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.

Saint Petersburg - La Bayadère - Viktoria Tereshkina - Renata Shakirova - Kimin Kim - 22 May 2026

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.

St.Petersburg - “A Flight Filled with Soul” Gala - 28 Mar 2026 - Dedicated to the memory of Vladimir Shklyarov

On the evening of 28 March, the historic stage of the Mariinsky Theatre will glow with a rare and tender light. Dancers, musicians, and audiences will gather for a gala titled “A Flight Filled with Soul”, an evening dedicated to the memory of the incomparable Vladimir Shklyarov.

His life ended tragically in November 2024, far too soon for an artist whose creative spirit seemed inexhaustible. Yet the legacy he left behind—etched into the memory of countless performances—continues to breathe on the stages where he once reigned. This gala is not only a tribute by the artists who danced beside him and admired him deeply; it is also a gesture of gratitude from a theatre that knew him as one of its brightest stars.

Saint Petersburg itself seems the natural setting for such a remembrance. Often called the most romantic city in the world, the city of white nights and shimmering canals has always lived in close dialogue with the arts. Its palaces, bridges and quiet embankments have witnessed centuries of music, poetry and ballet. Soon it will hold yet another place of pilgrimage: a monument to Shklyarov at the Smolenskoye Cemetery—a sculpture by Andrey Korobtsov, created to honor a dancer whose artistry captivated audiences across the globe. For admirers from many countries, that monument will become more than stone and bronze; it will be a place to remember the joy, the brilliance, and the humanity of a truly extraordinary artist.

Those who saw Shklyarov on stage know that he possessed a rare alchemy. His dancing united immaculate classical technique with a natural musicality and an almost youthful sincerity. He had the noble line of a prince, the athletic brilliance of a virtuoso, and the soul of a poet. But beyond the stage, he was equally admired for his warmth and intelligence—his thoughtful interviews, his infectious laughter, and the generous spirit that made colleagues and audiences feel close to him.

Among the many roles he embodied, one seemed to define him above all others: Romeo. For many ballet lovers he was, quite simply, the Romeo of the twenty-first century.

It is therefore profoundly fitting that the evening will open with the first act of Romeo and Juliet, set to the unforgettable score of Sergei Prokofiev. In this act, Verona awakens before us in a swirl of rivalry, festivity, and fate. The Capulet ball—one of the most evocative scenes in all ballet—unfolds like a living painting: noble dances, glittering costumes, and beneath the solemn grandeur of the music, the quiet miracle of two young souls recognizing one another for the first time.

That moment, when Romeo sees Juliet across the ballroom, has always seemed suspended between dream and destiny. Shklyarov brought to it a tenderness that made the entire theatre hold its breath. On this night, the roles will be danced by the luminous Maria Shirinkina and Mincheol Jeong, whose artistry promises to evoke both the freshness and the fragile beauty of young love.

If the first part of the evening speaks of poetry and destiny, the second celebrates joy. The program continues with the radiant wedding act of Don Quixote, choreographed by Marius Petipa to the spirited music of Ludwig Minkus.

Here the stage bursts into life with Spanish color, sparkling virtuosity, and jubilant celebration. Kitri and Basilio, having overcome every obstacle, unite in a wedding that seems to dance with pure sunlight. The variations dazzle with brilliant turns and buoyant leaps, while the famous grand pas becomes a triumph of classical bravura.

In this festive homage, the roles will be danced by the brilliant Renata Shakirova and Alexei Orokhovsky—artists whose vitality and technical brilliance capture the exuberant spirit of this beloved masterpiece.

The gala will culminate in the lush and mesmerizing world of Scheherazade, inspired by the sumptuous score of Nikolai Rimsky-Korsakov. Few ballets possess such an intoxicating atmosphere. Its music shimmers with exotic colors, while the choreography evokes the mysterious sensuality of an imagined East.

In this closing vision, the stage becomes a realm of opulence and legend—where passion, danger, and beauty intertwine like the tales of One Thousand and One Nights. Two of the Mariinsky’s greatest stars, the majestic Viktoria Tereshkina and the electrifying Kimin Kim, will bring this final chapter of the evening to life with the intensity and dramatic power that have made them beloved around the world.

Presiding over the musical arc of the evening will be conductor Arseny Shuplyakov, guiding the orchestra through these three contrasting universes of ballet—tragedy, celebration, and enchantment.

Together, these works form more than a program. They create a portrait—three reflections of the artistic world in which Vladimir Shklyarov shone so brightly. In them we glimpse the qualities that defined him: lyricism, joy, nobility, passion, and an irrepressible love of dance.

And perhaps that is the deepest meaning of this evening. For while the stage will belong to today’s stars—artists who admired him and shared the theatre with him—the spirit of Shklyarov will be present in every phrase of music and every step.

The audience will feel it in the hush before the curtain rises, in the swell of applause, in the memory of a dancer who seemed to defy gravity not only with his extraordinary technique, but with the radiance of his personality.

Soon, visitors from across the world will come to Saint Petersburg to see the monument raised in his honor. They will bring flowers, memories, and gratitude. Yet long before they reach that quiet place, they will find him where he truly lives—in the golden light of the Mariinsky stage, in the echoes of Prokofiev and Minkus and Rimsky-Korsakov, and in the hearts of all who remember the dancer who once seemed to turn movement into pure flight.

For Vladimir Shklyarov was not only a great artist.

He was a rare and unforgettable human presence—joyful, intelligent, charismatic, and utterly unique.

And on this night in Saint Petersburg, the most romantic city in the world, the theatre that was his home will remind us that such artists never truly disappear.

They simply become part of the eternal poetry of the stage. 

28 марта историческая сцена Mariinsky Theatre озарится особым светом — светом памяти, благодарности и любви. В этот вечер артисты, музыканты и зрители соберутся на гала-концерт «Душой исполненный полёт», посвящённый памяти выдающегося премьера Vladimir Shklyarov.

Его жизнь трагически оборвалась в ноябре 2024 года — слишком рано для художника, чья творческая энергия, казалось, не знала границ. Но подлинное искусство не исчезает. Оно остаётся в памяти спектаклей, в сердцах зрителей, в вдохновении молодых танцовщиков, для которых он был примером благородства, таланта и преданности балету.

Санкт-Петербург — город белых ночей, каналов и поэзии — словно создан для такой памяти. Его называют самым романтичным городом мира, и именно здесь искусство всегда находило свой дом. Вскоре в городе появится ещё одно место, куда будут приходить поклонники со всего света: на Smolenskoye Cemetery будет установлен памятник Владимиру Шклярову работы скульптора Andrey Korobtsov. Для тысяч людей этот памятник станет не просто монументом, а символом благодарности артисту, который умел превращать танец в чистую поэзию.

Те, кому посчастливилось видеть Владимира на сцене, помнят особую магию его искусства. Его танец соединял безупречную академическую технику, редкую музыкальность и удивительную искренность. Он обладал благородством классического принца, виртуозностью большого мастера и душой настоящего поэта. Но не меньше его любили за человеческие качества — за открытость, интеллект, тонкое чувство юмора и ту светлую радость, которой он щедро делился и на сцене, и в жизни.

Среди множества его ролей одна стала почти легендой. Для многих зрителей именно Владимир Шкляров стал Ромео XXI века.

Поэтому особенно символично, что гала-вечер откроется первым актом балета Romeo and Juliet на музыку Sergei Prokofiev. В этом акте перед зрителем оживает Верона — город юности, страсти и судьбы. Бал у Капулетти, один из самых поэтических эпизодов мирового балета, разворачивается как живая картина: торжественные танцы, блеск костюмов, величественная музыка — и среди всего этого рождается чудо первой встречи.

Момент, когда взгляды Ромео и Джульетты встречаются в толпе, словно останавливает время. В этот вечер главные партии исполнят блистательная Maria Shirinkina и Mincheol Jeong, продолжая традицию тонкой лирики и драматической глубины, которой славится Мариинская сцена.

Вторая часть вечера наполнится солнечной радостью и праздником танца — будет представлен знаменитый свадебный акт балета Don Quixote, поставленного великим Marius Petipa на музыку Ludwig Minkus.

Это настоящий фейерверк классического балета: испанский колорит, блестящие вариации, стремительные фуэте и торжественная кода, где любовь Китри и Базиля празднует свою победу. В этот вечер главные партии исполнят яркая и темпераментная Renata Shakirova и виртуозный Alexei Orokhovsky.

Завершит вечер чарующая и таинственная Scheherazade на музыку Nikolai Rimsky-Korsakov. Это балет, наполненный роскошью восточных легенд, чувственностью и драматизмом. Музыка Римского-Корсакова переливается драгоценными красками оркестра, словно рассказывая сказки «Тысячи и одной ночи».

В этом финале на сцену выйдут две ярчайшие звезды Мариинского театра — величественная Viktoria Tereshkina и блистательный Kimin Kim, чья мощная сценическая энергия и художественная глубина обещают завершить вечер по-настоящему незабываемо.

За дирижёрским пультом будет Arseny Shuplyakov, который проведёт оркестр через три столь разные, но одинаково прекрасные музыкальные вселенные — трагическую поэзию Прокофьева, солнечную радость Минкуса и сказочную роскошь Римского-Корсакова.

Этот вечер станет не просто концертом. Он станет живым воспоминанием о художнике, который умел заставить сцену дышать. В каждом движении, в каждом аккорде будет ощущаться присутствие Владимира — его светлая энергия, его любовь к танцу, его неповторимая артистическая душа.

И, возможно, когда-нибудь люди из разных стран приедут в Санкт-Петербург, чтобы возложить цветы к его памятнику. Но ещё раньше они найдут его там, где он всегда будет жить — в золотом свете сцены Мариинского театра, в музыке великих композиторов и в памяти тех, кому довелось увидеть его полёт.

Потому что такие артисты не исчезают.

Они становятся частью вечной поэзии театра.

Le 28 mars, la scène historique du Théâtre Mariinsky s'illuminera d'une lumière particulière : celle du souvenir, de la gratitude et de l'amour. Ce soir-là, artistes, musiciens et spectateurs se réuniront pour le concert de gala « Un vol empli d'âme », dédié à la mémoire de l'exceptionnel danseur étoile Vladimir Chkliarov.

Sa vie a été tragiquement interrompue en novembre 2024, bien trop tôt pour un artiste dont l'énergie créatrice semblait sans limites. Mais le véritable art perdure. Il vit dans le souvenir des spectacles, dans le cœur des spectateurs et dans l'inspiration des jeunes danseurs pour qui il était un modèle de noblesse, de talent et de dévouement au ballet.

Saint-Pétersbourg, la ville des nuits blanches, des canaux et de la poésie, semble faite pour de tels souvenirs. On la surnomme la ville la plus romantique du monde, et c'est ici que l'art a toujours trouvé sa place. Bientôt, la ville disposera d'un nouveau lieu qui attirera des fans du monde entier : un monument à Vladimir Chkliarov, conçu par le sculpteur Andreï Korobtsov, sera érigé au cimetière de Smolensk. Pour des milliers de personnes, ce monument sera bien plus qu'un simple monument : il sera un symbole de gratitude envers un artiste qui savait transformer la danse en pure poésie.

Ceux qui ont eu la chance de voir Vladimir sur scène se souviennent de la magie unique de son art. Sa danse alliait une technique académique impeccable, une musicalité rare et une sincérité bouleversante. Il possédait la noblesse d'un prince classique, la virtuosité d'un grand maître et l'âme d'un véritable poète. Mais il était tout autant aimé pour ses qualités humaines : son ouverture d'esprit, son intelligence, son humour subtil et la joie rayonnante qu'il partageait généreusement sur scène comme dans la vie.

Parmi ses nombreux rôles, l'un est devenu presque légendaire. Pour beaucoup, Vladimir Chkliarov est devenu le Roméo du XXIe siècle.

Il est donc particulièrement symbolique que la soirée de gala s'ouvre sur le premier acte du ballet Roméo et Juliette, sur une musique de Sergueï Prokofiev. Dans cet acte, Vérone – la ville de la jeunesse, de la passion et du destin – prend vie sous les yeux du public. Le bal des Capulet, l'un des épisodes les plus poétiques du ballet mondial, se déploie comme un tableau vivant : danses solennelles, costumes étincelants, musique majestueuse – et au milieu de tout cela, naît le miracle d'une première rencontre.

L'instant où les regards de Roméo et Juliette se croisent dans la foule semble suspendu. Ce soir, les rôles principaux seront interprétés par les brillants Maria Shirinkina et Mincheol Jeong, perpétuant ainsi la tradition de lyrisme subtil et de profondeur dramatique qui fait la renommée de la scène du Mariinsky.

La seconde partie de la soirée sera placée sous le signe de la joie et de la célébration de la danse – avec la célèbre scène des noces du ballet Don Quichotte, chorégraphiée par le grand Marius Petipa sur une musique de Ludwig Minkus. Voici un véritable feu d'artifice de ballet classique : élégance espagnole, variations brillantes, fouettés fulgurants et une coda triomphante où l'amour de Kitri et Basilio triomphe. Les rôles principaux de ce soir seront interprétés par la vibrante et passionnée Renata Shakirova et le virtuose Alexei Orokhovsky.

La soirée s'achèvera avec l'envoûtante et mystérieuse Shéhérazade, sur une musique de Nikolaï Rimski-Korsakov. Ce ballet est imprégné du luxe des légendes orientales, de sensualité et de drame. La musique de Rimski-Korsakov scintille des précieuses couleurs de l'orchestre, comme pour évoquer les contes des « Mille et Une Nuits ».

Ce final mettra en vedette deux des plus grandes étoiles du Théâtre Mariinsky – la majestueuse Viktoria Terechkina et le brillant Kimin Kim – dont l'énergie scénique et la profondeur artistique promettent une fin de soirée inoubliable.

Arseny Shuplyakov dirigera l'orchestre à travers trois univers musicaux très différents, mais d'une beauté égale : la poésie tragique de Prokofiev, la joie solaire de Minkus et le luxe fabuleux de Rimski-Korsakov.

Ce soir sera bien plus qu'un simple concert. Ce sera un hommage vivant à un artiste qui savait faire vibrer la scène. Dans chaque mouvement, dans chaque accord, on ressentira la présence de Vladimir : son énergie rayonnante, son amour de la danse, son âme d'artiste unique.

Et peut-être qu'un jour, des gens du monde entier viendront à Saint-Pétersbourg déposer des fleurs à son monument. Mais bien avant cela, ils le retrouveront là où il vivra toujours : dans la lumière dorée de la scène du Théâtre Mariinsky, dans la musique des grands compositeurs et dans le souvenir de ceux qui ont été témoins de son ascension fulgurante.

Car de tels artistes ne disparaissent jamais.

Ils deviennent partie intégrante de la poésie éternelle du théâtre.

El 28 de marzo, el histórico escenario del Teatro Mariinsky se iluminará con una luz especial: la luz del recuerdo, la gratitud y el amor. Esa noche, artistas, músicos y público se reunirán para el concierto de gala "Vuelo lleno de alma", dedicado a la memoria del destacado bailarín principal Vladimir Shklyarov.

Su vida se truncó trágicamente en noviembre de 2024, demasiado pronto para un artista cuya energía creativa parecía inagotable. Pero el arte verdadero perdura. Perdura en el recuerdo de las representaciones, en el corazón del público y en la inspiración de los jóvenes bailarines, para quienes fue un ejemplo de nobleza, talento y dedicación al ballet.

San Petersburgo, la ciudad de las noches blancas, los canales y la poesía, parece hecha para esos recuerdos. Se la considera la ciudad más romántica del mundo, y es aquí donde el arte siempre ha encontrado su hogar. Próximamente, la ciudad contará con otro escenario que atraerá a aficionados de todo el mundo: un monumento a Vladimir Shklyarov, diseñado por el escultor Andrey Korobtsov, se erigirá en el Cementerio de Smolensk. Para miles de personas, este monumento será más que un simple monumento, sino un símbolo de gratitud a un artista que supo transformar la danza en pura poesía.

Quienes tuvieron la fortuna de ver a Vladimir en el escenario recordaron la magia especial de su arte. Su danza combinaba una técnica académica impecable, una musicalidad excepcional y una sinceridad asombrosa. Poseía la nobleza de un príncipe clásico, el virtuosismo de un gran maestro y el alma de un verdadero poeta. Pero no fue menos querido por sus cualidades humanas: su franqueza, inteligencia, sutil sentido del humor y la radiante alegría que compartía generosamente tanto en el escenario como en la vida.

Entre sus muchos papeles, uno se ha vuelto casi legendario. Para muchos espectadores, Vladimir Shklyarov se convirtió en el Romeo del siglo XXI.

Por lo tanto, resulta especialmente simbólico que la noche de gala comience con el primer acto del ballet Romeo y Julieta, con música de Sergei Prokofiev. En este acto, Verona, la ciudad de la juventud, la pasión y el destino, cobra vida ante el público. El Baile de los Capuleto, uno de los episodios más poéticos del ballet mundial, se despliega como una pintura viviente: danzas solemnes, vestuario resplandeciente, música majestuosa; y en medio de todo esto, nace el milagro de un primer encuentro.

El momento en que las miradas de Romeo y Julieta se cruzan entre la multitud parece detenerse. Esta noche, los papeles principales serán interpretados por las brillantes Maria Shirinkina y Mincheol Jeong, continuando la tradición de lirismo sutil y profundidad dramática que caracteriza al Escenario Mariinsky.

La segunda parte de la velada estará llena de alegría y una celebración de la danza: se interpretará el famoso acto nupcial del ballet Don Quijote, coreografiado por el gran Marius Petipa con música de Ludwig Minkus. Este es un verdadero espectáculo de fuegos artificiales del ballet clásico: estilo español, brillantes variaciones, veloces fouettés y una coda triunfal donde triunfa el amor entre Kitri y Basilio. Los papeles principales de esta noche estarán a cargo de la vibrante y apasionada Renata Shakirova y el virtuoso Alexei Orokhovsky.

La velada concluirá con la encantadora y misteriosa Sherazade, con música de Nikolai Rimsky-Korsakov. Este ballet está imbuido del lujo de las leyendas orientales, la sensualidad y el drama. La música de Rimsky-Korsakov brilla con los preciosos colores de la orquesta, como si evocara los cuentos de "Las mil y una noches".

Este final contará con dos de las estrellas más brillantes del Teatro Mariinsky: la majestuosa Viktoria Tereshkina y el brillante Kimin Kim, cuya poderosa energía escénica y profundidad artística prometen un final inolvidable para la velada.

Arseny Shuplyakov dirigirá la orquesta a través de tres universos musicales muy diferentes, pero igualmente hermosos: la poesía trágica de Prokofiev, la alegría radiante de Minkus y el fabuloso lujo de Rimsky-Korsakov.

Esta velada será más que un simple concierto. Será un recuerdo vivo de un artista que supo hacer respirar el escenario. En cada movimiento, en cada acorde, se sentirá la presencia de Vladimir: su energía radiante, su amor por la danza, su alma artística única.

Y quizás algún día, personas de todo el mundo vendrán a San Petersburgo a depositar flores en su monumento. Pero aún más pronto, lo encontrarán donde siempre vivirá: en la luz dorada del escenario del Teatro Mariinsky, en la música de grandes compositores y en el recuerdo de quienes presenciaron su vuelo.

Porque estos artistas nunca desaparecen. Se convierten en parte de la poesía eterna del teatro.

Il 28 marzo, lo storico palcoscenico del Teatro Mariinskij sarà illuminato da una luce speciale: la luce della memoria, della gratitudine e dell'amore. Quella sera, artisti, musicisti e pubblico si riuniranno per il concerto di gala "Volo pieno d'anima", dedicato alla memoria dell'eccezionale primo ballerino Vladimir Škljarov.

La sua vita fu tragicamente stroncata nel novembre 2024, troppo presto per un artista la cui energia creativa sembrava sconfinata. Ma la vera arte dura nel tempo. Vive nei ricordi delle rappresentazioni, nel cuore del pubblico e nell'ispirazione dei giovani ballerini per i quali era un esempio di nobiltà, talento e dedizione al balletto.

San Pietroburgo, la città delle notti bianche, dei canali e della poesia, sembra fatta apposta per questi ricordi. È definita la città più romantica del mondo, ed è qui che l'arte ha sempre trovato la sua dimora. Presto la città avrà un altro luogo che attirerà fan da tutto il mondo: un monumento a Vladimir Škljarov, progettato dallo scultore Andrej Korobcov, sarà eretto nel cimitero di Smolensk. Per migliaia di persone, questo monumento sarà più di un semplice monumento, ma un simbolo di gratitudine verso un artista che ha saputo trasformare la danza in pura poesia.

Chi ha avuto la fortuna di vedere Vladimir sul palco ricorda la speciale magia della sua arte. La sua danza combinava una tecnica accademica impeccabile, una rara musicalità e una sorprendente sincerità. Possedeva la nobiltà di un principe classico, il virtuosismo di un grande maestro e l'anima di un vero poeta. Ma non era meno amato per le sue qualità umane: la sua apertura mentale, l'intelligenza, il sottile senso dell'umorismo e la gioia radiosa che condivideva generosamente sia sul palco che nella vita.

Tra i suoi numerosi ruoli, uno è diventato quasi leggendario. Per molti spettatori, Vladimir Škljarov è diventato il Romeo del XXI secolo.

È quindi particolarmente simbolico che la serata di gala si apra con il primo atto del balletto Romeo e Giulietta, musicato da Sergej Prokof'ev. In questo atto, Verona, la città della giovinezza, della passione e del destino, prende vita davanti al pubblico. Il Ballo dei Capuleti, uno degli episodi più poetici del balletto mondiale, si dispiega come un dipinto vivente: danze solenni, costumi scintillanti, musica maestosa, e in mezzo a tutto questo, nasce il miracolo di un primo incontro.

Il momento in cui gli sguardi di Romeo e Giulietta si incontrano tra la folla sembra fermarsi. Questa sera, i ruoli principali saranno interpretati dai brillanti Maria Shirinkina e Mincheol Jeong, proseguendo la tradizione di sottile lirismo e profondità drammatica per cui il palcoscenico del Mariinskij è rinomato.

La seconda parte della serata sarà allietata da una gioia solare e da una celebrazione della danza: verrà eseguito il famoso atto nuziale del balletto Don Chisciotte, coreografato dal grande Marius Petipa su musica di Ludwig Minkus. Un vero e proprio spettacolo pirotecnico di balletto classico: stile spagnolo, brillanti variazioni, rapidi fouetté e una coda trionfale in cui trionfa l'amore tra Kitri e Basilio. I ruoli principali di questa sera saranno interpretati dalla vibrante e passionale Renata Shakirova e dal virtuoso Alexei Orokhovsky.

La serata si concluderà con l'incantevole e misteriosa Shéhérazade, musicata da Nikolaj Rimskij-Korsakov. Questo balletto è intriso del lusso delle leggende orientali, della sensualità e del dramma. La musica di Rimskij-Korsakov risplende dei preziosi colori dell'orchestra, come se evocasse i racconti de "Le mille e una notte".

Questo finale vedrà la partecipazione di due delle stelle più brillanti del Teatro Mariinskij, la maestosa Viktoria Tereshkina e la brillante Kimin Kim, la cui potente energia scenica e la cui profondità artistica promettono una conclusione della serata davvero indimenticabile.

Arsenij Šupljakov dirigerà l'orchestra attraverso tre universi musicali molto diversi, ma ugualmente belli: la poesia tragica di Prokof'ev, la gioia solare di Minkus e il lusso favoloso di Rimskij-Korsakov.

Questa sera sarà più di un semplice concerto. Sarà il ricordo vivo di un artista che sapeva far respirare il palcoscenico. In ogni movimento, in ogni accordo, si percepirà la presenza di Vladimir: la sua energia radiosa, il suo amore per la danza, la sua anima artistica unica.

E forse un giorno, persone da tutto il mondo verranno a San Pietroburgo per deporre fiori al suo monumento. Ma ancora prima, lo troveranno dove vivrà per sempre: nella luce dorata del palcoscenico del Teatro Mariinskij, nella musica di grandi compositori e nei ricordi di coloro che hanno assistito al suo volo.

Perché artisti come questi non scompaiono mai.

Diventano parte dell'eterna poesia del teatro.

Санкт-Петербург - Saint Petersburg - Wednesday, March 18, 2026 - Среда, 18 марта 2026 г. - Romeo & Juliet - Ромео и Джульетта - Viktoria Tereshkina - Виктория Терешкина - Roman Belyakov - Роман Беляков

Tonight’s performance of Romeo and Juliet at the Mariinsky II Theatre promises to be nothing short of extraordinary—a luminous celebration of artistry, emotion, and timeless beauty. Set to Sergei Prokofiev’s deeply evocative score, this beloved ballet unfolds as a poetic journey through love and tragedy, brought vividly to life by the unparalleled brilliance of the Mariinsky Ballet.

At the heart of this unforgettable evening shines the magnificent superstar Viktoria Tereshkina, a ballerina of rare refinement and expressive depth. Her Juliet is simply divine—tender yet passionate, fragile yet courageous. Every movement she makes feels infused with meaning, her gestures delicate and eloquent, her presence radiant and deeply moving. She does not merely perform Juliet; she becomes her, embodying innocence, longing, and heartbreak with exquisite sensitivity. Her artistry reaches into the soul, leaving the audience breathless, often in tears, yet filled with wonder.

Opposite her, Roman Belyakov is an equally compelling Romeo—elegant, noble, and technically impeccable. His dancing flows with effortless grace, each step precise and harmonious, yet always charged with emotion. Together, Tereshkina and Belyakov form a truly exceptional partnership. Their chemistry is unmistakable, electric yet natural, creating a connection so authentic that it feels as though we are witnessing real love unfold before our eyes. They are, without doubt, one of the most captivating and iconic pairs on the contemporary ballet stage.

Surrounding them is the magnificent Mariinsky ensemble, a company renowned worldwide for its discipline, musicality, and refined style. The corps de ballet fills the stage with rich textures of movement, their synchronization flawless, their presence vibrant and alive. Each dancer contributes to the grandeur of the production, creating scenes that are both visually stunning and emotionally resonant.

The staging itself is lavish and immersive, enhanced by the resplendent setting of the Mariinsky II Theatre—a modern architectural gem with superb acoustics and an atmosphere of quiet majesty. The orchestra, under the sensitive direction of Maestro Arseny Shuplyakov, brings Prokofiev’s score to life with glowing intensity, each note shimmering with color and dramatic nuance.

This is more than a performance—it is an experience of rare beauty and emotional power. A night where music, movement, and emotion unite in perfect harmony. To witness Tereshkina and Belyakov in this masterpiece is not just a pleasure, but a privilege—a moment to treasure, where artistry reaches its highest expression and the magic of ballet touches the heart forever.

At the radiant Mariinsky II Theatre, an evening of rare beauty unfolds with Romeo and Juliet, a ballet that breathes with passion, poetry, and timeless tragedy. The entire space glows with a warm, golden light, every tier illuminated, every seat filled, as an attentive audience gathers in quiet anticipation. The stage reveals a richly evocative Verona, where dancers, orchestra, and spectators seem to exist in perfect harmony—each element balanced, each presence essential, as if part of a living masterpiece painted in motion.

The performance is guided with sensitivity and refinement by Conductor Arseny Shuplyakov, whose interpretation of Prokofiev’s luminous score draws out its full emotional depth and shimmering intensity.

The cast is nothing short of exceptional:
Juliet: Viktoria Tereshkina
Romeo: Roman Belyakov
Tybalt: Alexei Kuzmin
Mercutio: Halid Mardini
Jester: Nikita Zakharov
Juliet’s companion: Yana Peneva
Troubadour: Mikhail Barkidzhidzha

Featuring students of the Boris Eifman Dance Academy.

At the heart of the evening stands the incomparable Viktoria Tereshkina, a ballerina of supreme elegance and expressive richness. Her Juliet is ethereal, deeply human, and profoundly moving. She embodies innocence, passion, and despair with an exquisite musicality and an almost supernatural grace. Every gesture is refined, every line sculpted with care, every emotion transmitted with crystalline clarity. She is, quite simply, divine.

Roman Belyakov’s Romeo is noble, ardent, and technically immaculate. His presence is both powerful and tender, and together with Tereshkina, he forms a partnership of rare harmony. Their chemistry is unmistakable—intimate, sincere, and deeply affecting. They move as one soul, creating a love story that feels utterly real, fragile, and inevitable.

The Mariinsky dancers surrounding them bring richness and vitality to every scene. The corps de ballet moves with precision and unity, filling the stage with texture and life, while the soloists add brilliance and character. The entire production breathes with refinement, grandeur, and emotional truth.

For lovers of classical ballet, we are truly fortunate—privileged, even—to witness the art of the great star Viktoria Tereshkina, not only in Romeo and Juliet, but in the remarkable series of performances that follow:

18 March 2026, 19:00 – Romeo and Juliet

25 March 2026, 19:00 – Swan Lake

3 April 2026, 19:00 – Swan Lake

12 April 2026, 19:00 – Giselle

23 April 2026, 19:00 – The Stone Flower

Each of these roles seems destined for her—like a perfect fit, as if created for her unique artistry.

As Juliet, she is luminous and heartbreakingly sincere, capturing the fragile intensity of first love.

As Odette in Swan Lake, she is purity itself—delicate, poetic, with a softness that seems to dissolve into the music, while her Odile dazzles with brilliance, precision, and irresistible allure.

As Giselle, she reaches an almost spiritual dimension—weightless, translucent, her presence floating between worlds, embodying forgiveness and eternal love.

In The Stone Flower, she reveals strength, radiance, and an inner fire, combining classical refinement with dramatic power.

To witness her in these roles is to experience ballet at its highest level. She is a rare artist whose technique, musicality, and emotional depth come together in perfect harmony.

We are, without question, in a moment of great fortune—able to admire, admire deeply, and cherish the artistry of a ballerina who defines excellence. Viktoria Tereshkina is not only a star; she is a living embodiment of the soul of ballet.

Сегодняшний спектакль «Ромео и Джульетта» в Мариинском театре II обещает быть поистине необыкновенным — сияющим праздником мастерства, эмоций и вневременной красоты. Под глубоко проникновенную музыку Сергея Прокофьева этот любимый балет разворачивается как поэтическое путешествие сквозь любовь и трагедию, ярко воплощенное в жизнь непревзойденным блеском Мариинского балета.

В центре этого незабываемого вечера сияет великолепная Виктория Терешкина, танцовщица редкой утонченности и выразительной глубины. Ее Джульетта просто божественна — нежная, но страстная, хрупкая, но смелая. Каждое ее движение наполнено смыслом, ее жесты деликатны и красноречивы, ее присутствие сияет и глубоко трогает. Она не просто играет Джульетту; она становится ею, воплощая невинность, тоску и душевную боль с исключительной чуткостью. Ее мастерство проникает в душу, оставляя зрителей бездыханными, часто до слез, но полными восхищения.

Напротив неё, Роман Беляков — не менее обаятельный Ромео: элегантный, благородный и технически безупречный. Его танец отличается лёгкой грацией, каждый шаг точен и гармоничен, но всегда наполнен эмоциями. Вместе Терешкина и Беляков образуют поистине исключительный партнёрский дуэт. Их химия безошибочна, электризующая, но естественная, создающая настолько подлинную связь, что кажется, будто мы наблюдаем за настоящей любовью. Они, без сомнения, одна из самых захватывающих и знаковых пар на современной балетной сцене.

Вокруг них — великолепный ансамбль Мариинского театра, труппа, известная во всём мире своей дисциплиной, музыкальностью и изысканным стилем. Кордебалет наполняет сцену богатой текстурой движений, их синхронность безупречна, их присутствие ярко и живо. Каждый танцор вносит свой вклад в величие постановки, создавая сцены, которые одновременно визуально потрясающие и эмоционально насыщенные.

Сама постановка роскошна и захватывающа, чему способствует великолепная обстановка Мариинского театра II — современной архитектурной жемчужины с превосходной акустикой и атмосферой тихого величия. Оркестр под чутким руководством маэстро Арсения Шуплякова оживляет партитуру Прокофьева сияющей интенсивностью, каждая нота переливается красками и драматическими нюансами.

Это больше, чем просто спектакль — это переживание редкой красоты и эмоциональной силы. Вечер, где музыка, движение и эмоции сливаются в совершенной гармонии. Стать свидетелем Терешкиной и Белякова в этом шедевре — это не просто удовольствие, а привилегия — момент, который стоит ценить, когда мастерство достигает своего наивысшего выражения, а магия балета навсегда трогает сердце.

В сияющем Мариинском театре II разворачивается вечер редкой красоты с балетом «Ромео и Джульетта», наполненным страстью, поэзией и вневременной трагедией. Весь зал сияет теплым золотистым светом, каждый ярус освещен, каждое место занято, а внимательная публика собирается в тихом ожидании. Сцена открывает богатую, выразительную Верону, где танцоры, оркестр и зрители, кажется, существуют в идеальной гармонии — каждый элемент сбалансирован, каждое присутствие важно, словно часть живого шедевра, написанного в движении.

Представление с чуткостью и изысканностью ведёт дирижёр Арсений Шупляков, чья интерпретация сияющей партитуры Прокофьева раскрывает всю её эмоциональную глубину и мерцающую интенсивность.

Состав исполнителей просто исключителен:

Джульетта: Виктория Терешкина

Ромео: Роман Беляков

Тибальт: Алексей Кузьмин

Меркуцио: Халид Мардини

Шут: Никита Захаров

Спутник Джульетты: Яна Пенева

Трубадур: Михаил Баркиджиджа

В исполнении студентов Академии танца имени Бориса Эйфмана.

В центре вечера – несравненная Виктория Терешкина, балерина высочайшей элегантности и выразительности. Ее Джульетта – неземная, глубоко человечная и невероятно трогательная. Она воплощает невинность, страсть и отчаяние с изысканной музыкальностью и почти сверхъестественной грацией. Каждый жест отточен, каждая линия тщательно выточена, каждая эмоция передана с кристальной ясностью. Она, проще говоря, божественна.

Ромео в исполнении Романа Белякова – благородный, пылкий и технически безупречный. Его присутствие одновременно мощное и нежное, и вместе с Терешкиной он образует партнерство редкой гармонии. Их химия безошибочно узнаваема — интимная, искренняя и глубоко трогательная. Они движутся как одна душа, создавая историю любви, которая кажется совершенно реальной, хрупкой и неизбежной.

Танцоры Мариинского театра, окружающие их, привносят богатство и жизненную силу в каждую сцену. Кордебалет движется с точностью и единством, наполняя сцену текстурой и жизнью, а солисты добавляют блеска и характера. Вся постановка дышит изысканностью, величием и эмоциональной правдой.

Любителям классического балета поистине повезло — даже привилегия — стать свидетелями искусства великой звезды Виктории Терешкиной не только в «Ромео и Джульетте», но и в замечательной серии последующих спектаклей:

18 марта 2026 г., 19:00 — «Ромео и Джульетта»

25 марта 2026 г., 19:00 — «Лебединое озеро»

3 апреля 2026 г., 19:00 — «Лебединое озеро»

12 апреля 2026 г., 19:00 — «Жизель»

23 апреля 2026 г., 19:00 — «Каменный цветок»

Каждая из этих ролей, кажется, предназначена ей судьбой — идеально подходит, словно создана для её уникального таланта.

В роли Джульетты она сияет и трогательно искренна, передавая хрупкую интенсивность первой любви.

В роли Одетты в «Лебедином озере» она олицетворяет собой чистоту — нежную, поэтичную, с мягкостью, которая, кажется, растворяется в музыке, в то время как её Одиль ослепляет блеском, точностью и неотразимым очарованием.

В роли Жизели она достигает почти духовного измерения — невесомая, прозрачная, её присутствие парит между мирами, воплощая прощение и вечную любовь.

В «Каменном цветке» она раскрывает силу, сияние и внутренний огонь, сочетая классическую утонченность с драматической мощью.

Увидеть её в этих ролях — значит пережить балет на самом высоком уровне. Она — редкая артистка, чья техника, музыкальность и эмоциональная глубина сливаются в идеальной гармонии.

Мы, без сомнения, переживаем момент великой удачи — возможность восхищаться, глубоко восхищаться и ценить мастерство балерины, которая является эталоном совершенства. Виктория Терешкина — не просто звезда; она — живое воплощение души балета.