the precision of a master architect. His background as a percussionist gives him an exceptional sensitivity to pulse, nuance, and synchronization — qualities essential in a ballet where choreography and music must function as one living organism.
Under his direction, the score breathes with dramatic vitality. The exotic dances gain rhythmic brilliance and color, while the hypnotic repetitions of the “Shades” scene acquire an almost ritualistic intensity. Shuplyakov understands that in ballet, tempo is not merely technical — it is emotional. His conducting provides the invisible current that carries the dancers through the evening with cohesion and momentum.
What makes this cast so extraordinary is the profound artistic balance it creates. The performance is built upon contrasts of light and fire, delicacy and authority, lyricism and power. Skorik’s transcendent serenity, Bulanova’s blazing dramatic force, and Korneyev’s steadfast nobility form a beautifully integrated dramatic triangle, each artist enhancing the qualities of the others.
This is the unique magic of the Mariinsky Theatre: the ability to present not only world-famous stars, but also complete artistic worlds within each cast. Every performance becomes a distinct interpretation, shaped by the personalities, energies, and emotional colors of its dancers.
The May 23, 2026 performance of La Bayadère promises to be far more than a continuation of an extraordinary series. It will be an evening of immense artistic refinement — a celebration of classical purity, youthful brilliance, and the living continuity of the Mariinsky tradition.
For audiences fortunate enough to witness it, this performance will offer something increasingly rare in modern ballet: not spectacle alone, but true atmosphere, true style, and true poetry.
This succession of performances beautifully demonstrates one of the defining glories of the Mariinsky Theatre: its unparalleled capacity to present multiple interpretations of the same ballet, each distinct in atmosphere, personality, and artistic color.
Over the course of these three evenings, La Bayadère will reveal itself in all its dimensions — mystical, imperial, dramatic, and transcendent. Few works in the classical repertory possess such grandeur, and few theatres in the world possess the artistic lineage necessary to illuminate it so magnificently.
But the opening night of May 22 remains something truly extraordinary. It is the convergence of three monumental artists at the height of their powers, united in one of the most iconic ballets in history, on the very stage where this masterpiece first came to life. For ballet lovers, historians, critics, and devoted admirers of the Mariinsky tradition, this is more than an important performance.
It is a once-in-a-generation event.
A night destined for ballet history.
