Shanti

Sunday, November 9, 2025

Barcelona - Ballet Gala - 9/10 nov 2025

✨ Gran Gala de Danza at the Liceu: From Petipa to Balanchine — A Night When the World Will Dance in Barcelona

There are nights when the art of ballet transcends the stage — when it becomes a pure act of love, memory, and celebration.

On November 9 and 10, 2025, the Gran Teatre del Liceu in Barcelona will open its golden curtains for such a night — or rather, two nights — that promise to remain forever in the memory of all who breathe the poetry of dance.

Under the title “From Petipa to Balanchine”, the Gran Gala de Danza will unite on the Liceu stage a constellation of stars — the kind of dazzling line-up that only happens once in a lifetime. From St. Petersburg to London, from New York to Seoul, from Paris to Houston, from Stuttgart to Barcelona itself, the greatest artists of our era will gather to honor ballet’s eternal flame.

This is not merely a gala. It is a celebration of legacy and renewal — a dialogue between generations, between classical perfection and the vibrant pulse of today’s dance world. The Ballet de Catalunya and the Symphony Orchestra of the Gran Teatre del Liceu, conducted by Andrea Quinn, will join forces under the artistic direction of Leo Sorribes to create a night where the world’s finest dancers will offer the most exquisite gift: beauty itself.

🌹 The Sacred Stage of the Liceu

Few theaters in the world can rival the majesty and history of the Gran Teatre del Liceu.

For over a century and a half, its stage has been a temple to music and dance — a space where Dame Margot Fonteyn, Rudolf Nureyev, Maya Plisetskaya, and so many others have cast their spells before enraptured audiences.

To see the Liceu once again transformed into a cathedral of ballet, illuminated by the radiance of a new generation, feels like witnessing time fold upon itself. The spirit of Fonteyn’s grace, of Nureyev’s fire, of the great Petipa himself, will surely hover over these two evenings, blessing the dancers who now inherit their mantle.

🌟 A Constellation of Stars 🌟 The Stars Who Will Illuminate the Night in the Rambla Liceu Opera House

The roster assembled for this Gala reads like a dream, each name carrying a story of devotion, artistry, and triumph.

Maria Khoreva — Mariinsky Ballet, St. Petersburg

The jewel of the Vaganova school, Maria Khoreva embodies the essence of Russian ballet: purity, precision, and musical intelligence. She will come to Barcelona shortly after dancing Giselle at the Mariinsky — a role that has become a reflection of her own artistry: fragile, spiritual, luminous. Watching Khoreva dance is like witnessing lace move to the rhythm of a heartbeat.

Sangeun Lee — English National Ballet

From Seoul to Dresden and now London, Sangeun Lee has traced a path of grace and quiet strength. Trained at the Sunhwa Arts Schools, she was a Soloist with the Universal Ballet and later Principal at the Semperoper Ballett Dresden, where her portrayals of Giselle and La Bayadère drew critical acclaim. Since joining the English National Ballet, her dancing radiates an effortless musicality that marries Asian lyricism with European finesse — a rare and delicate alchemy.

Gareth Haw — English National Ballet

From Cardiff comes Gareth Haw, one of Britain’s brightest hopes. Educated at The Royal Ballet School, he ascended swiftly through the ranks of the Semperoper Ballett and, within two years of joining ENB, reached the pinnacle as Lead Principal. With noble line and poetic strength, Haw is the epitome of the modern danseur noble: intelligent, musical, and deeply human in his interpretations.

Chloe Misseldine — American Ballet Theatre (ABT)

New York’s newest star, Chloe Misseldine, is ballet’s whisper of the future. This summer, she captivated the audience of the Metropolitan Opera House with her sublime Swan Lake — a performance hailed as “a revelation of elegance and emotion.” Soon after dancing Nikiya in La Bayadère, she will cross the Atlantic to grace the Liceu stage. Her Odette was pure soul; her Nikiya, a breath of tragedy. In Barcelona, we will witness a young artist on the threshold of legend.

Joo Won Ahn — American Ballet Theatre (ABT)

A perfect complement to Misseldine, the South Korean Joo Won Ahn combines heroic strength with lyrical artistry. Trained at the Korea National University of Arts, his Albrecht and Solor are marked by noble presence and spiritual depth. Ahn’s technique is crystalline, but it is his quiet humility and sincerity that make his dancing unforgettable.

Friedemann Vogel — Stuttgart Ballet

There are artists who define an era. Friedemann Vogel is one of them. Celebrating twenty-five years with the Stuttgart Ballet, he remains the quintessence of classical elegance. Recipient of the prestigious John Cranko Prize, Vogel is a poet of movement — refined, introspective, timeless. His every gesture speaks of a life dedicated to beauty.

Olga Smirnova & Jacopo Tissi — Dutch National Ballet

After their triumphant Romeo and Juliet in Amsterdam this October, the reunion of Olga Smirnova and Jacopo Tissi on the Liceu stage will be nothing short of magic. Smirnova, with her impeccable Vaganova training and emotional depth, is the embodiment of grace. Tissi, her Italian counterpart, dances with noble grandeur and lyrical power. Together they are a symphony of passion and restraint, a dialogue between two cultures united by the same language: the language of dance.

Sarah Lamb & Ryoichi Hirano — The Royal Ballet, London

Few partnerships possess the chemistry of Sarah Lamb and Ryoichi Hirano.

Lamb, one of the Royal Ballet’s most luminous Principals, first enchanted Barcelona as Aurora in The Sleeping Beauty during the company’s tour — a performance still remembered as one of the Liceu’s most sublime nights. Hirano, her frequent partner, is admired for his dignified artistry and profound musical understanding. Together they weave refinement and passion into the purest harmony.

Hannah O’Neill — Étoile, Paris Opera Ballet

The Paris Opera Ballet’s newly appointed étoile, Hannah O’Neill, is the embodiment of elegance reborn. Of Japanese and New Zealand heritage, she unites precision, fire, and serenity in equal measure. Her Giselle at the Palais Garnier was greeted with rapture, and her mastery of Balanchine’s repertory has made her one of the most versatile artists in Paris. In Barcelona, she will bring the luminous spirit of the French school — crystalline, intellectual, yet heartbreakingly beautiful. Hannah O’Neill has conquered audiences with her crystalline technique and inner radiance.

Her Giselle and Aurora at the Palais Garnier were revelations — classical yet alive with emotion. A true specialist in Balanchine, she will bring Parisian chic and Balanchinean brilliance to the Liceu.

Liudmila Konovalova — Vienna State Ballet / Guest Artist

A true Russian jewel, Liudmila Konovalova, trained at the Bolshoi Academy, carries within her the legacy of Moscow’s great classical tradition. Her Odette is a vision of purity; her technique, impeccable. Before arriving in Barcelona, she will appear in London’s Nutcracker and later in Switzerland as Odette/Odile — a testament to her international acclaim. Her presence in the Gala will bring that unique fragrance of Russian romanticism to the evening.

Yuriko Kajiya & Connor Walsh — Houston Ballet

Yuriko Kajiya, born in Aichi, Japan, began her training at eight and became one of the first foreign students at the Shanghai Ballet School. A winner of the Prix de Lausanne, she personifies delicacy, clarity, and integrity. Her partner Connor Walsh, from Virginia, trained at the Kirov Academy and Harid Conservatory, joining Houston Ballet in 2004 and becoming Principal in 2007. Together, Kajiya and Walsh evoke the American romantic ideal — luminous, tender, technically flawless.

Tiler Peck & Roman Mejia — New York City Ballet

From the electric heart of Manhattan comes the most dynamic duo in American ballet today. Tiler Peck, a phenomenon of musical precision and joy, and Roman Mejia, her charismatic partner, will bring to Barcelona the kinetic brilliance of Balanchine’s New York. Their dancing is the embodiment of life itself — quicksilver energy, sparkling rhythm, and the courage to reinvent every phrase anew. Few duos radiate such joy and vitality. Tiler Peck, the radiant muse of Balanchine, and Roman Mejia, her fiery partner, will bring to Barcelona the very spirit of New York: spontaneous, musical, breathtakingly alive. Watching them is to witness rhythm itself made flesh.

Julian MacKay — Bavarian State Ballet

Julian MacKay’s story reads like a modern ballet fairytale. Born in Montana into a family of dancers, trained at the Bolshoi Academy, and polished at The Royal Ballet School, he bridges East and West with ease. Currently a Principal in Munich, he dances Albrecht in Giselle on this very stage in October — a role that marks both his Liceu debut and his artistic homecoming. His return for the Gala will feel like the continuation of a love story between dancer and theatre. Julian MacKay unites Russian discipline with American openness.

He is currently dancing Giselle as Albrecht at the Liceu — and will return for the Gala as both protagonist and promise. His elegance recalls a young Baryshnikov; his artistry, deeply his own.

Ellen Mäkelä, Paolo Calò & David García Lucas — Ballet de Catalunya

The local spirit will shine through the dancers of the Ballet de Catalunya, led by Ellen Mäkelä and Paolo Calò, both First Soloists, and David García Lucas. They represent the vitality and excellence of Catalan dance today — artists of commitment, intelligence, and technical refinement. Their participation links this Gala not only to the great international houses but also to the creative heart of Catalonia itself.

🎶 The Orchestra and the Repertoire

The evening’s live music will be entrusted to the Symphony Orchestra of the Gran Teatre del Liceu, under the baton of Andrea Quinn, renowned for her elegant precision and sensitivity to dancers.

The repertoire will span centuries and continents: from Marius Petipa’s classical grandeur to George Balanchine’s neoclassical architecture, through Lev Ivanov, John Cranko, Kenneth MacMillan, Stanton Welch, Leo Sorribes, and Vincenzo Timpa.

The composers’ names — Tchaikovsky, Massenet, Yates, Bates, Puccini — form a musical bridge between worlds, uniting Russian romanticism, French lyricism, and modern soundscapes.

💫 A Dialogue Between Centuries

To witness From Petipa to Balanchine at the Liceu is to witness ballet’s living history unfold before our eyes. Each dancer brings not only their own artistry but the heritage of their school:

the noble strength of the Russian academies, the clarity of the French tradition, the lyricism of the British style, the vitality of American ballet, and the fresh spirit of Catalonia’s own company.

It will be an evening where styles converse, where past and present meet — where Petipa’s romantic ideals meet Balanchine’s crystalline abstraction.

In that dialogue lies the beauty of ballet itself: ever ancient, ever new.

🕊️ An Unforgettable Night Awaits

To gather such an extraordinary galaxy of talent in one theatre, for two nights only, is something that even the great stages of the world rarely achieve.

For those fortunate enough to be in Barcelona on November 9 or 10, this will be an opportunity to witness not just dance, but living history — to feel the continuity of the art that began with Petipa and still burns with Balanchine’s modern light.

The Liceu — that venerable stage that once welcomed Margot Fonteyn and now embraces the stars of a new century — will once again become the heart of the ballet world.

The chandeliers will shimmer, the orchestra will breathe, and as the curtains rise, time itself will seem to pause.

Because ballet, in its purest form, is not merely an art.

It is the promise of eternity made visible — and on those nights, eternity will dance in Barcelona.

✨ A Dream for Every Ballet Lover

There are moments when the art of ballet transcends the stage — when it becomes a language of the soul, a mirror of beauty itself.

This November, that moment will happen in Barcelona.

On November 9 and 10, 2025, the Gran Teatre del Liceu will open its legendary stage to a gathering of artists so extraordinary that the very idea feels like a dream.

The Gran Gala de Danza: From Petipa to Balanchine, organized by the Ballet de Catalunya and the Gran Teatre del Liceu, will unite an international constellation of stars — a living tribute to ballet’s timeless power and to the genius of those who shaped it.

For us who breathe ballet as if it were air, these two evenings will be sacred.

🩰 The Liceu: A Temple of Memory and Rebirth

Few theatres in the world possess the soul of the Gran Teatre del Liceu.

For more than 175 years, its stage has hosted the greatest legends of music and dance. Here, Margot Fonteyn once illuminated the air with her divine stillness; Rudolf Nureyev, Maya Plisetskaya, and Carla Fracci filled this house with their grace and fire.

To see the Liceu once again become a cathedral of classical dance — this time alive with the brilliance of a new generation — is to feel the continuity of art itself.

From Petipa’s Imperial elegance to Balanchine’s modern geometry, the history of ballet will unfold anew in the city that has always loved both passion and precision.

🎼 The Orchestra, the Repertoire, and the Dream

Under the direction of Andrea Quinn, the Symphony Orchestra of the Gran Teatre del Liceu will perform the music that has shaped ballet’s soul: Tchaikovsky, Massenet, Puccini, Yates, Bates — from romantic to neoclassical, from Petipa’s grandeur to Balanchine’s clarity.

Choreographies by Marius Petipa, George Balanchine, Lev Ivanov, John Cranko, Kenneth MacMillan, Stanton Welch, Leo Sorribes, and Vincenzo Timpa will offer a panorama of styles, eras, and emotions — a living map of ballet itself.

💫 A Dialogue Across Centuries

The Gala’s title — From Petipa to Balanchine — is not just a description; it is a journey.

It evokes the lineage of art: the 19th-century romantic ideal, the 20th-century modern reimagination, and the 21st-century renewal that these dancers embody.

Each artist carries the DNA of their school — Russian precision, French purity, British lyricism, American dynamism, Catalan passion — converging into one voice.

Together, they remind us that ballet, for all its discipline, is ultimately about emotion — about making time stop, if only for a heartbeat.

🕊️ The Promise of an Unforgettable Night

To see all these stars in one theatre, for two nights only, is a privilege few audiences in the world will ever know.

For those who enter the Liceu on November 9 or 10, it will be more than a performance — it will be an act of communion between past and future, between dancer and dreamer.

The chandeliers will shimmer, the orchestra will breathe, and when the curtain rises, we will feel the presence of Fonteyn, Nureyev, Petipa, Balanchine — and the pulse of a new century of dance.

Because ballet, at its heart, is not only movement.

It is memory, spirit, eternity.

And on those nights, eternity will dance again — in Barcelona.

Wednesday, November 5, 2025

Saint Petersburg - Theatre Mariinsky - 3 /9 nov 2025

This week, the Mariinsky Theatre opens its doors to a celebration of classical ballet, where every note, every step, and every turn resonates with centuries of Russian artistry. Tonight, at 19:00, the historic stage will glow under the presence of Oksana Skorik in the immortal role of Odette in Swan Lake. One of the finest Odettes of our time, Skorik transforms each into a language of emotion, each pas de bourrée into a whisper of the swan’s eternal grace. Her grand jetées, soaring with a breathtaking suspension, and her fouettés, spinning with crystalline precision, capture the essence of the , where technical mastery and poetic expression are inseparable. Even Capitaine joins her as the prince, his noble lines and impeccable balance creating the perfect complement to Skorik’s ethereal lyricism. Accompanied by the world-renowned Mariinsky Orchestra, whose interpretation of ’s score has been honed over countless decades, this performance is not merely a presentation of a classic; it is a living, breathing embodiment of the Swan’s tragic beauty and sublime elegance. Few orchestras in the world can claim such intimate knowledge of Swan Lake, and perhaps only the rivals the Mariinsky in this enduring devotion, yet here, in these hallowed halls, the music and dance become one, each amplifying the other in a sublime, almost sacred union.

On Tuesday, 4 November, at 13:00, the exuberant Don Quixote bursts forth on the Mariinsky stage, featuring Maria Chernyvskaya and Ruslan Stenyushkin in the principal roles. The ballet, with Ludwig Minkus’ sparkling score, demands not only courage but flair, and Chernyvskaya and Stenyushkin rise to the occasion. Every pas de bourrée shimmers with precision; each grand jetée seems to defy gravity, while tours en attitude and fouettés punctuate the choreography with dazzling virtuosity. That same evening, at 19:00, Nadezhda Batoeva and Alexei Timofeyev reprise the roles, bringing a fresh intensity and breathtaking bravura to Minkus’ joyous, technically demanding masterpiece. These performances, full of character, sparkle, and joie de vivre, demonstrate how classical ballet can combine both athleticism and artistry, a core principle of the Vaganova method.

Thursday, 6 November, at 19:00, showcases a quartet of one-act masterpieces: Le Carnaval, Le Spectre de la rose, The Swan, and Schéhérazade, all by Michel Fokine. Principals Olesya Novikova, Maria Bulanova, and Kristina Shapran, alongside Ryoma Hudzeleu, Margarita Frolova, Anton Osetrov, Halid Mardini, Anastasia Asaben, and Nikita Kopunov, bring these early 20th-century jewels to life. Each ballet is a unique prism of emotion: playful, romantic, exotic, and sometimes enigmatic. Novikova’s poised balances in Le Spectre de la rose evoke the ghostly elegance of Fokine’s choreography, while Bulanova and Shapran in Schéhérazade radiate dramatic intensity, moving with sinuous fluidity through complex pas de bourrée and turns en attitude. Every leap, every arabesque, every intricate detail of the choreography becomes a testament to the rigorous training and deep musicality of these extraordinary dancers. Once again, the Mariinsky Orchestra elevates every nuance of the score, ensuring the music flows with the dancers’ lines, creating moments of true magic.

Friday, 7 November, brings one of the crown jewels of classical ballet: The Sleeping Beauty at 19:00. Viktoria Tereshkina embodies Princess Aurora with an unparalleled lyricism. Her port de bras is a symphony of grace, her grand jetées soar with luminous clarity, her pirouettes turn like polished silver in the theatre’s warm light. Even Capitaine and Valeria Kuznetsova join her, crafting a trio that combines elegance, strength, and storytelling through every intricate movement. The ballet, Petipa’s masterpiece, is both a technical triumph and a narrative jewel, and Tereshkina’s performance honors this legacy with a depth and purity that few can match.

Saturday, 8 November, offers two performances of The Sleeping Beauty. At 12:00, Maria Shirinkina, supported by Nikita Korneyev and Oxana Skorik, brings a youthful radiance and flawless lyricism to Aurora’s awakening, her port de bras flowing like silk, each pas de bourrée executed with crystalline precision. That evening, at 19:00, Renata Shakirova, with Minchul Jeon and Ekaterina Kondaurova, delivers a performance of staggering technical brilliance. Her fouettés spin with dizzying control, her tours en attitude are impeccably balanced, and her grand jetées fly across the stage with the strength of a seasoned prima ballerina. Shakirova’s interpretation demonstrates how sheer technique, when paired with artistry, can transform even the most familiar steps into something thrillingly new.

Finally, on Sunday, 9 November, at 12:00, May Nagahisa graces the stage as Aurora, accompanied by Yevgeny Konovalov and Yesenia Anushenkova. Nagahisa’s lyrical subtlety, her delicate port de bras, and her expressive pas de bourrée bring a poetic intimacy to the character, revealing the quiet, tender magic behind every leap and pirouette. The audience is drawn into a world of refinement and beauty, where each movement carries centuries of Vaganova tradition, every step a testament to the enduring power of Russian classical ballet.

Throughout the week, the Mariinsky Orchestra—one of the finest ballet orchestras in the world—imbues every performance with unparalleled musical depth, sensitivity, and richness. Whether in the historic Mariinsky Theatre, where every corner whispers history, or in the modern Mariinsky II, where clarity and acoustics bring every nuance to the fore, the orchestra and dancers move together as one living, breathing organism. Each fouetté, every grand jetée, every pas de bourrée, every arabesque and turn en attitude is magnified by the music, creating an experience of pure transcendence.

This week at the Mariinsky is not just a series of performances—it is a celebration of artistry, history, and technical mastery. Oksana Skorik, Viktoria Tereshkina, Renata Shakirova, May Nagahisa, Maria Shirinkina, Nadezhda Batoeva, Oxana Skorik, Ekaterina Kondaurova, and the extraordinary ensemble of principals and soloists are more than performers; they are living embodiments of the Vaganova tradition, carriers of a legacy that spans generations. In every movement, every glance, every leap, the audience witnesses ballet at its most transcendent—a communion of music, motion, and timeless beauty, performed in the theatres that have been its heart for over a century.

На этой неделе Мариинский театр открывает свои двери для праздника классического балета, где каждая нота, каждый шаг и каждый поворот отражают многовековую историю русского искусства. Сегодня вечером, в 19:00, историческая сцена засияет под звуки Оксаны Скорик в бессмертной партии Одетты в «Лебедином озере». Одна из лучших Одетт нашего времени, Скорик превращает каждое пор-де-бра в язык эмоций, каждое па-де-бурре – в шёпот вечной лебединой грации. Её грандиозные жете, парящие в захватывающей дух зависании, и фуэте, вращенные с кристальной точностью, передают суть традиции Вагановой, где техническое мастерство и поэтическая выразительность неразделимы. Даже Капитан присоединяется к ней в роли принца, его благородные линии и безупречная балансировка создают идеальное дополнение к воздушному лиризму Скорик. В сопровождении всемирно известного оркестра Мариинского театра, чья интерпретация партитуры Чайковского оттачивалась бесчисленные десятилетия, это представление — не просто презентация классики; это живое, дышащее воплощение трагической красоты и возвышенной элегантности «Лебедя». Немногие оркестры в мире могут похвастаться таким глубоким знанием «Лебединого озера», и, возможно, только Большой может соперничать с Мариинским в этой непреходящей преданности, но здесь, в этих священных залах, музыка и танец сливаются воедино, усиливая друг друга в возвышенном, почти священном союзе.

Во вторник, 4 ноября, в 13:00 на сцене Мариинского театра появится лихой «Дон Кихот» с Марией Чернивской и Русланом Стенюшкиным в главных партиях. Балет с искрометной партитурой Людвига Минкуса требует не только смелости, но и таланта, и Чернивская и Стенюшкин оказываются на высоте. Каждое па-де-бурре сверкает точностью; Каждый гранд-жёте словно бросает вызов гравитации, а туры и фуэте дополняют хореографию ослепительной виртуозностью. В тот же вечер, в 19:00, Надежда Батоева и Алексей Тимофеев вновь исполнят свои партии, привнося новую глубину и захватывающую дух браваду в жизнерадостный, технически сложный шедевр Минкуса. Эти спектакли, полные самобытности, искромётности и жизнерадостности, демонстрируют, как классический балет может сочетать в себе атлетизм и артистизм – основополагающий принцип метода Вагановой.

В четверг, 6 ноября, в 19:00 будет представлен квартет одноактных шедевров: «Карнавал», «Видение розы», «Лебедь» и «Шехеразада» – все в постановке Михаила Фокина. Ведущие Олеся Новикова, Мария Буланова и Кристина Шапран, а также Рёма Гуджелев, Маргарита Фролова, Антон Осетров, Халид Мардини, Анастасия Асабен и Никита Копунов оживляют эти жемчужины начала XX века. Каждый балет – это уникальная призма эмоций: игривых, романтичных, экзотических, а порой и загадочных. Великолепные балансы и точные фуэте Новиковой в «Видении розы» напоминают о призрачной элегантности хореографии Фокина, в то время как Буланова и Шапран в «Шехеразаде» излучают драматическую интенсивность, двигаясь с извилистым движением через сложные па-де-бурре и повороты в аттитюдах. Каждый прыжок, каждый арабеск, каждая замысловатая деталь хореографии становятся свидетельством тщательной подготовки и глубокой музыкальности этих выдающихся танцовщиков. Вновь оркестр Мариинского театра доводит до совершенства каждую деталь партитуры, обеспечивая гармоничное сочетание музыки и линий танцовщиц, создавая мгновения настоящего волшебства.

В пятницу, 7 ноября, в 19:00 состоится премьера одной из жемчужин классического балета: «Спящей красавицы». Виктория Терешкина воплощает образ принцессы Авроры с непревзойденным лиризмом. Её порт-де-бра – это симфония грации, её грандиозные жете парят с сияющей чистотой, её фуэте подобны полированному серебру в тёплом свете театра. К ней присоединяются даже Капитанша и Валерия Кузнецова, создавая трио, сочетающее элегантность, силу и повествовательность в каждом сложном движении. Этот балет, шедевр Петипа, – одновременно технический триумф и жемчужина повествования, и выступление Терешкиной чтит это наследие с глубиной и чистотой, с которыми мало кто может сравниться.

В субботу, 8 ноября, будут представлены два представления «Спящей красавицы». В 12:00 Мария Ширинкина при поддержке Никиты Корнеева и Оксаны Скорик привнесёт юношеское сияние и безупречную лирику в пробуждение Авроры. Её порт-де-бра струятся, словно шёлк, а каждое па-де-бурре исполнено с кристальной точностью. В тот же вечер, в 19:00, Рената Шакирова вместе с Минчул Чоном и Екатериной Кондауровой представит выступление, поражающее своей техникой. Её фуэте вращаются с головокружительной точностью, её тур-ан-аттитюд безупречно сбалансированы, а гранд-жёте парят по сцене с силой опытной примы-балерины. Интерпретация Шакировой демонстрирует, как безупречная техника в сочетании с артистизмом может превратить даже самые привычные движения в нечто захватывающе новое.

Cette semaine, le Théâtre Mariinsky ouvre ses portes à une célébration du ballet classique, où chaque note, chaque pas, chaque mouvement résonne de siècles d'art russe. Ce soir, à 19h, la scène historique s'illuminera sous la présence d'Oksana Skorik dans l'immortelle Odette du Lac des cygnes. L'une des plus grandes Odette de notre époque, Skorik transforme chaque port de bras en un langage d'émotion, chaque pas de bourrée en un murmure de la grâce éternelle du cygne. Ses grands jetés, d'une suspension à couper le souffle, et ses fouettés, tournoyant avec une précision cristalline, capturent l'essence de la tradition Vaganova, où maîtrise technique et expression poétique sont indissociables. Même Capitaine, dans le rôle du prince, la rejoint, ses lignes nobles et son équilibre impeccable complétant à merveille le lyrisme éthéré de Skorik. Accompagné par le célèbre Orchestre Mariinsky, dont l'interprétation de la partition de Tchaïkovski s'est affinée au fil des décennies, ce spectacle n'est pas simplement la présentation d'un classique ; c'est une incarnation vivante de la beauté tragique et de l'élégance sublime du Lac des cygnes. Peu d'orchestres au monde peuvent se targuer d'une connaissance aussi intime du Lac des cygnes, et seul le Bolchoï rivalise peut-être avec le Mariinsky dans cette dévotion inébranlable. Pourtant, ici, dans ces salles mythiques, la musique et la danse ne font plus qu'un, chacune sublimant l'autre dans une union sublime, presque sacrée.

Le mardi 4 novembre à 13h00, l'exubérant Don Quichotte fait une entrée fracassante sur la scène du Mariinsky, avec Maria Chernyvskaya et Ruslan Stenyushkin dans les rôles principaux. Le ballet, sur la partition étincelante de Ludwig Minkus, exige non seulement du courage, mais aussi du talent, et Chernyvskaya et Stenyushkin sont à la hauteur. Chaque pas de bourrée brille d'une précision remarquable. Chaque grand jeté semble défier la gravité, tandis que les tours en attitude et les fouettés ponctuent la chorégraphie d'une virtuosité éblouissante. Le même soir, à 19h00, Nadezhda Batoeva et Alexei Timofeyev reprennent les rôles, insufflant une intensité nouvelle et une bravoure à couper le souffle au chef-d'œuvre joyeux et techniquement exigeant de Minkus. Ces représentations, pleines de caractère, d'éclat et de joie de vivre, démontrent comment le ballet classique peut allier athlétisme et art, un principe fondamental de la méthode Vaganova.

Le jeudi 6 novembre à 19h00, découvrez un quatuor de chefs-d'œuvre en un acte : Le Carnaval, Le Spectre de la rose, Le Cygne et Schéhérazade, tous de Michel Fokine. Les étoiles Olesya Novikova, Maria Bulanova et Kristina Shapran, accompagnées de Ryoma Hudzeleu, Margarita Frolova, Anton Osetrov, Halid Mardini, Anastasia Asaben et Nikita Kopunov, donnent vie à ces joyaux du début du XXe siècle. Chaque ballet est un prisme unique d'émotions : enjoué, romantique, exotique et parfois énigmatique. Dans Le Spectre de la rose, l'équilibre parfait et les fouettés précis de Novikova évoquent l'élégance fantomatique de la chorégraphie de Fokine, tandis que Bulanova et Shapran, dans Schéhérazade, irradient une intensité dramatique, se mouvant avec une fluidité sinueuse à travers des pas de bourrée et des tours en attitude complexes. Chaque saut, chaque arabesque, chaque détail subtil de la chorégraphie témoigne de la formation rigoureuse et de la profonde musicalité de ces danseurs extraordinaires. Une fois encore, l'Orchestre du Mariinsky sublime chaque nuance de la partition, assurant une parfaite harmonie entre la musique et les mouvements des danseurs, créant ainsi des moments de pure magie.

Le vendredi 7 novembre, venez admirer l'un des joyaux du ballet classique : La Belle au bois dormant à 19h00. Viktoria Terechkina incarne la princesse Aurore avec un lyrisme incomparable. Son port de bras est une symphonie de grâce, ses grands jetés s'élèvent avec une clarté lumineuse, ses fouettés tournoient comme de l'argent poli sous la douce lumière du théâtre. Capitaine et Valeria Kuznetsova la rejoignent, formant un trio qui allie élégance, force et narration à travers chaque mouvement complexe. Ce ballet, chef-d'œuvre de Petipa, est à la fois un triomphe technique et un bijou narratif, et la performance de Terechkina honore cet héritage avec une profondeur et une pureté que peu peuvent égaler.

Le samedi 8 novembre, deux représentations de La Belle au bois dormant sont proposées. À 12h00, Maria Shirinkina, accompagnée de Nikita Korneyev et Oxana Skorik, insuffle une fraîcheur juvénile et un lyrisme irréprochable à l'éveil d'Aurore. Son port de bras, d'une fluidité soyeuse, et chaque pas de bourrée, exécuté avec une précision cristalline, illuminent la scène. Le soir même, à 19h00, Renata Shakirova, avec Minchul Jeon et Ekaterina Kondaurova, offre une performance d'une virtuosité technique époustouflante. Ses fouettés tournoient avec une maîtrise vertigineuse, ses tours en attitude sont d'un équilibre parfait et ses grands jetés traversent la scène avec la puissance d'une prima ballerina chevronnée. L'interprétation de Shakirova démontre comment la technique pure, alliée à l'art, peut métamorphoser même les pas les plus familiers en une expérience d'une nouveauté saisissante.

Thursday, October 30, 2025

Paris - Giselle - 31 October 2025 ( last performance)

🌑 October 31 – The Night of the Wilis

Tonight, Friday, October 31, 2025, the Palais Garnier opens its doors to a world where reality dissolves, and magic reigns supreme. The veil between worlds grows thin. Shadows and moonlight stretch across the grand stage, and the forest of the Wilis rises, white and shimmering, ready to enact its timeless ritual of beauty, sorrow, and vengeance.

For weeks, the question has lingered over Paris: Who will be Giselle? Tonight, the mystery is revealed — the luminous Sae Eun Park will embody Giselle, the ideal, ethereal, and transcendent. She is not merely a performer; she is a living legend, carrying every audience member into the realm of the story, where love and forgiveness coexist with heartbreak and death. Her every movement is poetry, her every glance a spell. Each step, each turn, each delicate pause on the misted stage breathes life into the timeless legend of the young girl whose love is so pure that it transcends even death itself.

Opposite her, Germain Louvet becomes Albrecht — the perfect complement to Giselle, a partner of passion, regret, and devotion. Together, they will recreate the story that has haunted hearts for centuries: the love that blooms in innocence, the betrayal that shatters it, and the forgiveness that redeems it all. Each pas de deux is a conversation of souls, wordless yet filled with music, tension, and longing.

Clara Mousseigne reigns as Myrtha, Queen of the Wilis. Her presence is a vision of ice and command, each gesture slicing through the mist like moonlight on still water. Around her, the Wilis glide and float — ethereal, haunting, yet exquisite. Their sorrow is tempered by beauty, their vengeance softened by the music of Adolphe Adam.

And the night’s extraordinary cast surrounds these central figures, each contributing to the enchantment:

Nicola Di Vico as Hilarion, steadfast, tragic, and devoted.
Elizabeth Partington in the Pas de deux (paysanne), full of charm and technical brilliance.
Théo Ghilbert in the Pas de deux (paysan), agile, joyful, and alive with energy.
Rémi Singer-Gassner as the other Pas de deux (paysan), his dancing precise, spirited, and expressive.
Jean-Baptiste Chavignier as Wilfried, commanding presence and exquisite technique.
Le Duc de Courlande, regal and dignified, adding depth and narrative to the royal tableau.

Every detail of this night has been orchestrated to pull the audience into another world: the tremble of the violins, the hush of anticipation, the mist curling across the stage, the subtle shimmer of moonlight on countless skirts of tulle. Time itself seems to pause.

Sae Eun Park does not simply become Giselle; she channels every Giselle who has ever danced on the world’s stages — the grace of Dorothée Gilbert, the brilliance of Hannah O’Neill, the elegance of Héloïse Bourdon, the radiance of Amandine Albisson, the luminous artistry of Léonore Baulac — and yet she is wholly herself, a new incarnation, a Giselle reborn, glowing through the mist, touching every soul in the theatre.

Outside, Paris celebrates Halloween — masks, laughter, and candlelight flickering in windows. Inside the Palais Garnier, another world opens. The city, the streets, the distant hum of life — all vanish when the first trembling chords of Adam’s music sound. The audience holds its breath. The mist rises. And from the darkness, she appears. Giselle. Alive, fragile, eternal.

Tonight, the final Giselle of October — the last in this extraordinary series — will etch itself into memory. This is a night for the senses and the soul, a night when the theatre becomes a living forest, when the Wilis rise not only in dance but in spirit, and when the impossible becomes tangible: love beyond betrayal, forgiveness beyond death, beauty beyond words.

✨ Sae Eun Park — the divine Giselle, luminous and immortal.

✨ Germain Louvet — Albrecht, the perfect partner in love and sorrow.

✨ Clara Mousseigne — Myrtha, Queen of the Wilis, radiant and commanding.

✨ Nicola Di Vico — Hilarion, devoted and tragic.

✨ Elizabeth Partington — Pas de deux (paysanne), charming and brilliant.

✨ Théo Ghilbert — Pas de deux (paysan), agile and spirited.

✨ Rémi Singer-Gassner — Pas de deux (paysan), precise and expressive.

✨ Jean-Baptiste Chavignier — Wilfried, commanding and elegant.

✨ Le Duc de Courlande — regal, dignified, and noble.

✨ The Palais Garnier — a temple of wonder, where the veil lifts and the spirit of ballet reigns.

When the curtain falls and the last note fades into silence, the audience will leave in awe, carrying the echo of the music, the shimmer of mist, the memory of a Giselle who was more than a dancer. She was every soul who has loved, suffered, and forgiven. The Wilis will dissolve into the night, the moon will shine over Paris, and yet the magic will remain.

Tonight, the legend continues. Tonight, Giselle lives.

🌑 31 octobre – La Nuit des Wilis

Ce soir, vendredi 31 octobre 2025, le Palais Garnier ouvre ses portes sur un monde où la réalité se dissout et où la magie règne en maître. Le voile entre les mondes s'amincit. Ombres et clair de lune s'étendent sur la grande scène, et la forêt des Wilis se dresse, blanche et scintillante, prête à accomplir son rituel intemporel de beauté, de douleur et de vengeance.

Depuis des semaines, une question plane sur Paris : qui sera Giselle ? Ce soir, le mystère est levé : la lumineuse Sae Eun Park incarnera Giselle, l'idéal, l'éthérée, la transcendante. Elle n'est pas une simple interprète ; elle est une légende vivante, transportant chaque spectateur au cœur du récit, où l'amour et le pardon côtoient le chagrin et la mort. Chacun de ses mouvements est poésie, chacun de ses regards, enchantement. Chaque pas, chaque virage, chaque pause délicate sur la scène brumeuse insuffle la vie à la légende intemporelle de la jeune fille dont l'amour est si pur qu'il transcende même la mort.

Face à elle, Germain Louvet devient Albrecht – le complément parfait de Giselle, un partenaire de passion, de regret et de dévotion. Ensemble, ils recréeront l'histoire qui hante les cœurs depuis des siècles : l'amour qui éclot dans l'innocence, la trahison qui le brise et le pardon qui le rachète. Chaque pas de deux est un dialogue d'âmes, silencieux mais empli de musique, de tension et de désir.

Clara Mousseigne règne en Myrtha, Reine des Wilis. Sa présence est une vision de glace et d'autorité, chaque geste fendant la brume comme le clair de lune sur l'eau calme. Autour d'elle, les Wilis glissent et flottent – éthérées, envoûtantes et pourtant exquises. Leur chagrin est tempéré par la beauté, leur vengeance adoucie par la musique d'Adolphe Adam.

Et la distribution exceptionnelle de cette soirée entoure ces figures centrales, contribuant chacune à la magie du spectacle :

Nicola Di Vico, dans le rôle d'Hilarion, inébranlable, tragique et dévoué.

Elizabeth Partington, dans le Pas de deux (paysanne), pleine de charme et d'une virtuosité technique remarquable.

Théo Ghilbert, dans le Pas de deux (paysan), agile, joyeux et débordant d'énergie.

Rémi Singer-Gassner, dans l'autre Pas de deux (paysan), dont la danse est précise, vive et expressive.

Jean-Baptiste Chavignier, dans le rôle de Wilfried, impose le respect par sa présence et son art.

Le Duc de Courlande, majestueux et digne, apporte profondeur et dimension narrative au tableau royal.

Chaque détail de cette soirée a été orchestré pour transporter le public dans un autre monde : le frémissement des violons, le silence de l'attente, la brume qui ondule sur scène, le subtil scintillement du clair de lune sur d'innombrables jupes de tulle. Le temps semble suspendu.

Sae Eun Park ne se contente pas d'incarner Giselle ; elle canalise toutes les Giselle qui ont foulé les scènes du monde entier – la grâce de Dorothée Gilbert, l'éclat d'Hannah O'Neill, l'élégance d'Héloïse Bourdon, le rayonnement d'Amandine Albisson, le génie lumineux de Léonore Baulac – et pourtant, elle est pleinement elle-même, une nouvelle incarnation, une Giselle renaissante, rayonnant à travers la brume, touchant chaque âme dans le théâtre.

Dehors, Paris célèbre Halloween : masques, rires et lueurs de bougies aux fenêtres. À l'intérieur du Palais Garnier, un autre monde s'ouvre. La ville, les rues, le murmure lointain de la vie – tout s'évanouit dès les premières notes vibrantes de la musique d'Adam. Le public retient son souffle. La brume se lève. Et des ténèbres, elle apparaît. Giselle. Vivante, fragile, éternelle.

Ce soir, la dernière Giselle d'octobre – la dernière de cette série extraordinaire – restera gravée dans les mémoires. C'est une nuit pour les sens et l'âme, une nuit où le théâtre se fait forêt vivante, où les Wilis s'élèvent non seulement par la danse mais aussi par l'esprit, et où l'impossible devient tangible : un amour au-delà de la trahison, un pardon au-delà de la mort, une beauté indicible.

✨ Sae Eun Park — la divine Giselle, lumineuse et immortelle.

✨ Germain Louvet — Albrecht, le partenaire idéal dans l'amour et le chagrin.

✨ Clara Mousseigne — Myrtha, Reine des Wilis, radieuse et imposante.

✨ Nicola Di Vico — Hilarion, dévoué et tragique.

✨ Elizabeth Partington — Pas de deux (paysanne), charmante et brillante.

✨ Théo Ghilbert — Pas de deux (paysan), agile et plein de fougue.

✨ Rémi Singer-Gassner — Pas de deux (paysan), précis et expressif.

✨ Jean-Baptiste Chavignier — Wilfried, imposant et élégant.

✨ Le Duc de Courlande — royal, digne et noble.

✨ Le Palais Garnier — un temple de la magie, où le voile se lève et où règne l'esprit du ballet.

Quand le rideau tombera et que la dernière note s'évanouira dans le silence, le public quittera la salle, émerveillé, emportant avec lui l'écho de la musique, le scintillement de la brume, le souvenir d'une Giselle qui était bien plus qu'une danseuse. Elle était chaque âme qui a aimé, souffert et pardonné. Les Wilis disparaîtront dans la nuit, la lune brillera sur Paris, et pourtant la magie demeurera.

Ce soir, la légende continue. Ce soir, Giselle est vivante.

Moscow - Don Quixote - Bolshoi- October 2025

Don Quixote at the Bolshoi: Three Nights of Spanish Brilliance

Moscow’s legendary Bolshoi Theatre is preparing to open its vast stage to one of the great jewels of the classical repertoire — Don Quixote. This autumn promises a celebration of youthful brilliance and artistic mastery as some of Russia’s most exciting rising stars take their turns as Kitri, alongside world-renowned principals and the orchestra’s sparkling interpretation of Minkus’ effervescent score.

The XIV Moscow International Ballet Competition proved to be a showcase of astonishing talent, and one of its brightest discoveries was Anastasia Smirnova, winner of the prestigious Second Prize in 2022. The first prize was not awarded, so we could say that we are facing the performance of the best Kitri winner of the contest. On October 29, ballet lovers will witness her debut as Kitri on the Bolshoi’s immense stage — a date that deserves a bold circle on every dance enthusiast’s calendar. Smirnova’s style blends clarity and precision with a vibrant, almost incandescent joy. Her fearless technique and natural charisma have already marked her as a dancer destined for international stardom, and her Kitri promises to be a landmark performance. Alexei Putintsev Basilio will offer us a fabulous performance, this artist who is currently a first soloist, there is no doubt that he will be a star of the company, we are facing an extraordinary cast full of youthful fire and Spanish flavor that will delight the audience who attend this evening of October 29, a memorable day for these young artists.

The festivities begin on October 28 with Maria Koshkaryova in the title role. Koshkaryova, another remarkable winner of the same competition, brings a radiant freshness and effortless virtuosity to Kitri. Her partner, the celebrated Denis Rodkin, one of the Bolshoi’s great male stars, will embody Basilio with his trademark panache and impeccable partnering. Together, they are expected to ignite the stage in a performance brimming with Spanish fire and Russian artistry.

On October 30, the series concludes with a cast that will thrill connoisseurs: Eleonora Sevenard, a ballerina beloved worldwide for her lyrical lines and fearless technical brilliance, steps into Kitri’s dazzling red dress. She will dance alongside the charismatic and superstar Vladislav Lantratov ¡¡¡

Across these three nights, Minkus’ jubilant score — played with characteristic brilliance by the Bolshoi Orchestra — will transport audiences straight to a sunlit, idealized Spain. With its bravura dances, glittering pas de deux, and folk-inspired rhythms, Don Quixote is both a celebration of pure dance and a showcase for the next generation of Russian ballet stars.

For fans of classical ballet, these performances feel like the perfect farewell to October: three nights of Don Quixote with three unforgettable Kitris. Smirnova, Koshkaryova, and Sevenard represent not only the future of Russian ballet but also the continuation of its golden tradition — dancers we will surely one day see as Odette and Odile, Giselle, and beyond.

This is ballet at its most thrilling — and Moscow, with its Bolshoi Theatre glittering in autumn light, is about to host an event for the ages.

Don Quichotte au Bolchoï : Trois Nuits de Splendeur Espagnole

Le légendaire Théâtre Bolchoï de Moscou s'apprête à ouvrir sa vaste scène à l'un des plus grands joyaux du répertoire classique : Don Quichotte. Cet automne promet une célébration de la jeunesse et de la maîtrise artistique, avec quelques-unes des étoiles montantes russes les plus prometteuses qui incarneront Kitri, aux côtés de solistes de renommée mondiale et de l'interprétation éclatante de la partition pétillante de Minkus par l'orchestre.

Le XIVe Concours International de Ballet de Moscou a été une vitrine de talents exceptionnels, et l'une de ses plus brillantes découvertes fut Anastasia Smirnova, lauréate du prestigieux Deuxième Prix en 2022. Le Premier Prix n'ayant pas été décerné, nous pouvons dire que nous assistons à la performance de la meilleure Kitri du concours. Le 29 octobre, les amateurs de ballet assisteront à ses débuts dans le rôle de Kitri sur l'immense scène du Bolchoï – une date à inscrire au calendrier de tout amateur de danse. Le style de Smirnova allie clarté et précision à une joie vibrante, presque incandescente. Sa technique audacieuse et son charisme naturel l'ont déjà propulsée au rang de danseuse promise à une célébrité internationale, et son Kitri promet d'être une performance marquante. Alexei Putintsev Basilio nous offrira une performance fabuleuse. Cet artiste, actuellement premier soliste, sera sans aucun doute une étoile de la compagnie. Nous sommes face à une distribution extraordinaire, pleine de fougue juvénile et de saveur espagnole, qui ravira le public de ce 29 octobre, une journée mémorable pour ces jeunes artistes.

Les festivités débuteront le 28 octobre avec Maria Koshkaryova dans le rôle-titre. Koshkaryova, autre lauréate remarquée du même concours, apporte à Kitri une fraîcheur rayonnante et une virtuosité naturelle. Son partenaire, le célèbre Denis Rodkin, l'une des grandes stars masculines du Bolchoï, incarnera Basilio avec le panache qui le caractérise et un partenariat impeccable. Ensemble, ils enflammeront la scène lors d'un spectacle débordant de feu espagnol et d'art russe.

Le 30 octobre, la série se conclura avec une distribution qui ravira les connaisseurs : Eleonora Sevenard, ballerine mondialement appréciée pour ses lignes lyriques et son audace technique, enfilera la robe rouge éclatante de Kitri. Elle dansera aux côtés du charismatique Ratmir Dzhumaliev, dont Basilio est réputé pour sa verve et son charme comique.

Au cours de ces trois soirées, la partition jubilatoire de Minkus, interprétée avec le brio caractéristique par l'Orchestre du Bolchoï, transportera le public directement dans une Espagne ensoleillée et idéalisée. Avec ses danses de bravoure, ses pas de deux scintillants et ses rythmes d'inspiration folklorique, Don Quichotte est à la fois une célébration de la danse pure et une vitrine pour la prochaine génération de stars du ballet russe.

Pour les amateurs de ballet classique, ces représentations sont un parfait adieu à octobre : trois soirées de Don Quichotte avec trois Kitri inoubliables. Smirnova, Koshkaryova et Sevenard représentent non seulement l'avenir du ballet russe, mais aussi la continuité de sa tradition dorée – des danseuses que nous retrouverons sûrement un jour sous les traits d'Odette et d'Odile, de Giselle et d'autres.

C'est le ballet à son apogée – et Moscou, avec son Théâtre Bolchoï scintillant sous la lumière automnale, s'apprête à accueillir un événement historique.

«Дон Кихот» в Большом: три вечера испанского великолепия

Легендарный московский Большой театр готовится открыть свою огромную сцену для одной из жемчужин классического репертуара — «Дон Кихота». Эта осень обещает праздник юного блеска и артистического мастерства: в партии Китри выступят одни из самых ярких восходящих российских звезд, а также всемирно известные ведущие солисты, а оркестр представит искрометную интерпретацию искрометной партитуры Минкуса.

XIV Московский международный конкурс артистов балета стал смотром поразительных талантов, и одним из его самых ярких открытий стала Анастасия Смирнова, обладательница престижной Второй премии 2022 года. Первая премия не была присуждена, поэтому можно сказать, что нас ждет выступление лучшей победительницы конкурса в роли Китри. 29 октября любители балета станут свидетелями ее дебюта в роли Китри на огромной сцене Большого — дата, которая заслуживает того, чтобы поместить ее в свой календарик каждый ценитель танца. Стиль Смирновой сочетает в себе ясность и точность с яркой, почти ослепительной радостью. Её бесстрашная техника и природная харизма уже сделали её танцовщицей, обречённой на международную славу, а её Китри обещает стать знаковым выступлением. Алексей Путинцев, Базиль, представит нам великолепное выступление. Этот артист, являющийся в настоящее время первым солистом, несомненно, станет звездой труппы. Перед нами необыкновенный состав, полный молодого огня и испанского колорита, который порадует публику, пришедшую сегодня вечером 29 октября, в памятный день для этих молодых артистов.

Праздник откроется 28 октября Марией Кошкарёвой в заглавной партии. Кошкарёва, ещё одна выдающаяся победительница того же конкурса, привнесёт в образ Китри сияющую свежесть и непринуждённую виртуозность. Её партнёр, прославленный Денис Родькин, один из величайших звёзд Большого театра, воплотит образ Базиля с его фирменным шармом и безупречным партнёрством. Вместе они, как ожидается, зажгут сцену в представлении, наполненном испанским огнем и русским мастерством.

30 октября сериал завершится выступлением артистов, которые порадуют знатоков: Элеонора Севенард, балерина, любимая во всем мире за лирические линии и бесстрашную технику, выйдет в ослепительно красном платье Китри. Она будет танцевать вместе с харизматичным и суперзвездой Владиславом Лантратовым.

В течение этих трех вечеров ликующая партитура Минкуса, исполненная с характерным блеском оркестром Большого театра, перенесет зрителей в залитую солнцем, идеализированную Испанию. «Дон Кихот» с его бравурными танцами, сверкающими па-де-де и народными ритмами — это одновременно и праздник чистого танца, и смотр для следующего поколения звезд российского балета.

Для поклонников классического балета эти спектакли станут идеальным прощанием с октябрем: три вечера «Дон Кихота» с тремя незабываемыми Китри. Смирнова, Кошкарёва и Севенард олицетворяют не только будущее русского балета, но и продолжение его золотой традиции — танцовщицы, которых мы обязательно когда-нибудь увидим в Одетте и Одиллии, Жизели и не только.

Это балет в самом захватывающем проявлении, и Москва, с её Большим театром, сверкающим в осеннем свете, готовится принять событие, которое запомнится на долгие годы.

Tuesday, October 28, 2025

Three Dates, Three Cities, Three Operas, Three Composers

In life, coincidences sometimes appear with such elegance that they feel almost meaningful, as if history itself had decided to leave a subtle signature. In this article, I would like to reflect on one of those coincidences that is particularly close to my heart, because it unites three of my favorite operas, written by three of the greatest composers in history, all premiered on the same calendar date: October 29.

Wolfgang Amadeus Mozart – Don Giovanni – October 29, 1787
Gaetano Donizetti – Roberto Devereux – October 29, 1837
Giuseppe Verdi – La forza del destino – October 29, 1862

Three masterpieces, three different centuries, three different cities, and three completely different musical worlds—yet all connected by a single date.

Mozart and the Birth of a Legend: Don Giovanni

Mozart composed Don Giovanni primarily in Vienna, completing the final preparations in Prague, where the opera was premiered. The first performance took place on Monday, October 29, 1787, and its success was immediate and overwhelming. It was one of those rare evenings in musical history when a masterpiece is instantly recognized as such.

Prague adored Mozart, and Don Giovanni was received with enthusiasm bordering on reverence. The opera combined dramatic depth, psychological complexity, humor, darkness, and extraordinary musical invention in a way that had never been heard before. Its blend of dramma giocoso and moral tragedy redefined what opera could be.

Today, Don Giovanni remains one of the most frequently performed operas in the world—arguably alongside Aida and Rigoletto. It has generated countless recordings, many of them extraordinary. Among the most memorable interpretations are those featuring Joan Sutherland and Maria Ewing, both unforgettable in their own ways. Personally, my favorite recording includes what I consider the finest Donna Anna in discography, sung by Edita Gruberova in the 1980s—a performance of exceptional vocal purity and dramatic intelligence.

Donizetti, the Bel Canto Genius: Roberto Devereux

Exactly fifty years later, on Sunday, October 29, 1837, another great opera premiered: Roberto Devereux by Gaetano Donizetti, at the Teatro San Carlo in Naples.

Donizetti was one of the most prolific composers in history, having written more than seventy operas—an astonishing output by any standard. Yet quantity never diminished quality. Many of his works are true jewels of musical history, filled with melodies of extraordinary inspiration and emotional truth.

Donizetti was deeply influenced by his teachers and, ultimately, by Mozart himself. One can clearly hear Mozart’s elegance and balance transformed through Donizetti’s bel canto sensibility. And the lineage continues: there is something of Donizetti in Verdi. The young Verdi attended performances at La Scala in Milan when Donizetti was already famous, long before Verdi himself had premiered an opera. This quiet passing of influence from one generation to the next is one of the most beautiful aspects of operatic history.

Roberto Devereux is not performed as frequently as Don Giovanni, but every time it is staged, it becomes a major event. In recent decades, the opera has been rediscovered and reevaluated, largely thanks to Edita Gruberova, who is widely regarded as the greatest Queen Elisabetta ever to grace the stage. Fortunately, her performances live on in recordings that preserve her extraordinary artistry.

Verdi and Destiny: La forza del destino

The third opera in this remarkable sequence is Giuseppe Verdi’s La forza del destino, which premiered on October 29, 1862, in Saint Petersburg, Russia.

By that time, Verdi was already the most famous opera composer in the world, and his presence at a world premiere was a global event. The opera was staged at the Bolshoi Theatre of Saint Petersburg—not to be confused with the Bolshoi in Moscow. At that time, Saint Petersburg also had a theater bearing that name.

That theater no longer exists today. It was destroyed by fire, a fate shared by many 19th-century theaters constructed largely of wood. While the performance hall was lost, parts of the building—such as the façade and interior vestibule—were preserved. History offers many similar examples: La Fenice in Venice, the Liceu in Barcelona, and other great theaters that burned and were later rebuilt. The Liceu fire of 1994 and La Fenice’s destruction a few years later are among the most recent reminders of how fragile these cultural temples once were.

La forza del destino was a great success, and Verdi and his wife, Giuseppina Strepponi, spent a wonderful period in Russia. They had traveled there twice; the first attempt failed due to the illness of the soprano, but the second visit—on that now-famous October 29, 1862—went exactly as the composer wished. The Tsar of Russia himself attended the third performance and awarded Verdi a medal of honor, a remarkable recognition of his stature.

Today, La forza del destino is performed more and more frequently. It offers an exceptional opportunity for an entire opera company, as it contains many demanding and substantial roles, all of them dramatically significant. This makes it especially appealing for young singers, who can shine in an opera considered one of the most challenging both vocally and dramatically.

Among its many recordings, my personal favorite features Mirella Freni as Leonora and Plácido Domingo as Don Alvaro, conducted by the great Riccardo Muti. Earlier historical recordings by Maria Callas and Renata Tebaldi are also deeply cherished and remain essential listening.

A Coincidence Written in Music

That three operas of such importance—Don Giovanni, Roberto Devereux, and La forza del destino—should share the same premiere date is more than a curiosity. It is a poetic reminder of how musical history unfolds across time, linking composers, cities, theaters, and generations of singers.

Each of these operas continues to live on stage today, captivating audiences just as they did on their first nights. Together, they form not only a personal triad of favorites, but also a powerful reflection of the evolution of opera itself—from Classical balance, through bel canto refinement, to Romantic drama and destiny.

Some coincidences are simply beautiful. This one, written in music, is unforgettable. 🎶

Trois dates, trois villes, trois opéras, trois compositeurs

Dans la vie, les coïncidences apparaissent parfois avec une telle élégance qu'elles semblent presque significatives, comme si l'histoire elle-même avait décidé d'y laisser une empreinte subtile. Dans cet article, je souhaite évoquer l'une de ces coïncidences qui me tient particulièrement à cœur, car elle unit trois de mes opéras préférés, composés par trois des plus grands compositeurs de l'histoire, tous créés le même jour : le 29 octobre.

Wolfgang Amadeus Mozart – Don Giovanni – 29 octobre 1787

Gaetano Donizetti – Roberto Devereux – 29 octobre 1837

Giuseppe Verdi – La forza del destino – 29 octobre 1862

Trois chefs-d'œuvre, trois siècles différents, trois villes différentes et trois univers musicaux radicalement différents – tous liés par une seule et même date.

Mozart et la naissance d'une légende : Don Giovanni

Mozart composa Don Giovanni principalement à Vienne, achevant les derniers préparatifs à Prague, où l'opéra fut créé. La première eut lieu le lundi 29 octobre 1787 et connut un succès immédiat et retentissant. Ce fut l'une de ces rares soirées dans l'histoire de la musique où un chef-d'œuvre est instantanément reconnu comme tel.

Prague adorait Mozart et Don Giovanni fut accueilli avec un enthousiasme frôlant la vénération. L'opéra alliait profondeur dramatique, complexité psychologique, humour, noirceur et une invention musicale extraordinaire d'une manière inédite. Son mélange de dramma giocoso et de tragédie morale redéfinit le genre lyrique.

Aujourd'hui, Don Giovanni demeure l'un des opéras les plus joués au monde, au même titre qu'Aida et Rigoletto. Il a donné lieu à d'innombrables enregistrements, dont beaucoup sont exceptionnels. Parmi les interprétations les plus mémorables figurent celles de Joan Sutherland et Maria Ewing, toutes deux inoubliables à leur manière. Personnellement, mon enregistrement préféré est celui que je considère comme la plus belle interprétation de Donna Anna de toute la discographie, chantée par Edita Gruberova dans les années 1980 – une performance d'une pureté vocale et d'une intelligence dramatique exceptionnelles.

Donizetti, le génie du bel canto : Roberto Devereux

Cinquante ans plus tard, exactement, le dimanche 29 octobre 1837, un autre grand opéra était créé : Roberto Devereux de Gaetano Donizetti, au Teatro San Carlo de Naples.

Donizetti fut l'un des compositeurs les plus prolifiques de l'histoire, avec plus de soixante-dix opéras à son actif – une production stupéfiante. Pourtant, la quantité n'a jamais nui à la qualité. Nombre de ses œuvres sont de véritables joyaux de l'histoire de la musique, regorgeant de mélodies d'une inspiration et d'une vérité émotionnelle extraordinaires.

Donizetti fut profondément influencé par ses maîtres et, finalement, par Mozart lui-même. On perçoit clairement l'élégance et l'équilibre de Mozart transformés par la sensibilité bel canto de Donizetti. Et la filiation se poursuit : on retrouve chez Verdi quelque chose de Donizetti. Le jeune Verdi assistait à des représentations à la Scala de Milan alors que Donizetti était déjà célèbre, bien avant que Verdi lui-même ne crée son premier opéra. Cette transmission discrète d'influence d'une génération à l'autre est l'un des plus beaux aspects de l'histoire de l'opéra.

Roberto Devereux est moins souvent joué que Don Giovanni, mais chacune de ses représentations est un événement majeur. Ces dernières décennies, l'opéra a été redécouvert et réévalué, en grande partie grâce à Edita Gruberova, considérée comme la plus grande interprète de la reine Elisabetta ayant jamais foulé les planches. Heureusement, ses interprétations nous sont parvenues grâce à des enregistrements qui préservent son art extraordinaire.

Verdi et le destin : La forza del destino

Le troisième opéra de cette remarquable série est La forza del destino de Giuseppe Verdi, créé le 29 octobre 1862 à Saint-Pétersbourg, en Russie.

À cette époque, Verdi était déjà le compositeur d'opéra le plus célèbre au monde, et sa présence à la première mondiale constituait un événement planétaire. L'opéra fut créé au Théâtre Bolchoï de Saint-Pétersbourg – à ne pas confondre avec le Bolchoï de Moscou. Saint-Pétersbourg possédait également à cette époque un théâtre portant ce nom.

Ce théâtre n'existe plus aujourd'hui. Il fut détruit par un incendie, un sort partagé par de nombreux théâtres du XIXe siècle construits en grande partie en bois. Si la salle de spectacle fut ravagée, certaines parties du bâtiment – comme la façade et le vestibule intérieur – furent préservées. L'histoire offre de nombreux exemples similaires : La Fenice à Venise, le Liceu à Barcelone, et d'autres grands théâtres qui brûlèrent puis furent reconstruits. L'incendie du Liceu en 1994 et la destruction de La Fenice quelques années plus tard figurent parmi les rappels les plus récents de la fragilité de ces temples de la culture.

La forza del destino fut un immense succès, et Verdi et son épouse, Giuseppina Strepponi, passèrent un merveilleux séjour en Russie. Ils s'y étaient rendus à deux reprises ; la première tentative avait échoué en raison de la maladie de la soprano, mais la seconde – ce désormais célèbre 29 octobre 1862 – se déroula exactement comme le compositeur l'avait souhaité. Le tsar de Russie en personne assista à la troisième représentation et remit à Verdi une médaille d'honneur, une reconnaissance remarquable de son rang.

Tre date, tre città, tre opere, tre compositori

Nella vita, le coincidenze a volte si presentano con tale eleganza da sembrare quasi significative, come se la storia stessa avesse deciso di lasciare una sottile firma. In questo articolo, vorrei riflettere su una di quelle coincidenze che mi sta particolarmente a cuore, perché unisce tre delle mie opere preferite, scritte da tre dei più grandi compositori della storia, tutte presentate per la prima volta nella stessa data: il 29 ottobre.

Wolfgang Amadeus Mozart – Don Giovanni – 29 ottobre 1787

Gaetano Donizetti – Roberto Devereux – 29 ottobre 1837

Giuseppe Verdi – La forza del destino – 29 ottobre 1862

Tre capolavori, tre secoli diversi, tre città diverse e tre mondi musicali completamente diversi, eppure tutti collegati da un'unica data.

Mozart e la nascita di una leggenda: Don Giovanni

Mozart compose Don Giovanni principalmente a Vienna, completando gli ultimi preparativi a Praga, dove l'opera debuttò. La prima rappresentazione ebbe luogo lunedì 29 ottobre 1787 e il suo successo fu immediato e travolgente. Fu una di quelle rare serate nella storia della musica in cui un capolavoro viene immediatamente riconosciuto come tale.

Praga adorava Mozart e Don Giovanni fu accolto con un entusiasmo che rasentava la riverenza. L'opera combinava profondità drammatica, complessità psicologica, umorismo, oscurità e straordinaria invenzione musicale in un modo mai sentito prima. La sua miscela di dramma giocoso e tragedia morale ridefinì il concetto di opera.

Oggi, Don Giovanni rimane una delle opere più rappresentate al mondo, probabilmente insieme ad Aida e Rigoletto. Ha generato innumerevoli registrazioni, molte delle quali straordinarie. Tra le interpretazioni più memorabili ci sono quelle con Joan Sutherland e Maria Ewing, entrambe indimenticabili a modo loro. Personalmente, la mia registrazione preferita include quella che considero la più bella Donna Anna della discografia, interpretata da Edita Gruberova negli anni '80: un'interpretazione di eccezionale purezza vocale e intelligenza drammatica.

Donizetti, il genio del belcanto: Roberto Devereux

Esattamente cinquant'anni dopo, domenica 29 ottobre 1837, un'altra grande opera debuttò al Teatro San Carlo di Napoli: Roberto Devereux di Gaetano Donizetti.

Donizetti fu uno dei compositori più prolifici della storia, avendo scritto più di settanta opere: una produzione sorprendente sotto ogni punto di vista. Eppure la quantità non ha mai diminuito la qualità. Molte delle sue opere sono veri e propri gioielli della storia della musica, ricche di melodie di straordinaria ispirazione e verità emotiva.

Donizetti fu profondamente influenzato dai suoi insegnanti e, in ultima analisi, dallo stesso Mozart. Si possono chiaramente percepire l'eleganza e l'equilibrio di Mozart trasformati dalla sensibilità belcantistica di Donizetti. E la discendenza continua: c'è qualcosa di Donizetti in Verdi. Il giovane Verdi assistette alle rappresentazioni alla Scala di Milano quando Donizetti era già famoso, molto prima che Verdi stesso presentasse un'opera in prima assoluta. Questo silenzioso passaggio di influenza da una generazione all'altra è uno degli aspetti più belli della storia dell'opera.

Roberto Devereux non viene eseguito con la stessa frequenza del Don Giovanni, ma ogni volta che viene messo in scena, diventa un evento memorabile. Negli ultimi decenni, l'opera è stata riscoperta e rivalutata, soprattutto grazie a Edita Gruberova, ampiamente considerata la più grande regina Elisabetta che abbia mai calcato il palcoscenico. Fortunatamente, le sue interpretazioni sopravvivono in registrazioni che preservano la sua straordinaria maestria.

Verdi e il destino: La forza del destino

La terza opera di questa straordinaria sequenza è La forza del destino di Giuseppe Verdi, la cui prima esecuzione avvenne il 29 ottobre 1862 a San Pietroburgo, in Russia.

A quel tempo, Verdi era già il compositore d'opera più famoso al mondo e la sua presenza a una prima mondiale fu un evento mondiale. L'opera fu messa in scena al Teatro Bolshoi di San Pietroburgo, da non confondere con il Bolshoi di Mosca. All'epoca, anche San Pietroburgo aveva un teatro con lo stesso nome.

Quel teatro oggi non esiste più. Fu distrutto da un incendio, un destino condiviso da molti teatri del XIX secolo costruiti in gran parte in legno. Mentre la sala di spettacolo andò perduta, parti dell'edificio, come la facciata e il vestibolo interno, furono preservate. La storia offre molti esempi simili: La Fenice di Venezia, il Liceu di Barcellona e altri grandi teatri che bruciarono e furono poi ricostruiti. L'incendio del Liceu del 1994 e la distruzione della Fenice pochi anni dopo sono tra i più recenti ricordi di quanto fossero fragili un tempo questi templi della cultura.

La forza del destino fu un grande successo e Verdi e sua moglie, Giuseppina Strepponi, trascorsero un periodo meraviglioso in Russia. Vi si erano recati due volte; Il primo tentativo fallì a causa della malattia del soprano, ma la seconda visita – quella ormai famosa del 29 ottobre 1862 – andò esattamente come il compositore desiderava. Lo Zar di Russia in persona assistette alla terza esecuzione e conferì a Verdi una medaglia d'onore, un notevole riconoscimento della sua statura.