Wednesday, March 18, 2026

Valladolid - Cavalleria Rusticana / Pagliacci - 22/26 Apr 2026

















The Teatro Calderón is one of the most beautiful and historic theatres in Spain, and a cultural landmark of the city of Valladolid. With its elegant façade, richly decorated interior, and long artistic tradition, it has become one of the most important venues in the country for opera, ballet, theatre, and classical music.

The Teatro Calderón: History and Architecture

The theatre is named after the great Spanish Golden Age playwright Pedro Calderón de la Barca, one of the most influential dramatists in Spanish literature. The building stands on a site that once housed the palace of the Dukes of Osuna, who were also Admirals of Castile. In the mid-nineteenth century, the palace was demolished to make way for a grand new theatre that would reflect Valladolid’s cultural ambitions.

The architect responsible for the project was Jerónimo de la Gándara, who designed an imposing building with an eclectic neo-classical façade. When the theatre opened in 1864, it immediately became one of the largest and most impressive theatres in Spain.

Inside, the theatre follows the classic Italian horseshoe-shaped design, a structure that provides excellent acoustics and visibility from every level of the auditorium. The decorative work inside the theatre was created by the famous stage decorator Augusto Ferri, whose painted scenery, curtains, and ornamental designs gave the theatre a luxurious atmosphere.

One of the most striking elements of the auditorium is its magnificent central chandelier. This spectacular lamp weighs more than 800 kilograms and contains over 30,000 pieces of crystal, making it one of the most remarkable features of the theatre. Art Nouveau side lamps, installed in the early twentieth century, add further elegance to the interior.

Today the theatre has a capacity of 1,141 seats, and its facilities extend beyond the main stage. The building also includes the Sala Delibes, a gallery for exhibitions, and the elegant Salón de los Espejos (Hall of Mirrors), where concerts, conferences, and cultural events are frequently held.

In addition to its artistic programming, the theatre is closely associated with the Semana Internacional de Cine de Valladolid, also known as SEMINCI, one of the most prestigious film festivals in Spain.


A Special Opera Evening: Cavalleria Rusticana and Pagliacci

One of the most exciting upcoming events at the theatre will be a double opera performance of two masterpieces of the verismo repertoire: Cavalleria Rusticana and Pagliacci. These two operas are often performed together because of their similar style, intense emotional drama, and relatively short length.

The performances will take place in April 2026 in the main hall of the theatre, conducted by Nimrod David Pfeffer, with stage direction by Joan Anton Rechi. The production will feature the Orquesta Sinfónica de Castilla y León, one of Spain’s most respected orchestras, along with the Coro Calderón Lírico and the Coro Voces Blancas de Valladolid.

The cast includes several outstanding international singers. The soprano Teresa Romano will sing the role of Santuzza in Cavalleria Rusticana, while the dramatic tenor Aleksandrs Antonenko will perform both Turiddu and Canio, two of the most demanding tenor roles in the verismo repertoire. The mezzo-soprano Blanca Valido appears as Lola, and Manuela Custer will sing Mamma Lucia. Baritone Rodrigo Esteves will perform the roles of Alfio and Tonio.

In Pagliacci, the cast also includes soprano Claudia Pavone as Nedda, tenor Gerardo López as Beppe, and baritone Jan Antem as Silvio.

Together these two operas form one of the most powerful evenings in the operatic repertoire, filled with passion, jealousy, betrayal, and tragedy. The famous aria “Vesti la giubba” from Pagliacci and the intense Easter-day drama of Cavalleria Rusticana promise a thrilling and emotional experience for the audience.


Opera and Ballet at the Teatro Calderón in the 21st Century

Throughout the 21st century, the Teatro Calderón has hosted an impressive variety of opera and ballet productions, confirming its role as one of Spain’s most important cultural stages.

Among the operas presented at the theatre are masterpieces such as Lucia di Lammermoor, Orfeo ed Euridice, Le nozze di Figaro, Don Pasquale, La traviata, Madama Butterfly, The Fairy Queen, Rigoletto, Hansel and Gretel, Così fan tutte, La bohème, Tosca, Norma, and Otello.

The theatre has also hosted outstanding singers, including the Spanish soprano Milagros Poblador, who appeared in a production of Don Giovanni.

Ballet has played an equally important role in the theatre’s programming. International companies have performed classic works such as The Nutcracker, Swan Lake, Giselle, Coppélia, La Bayadère, Raymonda, La Sylphide, Paquita, and Don Quixote.

Prestigious companies such as the Ballet Nacional de Cuba, the Latvian National Opera Ballet, and the Ballet Nacional de España have appeared at the theatre. The Ballet de la Ópera Nacional de Kiev has also performed memorable productions, including Giselle and The Nutcracker. The Ballet del Capitole de Toulouse has brought productions such as Don Quixote to enthusiastic audiences.

One particularly celebrated evening included a suite from Le Corsaire, choreographed by Marius Petipa with music arranged by Riccardo Drigo, featuring the renowned Spanish dancer Ángel Corella, which was a great success.


A Cultural Landmark

Today the Teatro Calderón continues to be a vital cultural center for Valladolid and for Spain. With its rich history, magnificent architecture, and diverse programming—from opera and ballet to theatre, flamenco, jazz, and film—it remains one of the most elegant and vibrant theatres in Europe.

For opera lovers, the upcoming performance of Cavalleria Rusticana and Pagliacci promises to be a memorable evening in this extraordinary historic venue. Surrounded by the splendour of the theatre’s architecture and the passion of Italian verismo music, audiences will experience a night of powerful drama and unforgettable artistry.

Le Teatro Calderón est l'un des plus beaux et des plus chargés d'histoire d'Espagne, et un emblème culturel de la ville de Valladolid. Avec son élégante façade, son intérieur richement décoré et sa longue tradition artistique, il est devenu l'un des lieux les plus importants du pays pour l'opéra, le ballet, le théâtre et la musique classique.

Le Teatro Calderón : Histoire et Architecture

Le théâtre porte le nom du grand dramaturge espagnol du Siècle d'or, Pedro Calderón de la Barca, l'un des auteurs les plus influents de la littérature espagnole. L'édifice se dresse sur l'emplacement de l'ancien palais des ducs d'Osuna, qui étaient également amiraux de Castille. Au milieu du XIXe siècle, le palais fut démoli pour laisser place à un nouveau théâtre grandiose, à la hauteur des ambitions culturelles de Valladolid.

L'architecte responsable du projet était Jerónimo de la Gándara, qui a conçu un bâtiment imposant à la façade néoclassique éclectique. À son ouverture en 1864, le théâtre s'imposa immédiatement comme l'un des plus grands et des plus impressionnants d'Espagne.

À l'intérieur, il adopte le plan classique italien en forme de fer à cheval, une structure qui garantit une acoustique et une visibilité exceptionnelles depuis tous les niveaux de la salle. Les décors intérieurs sont l'œuvre du célèbre décorateur Augusto Ferri, dont les peintures, les rideaux et les ornements confèrent au théâtre une atmosphère luxueuse.

L'un des éléments les plus remarquables de la salle est son magnifique lustre central. Ce luminaire spectaculaire pèse plus de 800 kilogrammes et compte plus de 30 000 cristaux, ce qui en fait l'un des joyaux du théâtre. Des appliques latérales de style Art nouveau, installées au début du XXe siècle, ajoutent une touche d'élégance supplémentaire à l'intérieur.

Aujourd'hui, le théâtre compte 1 141 places et ses installations s'étendent au-delà de la scène principale. Le bâtiment abrite également la Sala Delibes, une galerie d'expositions, et l'élégant Salón de los Espejos (Galerie des Glaces), où se tiennent régulièrement des concerts, des conférences et des événements culturels.

Outre sa programmation artistique, le théâtre est étroitement lié à la Semaine internationale du film de Valladolid, également connue sous le nom de SEMINCI, l'un des festivals de cinéma les plus prestigieux d'Espagne.

Une soirée d'opéra exceptionnelle : Cavalleria Rusticana et Pagliacci

Parmi les événements les plus attendus du théâtre, citons la double représentation de deux chefs-d'œuvre du répertoire vériste : Cavalleria Rusticana et Pagliacci. Ces deux opéras sont souvent joués ensemble en raison de leur style similaire, de leur intensité dramatique et de leur durée relativement courte.

Les représentations auront lieu en avril 2026 dans la grande salle du théâtre, sous la direction de Nimrod David Pfeffer et la mise en scène de Joan Anton Rechi. La production mettra en vedette l'Orquesta Sinfónica de Castilla y León, l'un des orchestres les plus prestigieux d'Espagne, ainsi que le Coro Calderón Lírico et le Coro Voces Blancas de Valladolid.

La distribution comprend plusieurs chanteurs internationaux de renom. La soprano Teresa Romano interprétera le rôle de Santuzza dans Cavalleria Rusticana, tandis que le ténor dramatique Aleksandrs Antonenko chantera Turiddu et Canio, deux des rôles de ténor les plus exigeants du répertoire vériste. La mezzo-soprano Blanca Valido incarnera Lola et Manuela Custer chantera Mamma Lucia. Le baryton Rodrigo Esteves interprétera les rôles d'Alfio et de Tonio.

Dans Pagliacci, la distribution comprend également la soprano Claudia Pavone dans le rôle de Nedda, le ténor Gerardo López dans celui de Beppe et le baryton Jan Antem dans celui de Silvio.

Ensemble, ces deux opéras forment l'une des soirées les plus intenses du répertoire lyrique, empreinte de passion, de jalousie, de trahison et de tragédie. Le célèbre air « Vesti la giubba » de Pagliacci et le drame poignant de Cavalleria Rusticana, qui se déroule le jour de Pâques, promettent au public une expérience bouleversante et riche en émotions.

Opéra et ballet au Teatro Calderón au XXIe siècle

Tout au long du XXIe siècle, le Teatro Calderón a accueilli une impressionnante variété de productions d'opéra et de ballet, confirmant ainsi son rôle parmi les scènes culturelles les plus importantes d'Espagne.

Parmi les opéras présentés au théâtre figurent des chefs-d'œuvre tels que Lucia di Lammermoor, Orfeo ed Euridice, Le nozze di Figaro, Don Pasquale, La traviata, Madama Butterfly, The Fairy Queen, Rigoletto, Hansel and Gretel, Così fan tutte, La bohème, Tosca, Norma et Otello.

Le théâtre a également accueilli des chanteurs de renom, dont la soprano espagnole Milagros Poblador, qui a participé à une production de Don Giovanni.

Le ballet occupe une place tout aussi importante dans la programmation du théâtre. Des compagnies internationales y ont présenté des œuvres classiques telles que Casse-Noisette, Le Lac des cygnes, Giselle, Coppélia, La Bayadère, Raymonda, La Sylphide, Paquita et Don Quichotte.

Театр Кальдерон — один из самых красивых и исторически значимых театров Испании, культурная достопримечательность города Вальядолид. Благодаря элегантному фасаду, богато украшенному интерьеру и многолетней художественной традиции, он стал одним из важнейших мест в стране для оперы, балета, театра и классической музыки.

Театр Кальдерон: история и архитектура

Театр назван в честь великого испанского драматурга Золотого века Педро Кальдерона де ла Барка, одного из самых влиятельных драматургов испанской литературы. Здание стоит на месте, где когда-то располагался дворец герцогов Осуна, которые также были адмиралами Кастилии. В середине XIX века дворец был снесен, чтобы освободить место для нового грандиозного театра, отражающего культурные амбиции Вальядолида.

Архитектором проекта был Херонимо де ла Гандара, который спроектировал внушительное здание с эклектичным неоклассическим фасадом. Когда театр открылся в 1864 году, он сразу же стал одним из крупнейших и самых впечатляющих театров Испании.

Внутри театр выполнен в классическом итальянском стиле подковообразной формы, что обеспечивает превосходную акустику и видимость со всех уровней зрительного зала. Декоративное оформление интерьера было создано известным сценографом Аугусто Ферри, чьи расписные декорации, занавесы и орнаментальные элементы придали театру роскошную атмосферу.

Одним из самых ярких элементов зрительного зала является великолепная центральная люстра. Эта впечатляющая лампа весит более 800 килограммов и содержит более 30 000 хрустальных элементов, что делает её одной из самых примечательных особенностей театра. Боковые светильники в стиле модерн, установленные в начале XX века, добавляют интерьеру ещё большей элегантности.

Сегодня театр вмещает 1141 место, а его инфраструктура простирается за пределы главной сцены. В здании также находится Зал Делиба, галерея для выставок, и элегантный Зал Зеркала (Salón de los Espejos), где часто проводятся концерты, конференции и культурные мероприятия.

Помимо художественной программы, театр тесно связан с Вальядолидской международной кинонеделей, также известной как SEMINCI, одним из самых престижных кинофестивалей в Испании.

Особый оперный вечер: «Сельская честь» и «Паяцы»

Одним из самых захватывающих предстоящих событий в театре станет двойное оперное представление двух шедевров из репертуара веризма: «Сельская честь» и «Паяцы». Эти две оперы часто исполняются вместе из-за схожего стиля, напряженной эмоциональной драмы и относительно небольшой продолжительности.

Представления состоятся в апреле 2026 года в главном зале театра под управлением Нимрода Давида Пфеффера, режиссер-постановщик — Жоан Антон Речи. В постановке примут участие Симфонический оркестр Кастилии и Леона, один из самых уважаемых оркестров Испании, а также Лирический хор Кальдерона и Белый хор Вальядолида.

В состав исполнителей входят несколько выдающихся певцов со всего мира. Сопрано Тереза ​​Романо исполнит роль Сантуццы в «Сельской чести», а драматический тенор Александрс Антоненко споёт Туридду и Канио — две самые сложные теноровые партии в репертуаре веризма. Меццо-сопрано Бланка Валидо исполнит роль Лолы, а Мануэла Кастер споёт Маму Люсию. Баритон Родриго Эстевес исполнит роли Альфио и Тонио.

В опере «Паяцы» также участвуют сопрано Клаудия Павоне в роли Недды, тенор Херардо Лопес в роли Беппе и баритон Ян Антем в роли Сильвио.

Вместе эти две оперы создают один из самых впечатляющих вечеров в оперном репертуаре, наполненный страстью, ревностью, предательством и трагедией. Знаменитая ария «Vesti la giubba» из «Паяцев» и напряженная пасхальная драма «Сельской чести» обещают зрителям захватывающие и эмоциональные впечатления.

Опера и балет в Театре Кальдерон в XXI веке

На протяжении XXI века Театр Кальдерон принимал впечатляющее разнообразие оперных и балетных постановок, подтверждая свою роль одной из важнейших культурных площадок Испании.

Среди опер, представленных в театре, — такие шедевры, как «Лючия ди Ламмермур», «Орфей и Эвридика», «Свадьба Фигаро», «Дон Паскуале», «Травиата», «Мадам Баттерфляй», «Фея-королева», «Риголетто», «Гензель и Гретель», «Так поступают все женщины», «Богема», «Тоска», «Норма» и «Отелло».

Театр также принимал выдающихся певцов, в том числе испанскую сопрано Милагрос Побладор, которая участвовала в постановке «Дон Джованни».

Балет играет не менее важную роль в программе театра. Международные труппы исполняли такие классические произведения, как «Щелкунчик», «Лебединое озеро», «Жизель», «Коппелия», «Баядера», «Раймонда», «Сильфида», «Пакита» и «Дон Кихот».

Vienna - Giselle - Apr / May 2026



In the spring of 2026, the stage of the legendary Vienna State Opera will once again be illuminated by one of the most poetic creations in the history of ballet: Giselle. Few works in the classical repertoire possess the same emotional depth, lyrical beauty, and spiritual resonance as this Romantic masterpiece, first performed in Paris in 1841 with music by Adolphe Adam. Inspired by the haunting legend of the Wilis described by the poet Heinrich Heine, the ballet tells a timeless story of love, betrayal, forgiveness, and transcendence.

Between April 23 and May 8, the Vienna State Ballet will present six performances of this iconic work in the visually distinctive production created for Vienna in 1993 by Elena Tchernichova. This staging has long been regarded as one of the company’s most cherished treasures. Its atmospheric design—marked by subtle grey landscapes contrasted with vivid colors in the costumes—creates a poetic visual world in which the dancers emerge with striking clarity, particularly in the moonlit second act where the ghostly Wilis glide across the stage in haunting unison.

These performances promise to be not merely a revival of a beloved ballet, but an artistic event of rare significance. A remarkable cast of principal dancers from across the international ballet world will bring the story to life, accompanied by the magnificent orchestra of the Vienna State Opera under the direction of the Italian-German conductor Luciano Di Martino, whose musical interpretations are admired for their expressive intensity, spontaneity, and precision.

Yet the deeper significance of this series of performances lies in the extraordinary moment in the history of the company: they take place during the first season of a new artistic era led by one of the most celebrated ballerinas of modern times.


Alessandra Ferri and the Legacy of Giselle

The Vienna State Ballet is now under the artistic direction of the legendary Italian dancer Alessandra Ferri. Few artists have been as closely associated with the role of Giselle as Ferri, whose performances throughout the world were widely considered among the most moving interpretations ever seen.

Born in Milan and trained initially at the ballet school of La Scala before completing her studies at the Royal Ballet School in London, Ferri rose to international prominence with astonishing speed. At just nineteen she became a principal dancer with the Royal Ballet, where choreographer Kenneth MacMillan created several major roles for her. Soon afterwards she joined the American Ballet Theatre at the invitation of Mikhail Baryshnikov, performing throughout the world in both the classical and contemporary repertoire.

But among all her roles, Giselle held a special place. Ferri’s interpretation combined dramatic realism with an ethereal delicacy that seemed to dissolve the boundary between human emotion and supernatural presence. Critics frequently described her second-act Giselle as “otherworldly,” a spirit whose compassion and forgiveness transcended tragedy.

Today, as director of the Vienna State Ballet, Ferri brings not only her experience but also her profound understanding of the emotional essence of this ballet. The upcoming performances therefore carry the feeling of an artistic transmission: the spirit of one of the greatest Giselles in modern history guiding a new generation of dancers in the role.


The Vienna State Opera: A Temple of Music and Dance

Presenting Giselle in the Vienna State Opera gives the production an additional aura of prestige. Since its inauguration in 1869, the opera house has been one of the most important cultural landmarks in Europe. It has hosted legendary musicians, singers, conductors, and dancers, becoming synonymous with artistic excellence.

The ballet tradition in Vienna has flourished alongside the city’s extraordinary musical heritage. Over the decades the Vienna State Ballet has developed into one of the most distinguished companies in Europe, maintaining the great classical repertoire while also embracing contemporary choreography.

Within that repertoire, Giselle occupies a particularly cherished place. The ballet embodies the very essence of Romanticism: fragile human emotion, supernatural mystery, and the redemptive power of love.


The Story and the Magic of Giselle

The narrative unfolds in two contrasting worlds.

The first act takes place in a peaceful Rhineland village during the harvest season. Giselle is a gentle peasant girl who loves to dance despite a weak heart. She falls in love with a young man she believes to be a villager named Loys, unaware that he is in fact Duke Albrecht, a nobleman already betrothed to another woman. When the truth is revealed, Giselle’s fragile spirit collapses under the weight of betrayal, and she dies in despair.

The second act enters the supernatural realm of the Wilis—ghostly spirits of young brides who died before their wedding day. Led by their implacable queen, Myrtha, they force any man who enters their domain to dance until death. Albrecht arrives at Giselle’s grave, consumed by remorse. Yet Giselle’s spirit protects him, dancing with him through the night until dawn breaks and the Wilis lose their power.

In this moment of forgiveness lies the emotional heart of the ballet: love transcending betrayal, compassion overcoming vengeance.


Madison Young: An Emerging Romantic Interpreter

One of the central interpreters of Giselle in this Vienna series will be the American principal dancer Madison Young, who will appear on April 23 and April 30.

Young’s career has developed rapidly since she trained at Ballet West Academy and Houston Ballet Academy. Her success at the prestigious Prix de Lausanne opened the doors to an international career, eventually leading her to join the Vienna State Ballet under the direction of Manuel Legris.

Promoted through the ranks with remarkable speed, Young has established herself as a dancer admired for her musical sensitivity, luminous stage presence, and refined classical technique. These qualities make her particularly suited to the role of Giselle, where innocence, lyricism, and emotional sincerity are essential.

Her partner in these performances will be the brilliant Brazilian dancer Victor Caixeta.


Victor Caixeta: A Rising International Star

Caixeta’s journey to the world’s great stages began in Brazil, where he trained through the social project “Pé de Moleque.” His talent soon attracted international attention when he participated in the Prix de Lausanne, receiving numerous scholarship offers.

After graduating from the State Ballet School Berlin, he joined the ballet of the Mariinsky Theatre in St. Petersburg, where he was promoted to soloist. Later he became a principal dancer with the Dutch National Ballet in Amsterdam before joining the Vienna State Ballet as principal in the 2025/26 season.

Known for his spectacular jumps and noble stage presence, Caixeta embodies the romantic hero with elegance and charisma.


Cassandra Trenary and Davide Dato

The April 26 matinée introduces the American ballerina Cassandra Trenary as Giselle opposite the Italian dancer Davide Dato.

Dato, trained at the Vienna State Opera Ballet School, has become one of the most respected male artists of the company. His performances are admired for their musical phrasing, elegance, and deep stylistic understanding of the classical repertoire.

Together with Trenary’s expressive dramatic presence, their partnership promises an interpretation rich in nuance and emotional intensity.


Laura Fernandez Gromova and António Casalinho

Later the same day, audiences will encounter another fascinating interpretation of the ballet with Laura Fernandez Gromova and António Casalinho.

Fernandez Gromova brings the influence of the Russian classical tradition, having studied at the renowned Vaganova Ballet Academy in St. Petersburg. Her career has included engagements with the Mariinsky Theatre and the Stanislavsky Ballet in Moscow before she joined the Vienna State Ballet as a principal dancer.

Casalinho, one of the most exciting young male dancers in Europe, rose rapidly through the ranks of the Bavarian State Ballet before joining Vienna as a principal dancer in the 2025/26 season. His brilliant virtuosity and youthful energy promise an electrifying interpretation of Albrecht.


Liudmila Konovalova: A Giselle of Rare Refinement

Among the highlights of the series will undoubtedly be the performance on May 2 featuring the Russian ballerina Liudmila Konovalova. For many ballet enthusiasts, her interpretation of the great classical heroines represents the very height of classical elegance.

A graduate of the prestigious Bolshoi Ballet Academy in Moscow, Konovalova began her career with the Russian State Ballet before joining the Staatsballett Berlin. Her arrival at the Vienna State Ballet in 2010 marked the beginning of an extraordinary artistic relationship with the company, where she quickly rose to the rank of principal dancer.

Over the years she has become one of the defining ballerinas of Vienna’s classical repertoire. Her portrayals of Odette-Odile in Swan Lake, Aurora in The Sleeping Beauty, and Kitri in Don Quixote have been widely admired for their purity of line, musical intelligence, and dramatic depth.

In Giselle, these qualities find perhaps their most poetic expression. Konovalova possesses a rare ability to convey both the human vulnerability of the first act and the ethereal serenity of the second. Her Giselle is not only a fragile village girl but also a spiritual presence—compassionate, luminous, and profoundly moving.

Many ballet lovers regard her interpretation as one of the most refined of her generation, combining the noble traditions of Russian classical training with the distinctive musical elegance of Vienna’s ballet culture.

Her partner will be the Japanese dancer Masayu Kimoto, long admired by Viennese audiences for his refined artistry and elegant classical style.


A Ballet Event of the Season

Taken together, these six performances of Giselle promise to form one of the most significant ballet events of the 2026 season.

Under the artistic guidance of Alessandra Ferri, with the extraordinary orchestra of the Vienna State Opera and a remarkable roster of international dancers, the Vienna State Ballet will present a celebration of one of the greatest creations in the history of dance.

More than a simple revival, these performances represent the living continuation of a tradition—one that connects the Romantic origins of the ballet in nineteenth-century Paris with the artistry of today’s dancers.

For audiences fortunate enough to witness these evenings, Giselle will once again reveal its enduring magic: a ballet where poetry, music, and human emotion unite to create an experience that lingers long after the final curtain falls.


Giselle at the Vienna State Opera: A Romantic Masterpiece Returns

In the spring of 2026, one of the most cherished jewels of the classical ballet repertoire will return to the stage of the historic Vienna State Opera. Few works embody the spirit of Romantic ballet as completely as Giselle, the poetic masterpiece created in 1841 with music by Adolphe Adam and inspired by the haunting legend recorded by Heinrich Heine.

Across six performances between April 23 and May 8, audiences in Vienna will have the rare opportunity to witness a remarkable succession of casts, each bringing distinctive artistry to the fragile peasant girl Giselle and her aristocratic lover Albrecht. Presented by the Vienna State Ballet, the production is staged in the visually striking version created for Vienna in 1993 by Elena Tchernichova—a staging that has become one of the company’s most beloved calling cards.

With its poetic atmosphere, luminous corps de ballet and emotionally charged storytelling, Giselle remains the very embodiment of Romantic ballet: a tale of innocence, betrayal, forgiveness, and transcendence.

Guiding these performances from the orchestra pit will be the Italian-German conductor Luciano Di Martino, whose musical direction is widely admired for its intensity, precision, and expressive sensitivity. Under his baton, the renowned orchestra of the Vienna State Opera will bring Adam’s unforgettable score vividly to life.

Yet beyond the beauty of the music and staging, what truly makes these performances an exceptional event is the extraordinary roster of dancers assembled for the production—artists who represent different traditions and generations of ballet excellence.


A New Era under Alessandra Ferri

These performances take on an added significance because they are presented under the artistic leadership of the legendary Italian ballerina Alessandra Ferri, who assumed the directorship of the Vienna State Ballet in the 2025/26 season.

Few dancers in history have been as closely associated with Giselle as Ferri herself. Throughout her illustrious career with companies such as American Ballet Theatre and Royal Ballet, Ferri’s interpretation of the role was celebrated for its emotional depth, ethereal fragility, and dramatic truth. Critics and audiences alike regarded her portrayal as one of the defining Giselles of the late twentieth century.

Her appointment as director therefore carries a symbolic resonance: a dancer who once embodied the spirit of Giselle on the world’s greatest stages now guides a new generation of artists in this quintessential Romantic role.

The upcoming performances can thus be seen not only as a revival of a beloved ballet, but also as a continuation of an artistic lineage—an inheritance of interpretation and sensibility passed from one generation to the next.


Madison Young: A Luminous Romantic Heroine

Among the interpreters of Giselle in this series is the American principal dancer Madison Young, whose performances on April 23 and April 30 promise to reveal the delicacy and musical refinement that have distinguished her rising international career.

Born in Utah, Young trained at Ballet West Academy and later at Houston Ballet Academy before entering the professional stage through the prestigious Prix de Lausanne competition. Her rapid ascent—from corps de ballet to soloist and eventually principal roles—demonstrates both technical brilliance and expressive maturity.

Young’s Giselle is expected to combine youthful innocence with emotional sincerity, qualities essential to portraying the fragile village girl whose love ultimately transcends death itself. Her partner for both evenings will be the charismatic Brazilian principal dancer Victor Caixeta.


Victor Caixeta: A Brilliant Albrecht

Caixeta’s story is itself remarkable. Beginning his ballet training in Brazil through the social project “Pé de Moleque,” he quickly revealed extraordinary talent and later studied at the State Ballet School in Berlin after receiving multiple scholarship offers.

His career has taken him to major companies including the Mariinsky Theatre and Dutch National Ballet, where he rose to principal dancer. In the 2025/26 season he joined the Vienna State Ballet as a principal, bringing with him a repertoire spanning the great classics—from Swan Lake and Don Quixote to Raymonda and La Bayadère.

As Albrecht, Caixeta offers a compelling blend of virtuosity and aristocratic elegance, portraying the conflicted nobleman whose deception leads to tragedy but who ultimately earns Giselle’s forgiveness.


Cassandra Trenary and Davide Dato: A Matinee of Dramatic Nuance

The April 26 matinée introduces another remarkable Giselle: the American dancer Cassandra Trenary, admired internationally for her expressive range and poetic stage presence.

Opposite her stands the Italian star Davide Dato, one of the most distinguished male dancers to emerge from the Vienna State Ballet in recent decades. Trained at the Ballet School of the Vienna State Opera, Dato has risen steadily through the ranks—from demi-soloist to first soloist—becoming one of the company’s most respected interpreters of the classical repertoire.

Together they promise a performance of emotional subtlety and refined classical style.


Laura Fernandez Gromova and António Casalinho: A New Generation

Later that same day, audiences will encounter a younger but equally fascinating partnership: Laura Fernandez Gromova and António Casalinho.

Fernandez Gromova—born in Switzerland to Ukrainian and Spanish heritage—received part of her training at the prestigious Vaganova Ballet Academy in St. Petersburg before dancing with the Mariinsky Theatre and later becoming a principal dancer at the Stanislavsky and Nemirovich-Danchenko Theatre. Her technique reflects the clarity and refinement of the Russian classical tradition.

Her partner Casalinho, a Portuguese prodigy, has already achieved remarkable milestones at a very young age. Trained in the Cuban methodology and promoted rapidly through the ranks of the Bavarian State Ballet, he joined the Vienna State Ballet as principal dancer for the 2025/26 season. His dazzling jumps and charismatic presence make him an exciting interpreter of the Romantic hero.


Liudmila Konovalova: A Distinguished Presence in the Title Role

One of the most anticipated evenings of the run will be the performance on May 2, when the Russian ballerina Liudmila Konovalova takes the stage as Giselle opposite the Japanese dancer Masayu Kimoto.

Konovalova’s career reflects a remarkable trajectory within the classical ballet world. A graduate of the Bolshoi Ballet Academy, she began her professional life with the Russian State Ballet before joining Staatsballett Berlin. Since her arrival at the Vienna State Ballet in 2010, she has become one of the company’s most distinguished principal dancers.

Her repertoire encompasses the great heroines of classical ballet—Odette-Odile in Swan Lake, Kitri in Don Quixote, Aurora in The Sleeping Beauty, and many more. Over the years she has also appeared as a guest artist with companies across Europe and Asia, confirming her reputation as a dancer of remarkable versatility.

In Giselle, Konovalova brings a deep understanding of the stylistic lineage of the role. Her interpretation is shaped by the classical Russian tradition while also reflecting the dramatic sensitivity that characterizes Vienna’s ballet culture. The role allows her to display both lyrical delicacy in the first act and an ethereal, almost supernatural serenity in the second.

Opposite her, Masayu Kimoto—long admired by Vienna audiences—offers a refined and elegant Albrecht. Having trained in Japan and France before joining the Vienna State Ballet in 2008, Kimoto has built an extensive repertoire that includes major roles in works by choreographers ranging from Rudolf Nureyev to George Balanchine and William Forsythe.


A Romantic Legend Reborn

The story of Giselle remains as moving today as it was nearly two centuries ago. Inspired by the legend of the Wilis—ghostly brides who compel men to dance until death—the ballet tells a tale of innocence betrayed, madness born of heartbreak, and redemption achieved through love beyond the grave.

Its first act unfolds in the warmth of a rural village, where Giselle’s joyful dancing reveals both her vitality and her fragile heart. The second act transports the audience into a moonlit forest where the spectral Wilis reign under the command of their queen Myrtha.

Few ballets create such a profound emotional arc: from pastoral happiness to supernatural tragedy, and finally to spiritual transcendence.


Vienna: A Stage Worthy of the Masterpiece

Presenting Giselle at the Vienna State Opera carries a particular resonance. The theatre itself—one of the world’s most historic opera houses—has long been associated with the highest traditions of music and dance.

For decades the Vienna State Ballet has cultivated a repertoire that balances classical heritage with contemporary innovation. The Tchernichova production, with its distinctive visual concept of muted grey landscapes punctuated by vivid costume colours, highlights the dancers with striking clarity and elegance.

Over the years it has become one of the company’s signature works, admired for both its atmospheric beauty and its fidelity to the Romantic spirit of the original ballet.


An Unforgettable Series of Performances

Taken together, these six performances promise something rare: a celebration of Giselle interpreted by a constellation of outstanding artists, each bringing a unique perspective to the timeless roles of Giselle and Albrecht.

Under the artistic guidance of Alessandra Ferri—herself one of the great interpreters of the role—the Vienna State Ballet invites audiences to rediscover the emotional power and poetic beauty of this Romantic masterpiece.

In the grand setting of the Vienna State Opera, with its magnificent orchestra and distinguished ensemble of dancers, these evenings of Giselle are destined to become one of the most memorable ballet events of the 2026 season.

For lovers of classical ballet, they promise not merely a performance, but a celebration of tradition, artistry, and the enduring magic of one of ballet’s most beloved works.



Palermo - Don Quixote - 29 Mar / 4 Apr 2026















In the radiant heart of Palermo, where golden Mediterranean light washes over ancient streets and baroque façades, stands one of the great temples of music and dance in Europe: the magnificent Teatro Massimo. Rising proudly on Piazza Verdi, this monumental theatre is not only the largest opera house in Italy, but also among the most impressive cultural landmarks on the continent. For generations it has been a symbol of artistic ambition, architectural beauty, and the enduring love of the performing arts that defines this extraordinary Sicilian city.

Palermo itself is a place where history and poetry seem to breathe through every stone. Founded over two and a half millennia ago, the city bears the marks of many civilizations—Phoenician, Arab, Norman, Spanish—each leaving behind treasures of architecture, culture, and tradition. Walking through its lively streets, one encounters palaces, churches, markets, and gardens that reveal centuries of layered beauty. The air carries the scent of citrus and the distant sound of the sea, while the city’s vibrant life unfolds between ancient monuments and sun-lit squares. It is a city that has always embraced art, theatre, and music with a special passion.

At the center of this cultural landscape stands the Teatro Massimo, a monument of grand neoclassical elegance. Designed in the late nineteenth century by the architect Giovanni Battista Filippo Basile and later completed by his son Ernesto Basile, the building was conceived as a celebration of classical harmony and Sicilian identity. Its monumental staircase and imposing colonnade recall the majesty of ancient Greek temples, an homage to the classical heritage of Sicily.

Yet the true wonder of the theatre reveals itself inside. The auditorium, designed in the traditional horseshoe shape of great Italian opera houses, rises in elegant tiers of boxes that surround the stage like a luminous architectural embrace. Delicate ornamentation, soft golden tones, and perfectly balanced proportions create a space of remarkable grace. Once capable of seating nearly three thousand spectators, the hall today offers a more intimate experience while preserving its majestic scale. Above all, the theatre is renowned for its exceptional acoustics—clear, warm, and resonant—making it one of the most admired opera houses in Europe.

Within this splendid setting, ballet finds a natural home. The vast stage, the refined elegance of the auditorium, and the passionate audiences of Palermo combine to create an atmosphere where dance can truly flourish.

It is here that the Teatro Massimo now welcomes one of the most joyful and beloved works in the classical repertoire: Don Quixote. Inspired by the immortal novel of Miguel de Cervantes, the ballet captures not the philosophical depth of the knight’s adventures, but rather the sparkling world of Spanish romance, humor, and youthful love.

The music was composed by Ludwig Minkus, whose melodies have become inseparable from the brilliance of nineteenth-century ballet. Minkus possessed an extraordinary gift for theatrical rhythm and danceable melody. His score for Don Quixote bursts with energy: sparkling variations, lively ensembles, and festive orchestral colors that evoke the warmth and vibrancy of an imagined Spain. From the spirited opening scenes to the dazzling grand pas de deux of the final act, the music radiates joy, elegance, and irresistible vitality.

The ballet itself first appeared in the golden age of classical ballet in Imperial Russia. Premiering in Moscow in 1869 with choreography by the legendary Marius Petipa, the work soon traveled to Saint Petersburg, where Petipa expanded and refined the production. There it became one of the most beloved spectacles of the imperial stage. Audiences were enchanted by its virtuoso dancing, colorful character scenes, and exuberant theatrical spirit.

From those Russian beginnings, Don Quixote quickly conquered the international ballet world. The work’s brilliant choreography, joyful music, and irresistible Spanish flavor made it a favorite of dancers and audiences alike. Generations of performers have delighted in the sparkling roles of Kitri and Basilio, whose love story lies at the heart of the ballet. Their dazzling technique, playful charm, and fiery passion have made the ballet a showcase for virtuosity and personality.

Today, more than a century after its creation, Don Quixote remains one of the most festive and life-affirming ballets in the classical tradition. Few works combine such technical brilliance with such an atmosphere of celebration. Every act unfolds like a living festival of dance: bustling village scenes, vibrant taverns, dreamlike gardens, and joyous finales filled with swirling ensembles and breathtaking solos.

In the present production, the choreography is created by the distinguished dancer and choreographer José Martínez. Known for his elegance and deep understanding of classical style, Martínez brings both refinement and vitality to the ballet. His interpretation respects the grand tradition of Petipa while offering a clear, dynamic theatrical vision that allows the story and the dancing to shine with renewed freshness.

At the center of the performance are the radiant characters of Kitri and Basilio, whose romance drives the entire adventure. Their story—playful, passionate, and full of youthful energy—embodies the spirit of the ballet itself. Through brilliant variations, joyful duets, and electrifying bravura passages, the two lovers illuminate the stage with charm and virtuosity.

Behind them stands the splendid ballet company of the Teatro Massimo, a troupe whose dancers bring vitality, discipline, and expressive warmth to every performance. The ensemble scenes—vivid markets, lively tavern dances, and swirling festivals—display the strength and unity of the company, while the orchestra of the theatre brings Minkus’s music to life with color and brilliance.

All the elements come together: the grandeur of the theatre, the beauty of Palermo, the sparkling music of Minkus, and the timeless joy of classical ballet.

And so, in this magnificent season, audiences have the privilege of experiencing this beloved masterpiece in one of the most beautiful theatres in Europe. Within the glowing interior of the Teatro Massimo, surrounded by the artistic spirit of Palermo, the world of Don Quixote once again springs to life.

Now we may enjoy this radiant ballet in the splendid Teatro Massimo, brought to life by its talented ballet company—an evening of music, dance, and theatrical magic that celebrates the enduring joy of the classical stage.

Don Quichotte au Teatro Massimo de Palerme

Un chapitre sur le ballet, la ville et un théâtre vibrant

Au cœur de la lumineuse Palerme, au milieu de rues chargées d'histoire, de parfums méditerranéens et d'une architecture monumentale, se dresse l'un des temples musicaux les plus impressionnants d'Europe : le Teatro Massimo. Situé sur l'élégante Piazza Verdi, ce colosse de la culture italienne est non seulement le plus grand théâtre d'Italie, mais aussi l'un des plus majestueux du continent.

Dès leur arrivée devant son imposante façade néoclassique, inspirée par la grandeur des temples grecs siciliens, les visiteurs comprennent qu'ils se trouvent dans un lieu extraordinaire. Des escaliers monumentaux mènent à un édifice conçu pour la grandeur artistique. À l'intérieur, l'auditorium en forme de fer à cheval, entouré de sept niveaux de loges, crée une atmosphère unique où chaque représentation devient un événement inoubliable. Son acoustique, considérée comme l'une des meilleures d'Europe, enveloppe le public dans une expérience sonore parfaite.

Dans ce cadre historique, la compagnie théâtrale présente une nouvelle production du ballet Don Quichotte, l'une des œuvres les plus brillantes et festives du répertoire classique. Ce ballet, inspiré du célèbre roman de Miguel de Cervantes, est porté par la musique exubérante et colorée de Ludwig Minkus. Ses partitions, pleines d'énergie, de rythme et de mélodies irrésistibles, accompagnent un récit mêlant aventure, humour, romance et virtuosité.

La chorégraphie de cette nouvelle production est signée par le prestigieux chorégraphe et ancien danseur étoile de l'Opéra de Paris, José Martínez, qui offre à l'œuvre une interprétation élégante, brillante et profondément théâtrale. Martínez préserve l'essence du grand ballet classique tout en proposant une vision scénique inédite et dynamique, où chaque scène s'enchaîne avec naturel et vitalité.

La production bénéficie de la direction musicale de Mojca Lavrenčič et de la participation du Corpo di Ballo e Orchestra del Teatro Massimo, l'une des compagnies les plus prestigieuses et renommées de la scène italienne. Le directeur artistique du ballet est Jean-Sébastien Colau, à la tête d'une compagnie débordante de talent et de personnalité.

Le spectacle bénéficie également de décors raffinés signés Antonella Conte, de costumes chatoyants de Mario Celentano et de lumières théâtrales de Bruno Ciulli. L'ensemble crée un univers visuel qui transporte le public dans l'Espagne onirique du XVIIIe siècle : places animées, tavernes conviviales, campements gitans et jardins enchanteurs.

Mais le véritable cœur du ballet réside dans ses interprètes. Au centre de l'histoire se trouvent Kitri et Basilio, le couple vedette dont la passion et la virtuosité illuminent toute la scène.

Les représentations sont réparties entre différentes distributions, offrant ainsi au public l'opportunité de découvrir diverses interprétations des personnages.

Dates des représentations

29 mars 2026 — 20h00 — Spectacle principal

31 mars 2026 — 18h30 — Partie B

1er avril 2026 — 20h00 — Partie F

2 avril 2026 — 18h30 — Partie C

3 avril 2026 — 18h30 — Danse

4 avril 2026 — 17h30 — Partie D

Salle principale du Teatro Massimo

Répartition par dates

29 mars

Kitri — Martina Pasinotti

Basilio — Michele Morelli

Don Quichotte — Diego Millésimo

Dulcinée — Carla Del Sorbo

Cupidon — Francesca Davoli

Gamache — Andrea Mocciardini

Mercedes — Aurora Mostacci

Épée — Diego Mulone

Capo dei gitani — Dennis Vizzini

Solisti Fandango — Romina Leone, Diego Mulone

Sancho Panza — Francesco Curatolo

Lorenzo — Fabio Correnti

Amiche/Damigelle — Arianna Cipolla, Ludovica Capozzoli


31 mars


Kitri-Yuriko Nishihara

Basilio — Alessandro Cascioli

Don Quichotte — Andrea Mocciardini

Dulcinée — Arianna Cipolla

Cupidon — Michaela Colino

Gamache — Vincenzo Carpino

Mercedes — Francesca Davoli

Épée — Giovanni Traetto

Capo dei gitani — Emilio Barone

Solisti Fandango — Valentina Chiulli, Giovanni Traetto

Sancho Panza — Francesco Zappalà

Lorenzo — Fabio Correnti

Amiche/Damigelle — Sanna Athmani, Léa Salomon


1er avril


Kitri — Giulia Neri

Basilio — Alessandro Casà

Don Quichotte — Diego Millésimo

Dulcinée — Carla Del Sorbo

Cupidon — Francesca Davoli

Gamache — Andrea Mocciardini

Mercedes — Aurora Mostacci

Épée — Diego Mulone

Capo dei gitani — Dennis Vizzini

Solisti Fandango — Romina Leone, Diego Mulone

Sancho Panza — Francesco Curatolo

Lorenzo — Fabio Correnti

Amiche/Damigelle — Arianna Cipolla, Ludovica Capozzoli


2 avril


Kitri — Martina Pasinotti

Basilio — Michele Morelli

Don Quichotte — Andrea Mocciardini

Dulcinée — Arianna Cipolla

Cupidon — Michaela Colino

Gamache — Vincenzo Carpino

Mercedes — Francesca Davoli

Épée — Giovanni Traetto

Capo dei gitani — Emilio Barone

Solisti Fandango — Valentina Chiulli, Giovanni Traetto

Sancho Panza — Francesco Zappalà

Lorenzo — Fabio Correnti

Amiche/Damigelle — Sanna Athmani, Léa Salomon


3 avril


Kitri-Yuriko Nishihara

Basilio — Alessandro Cascioli

Don Quichotte — Andrea Mocciardini

Dulcinée — Arianna Cipolla

Cupidon — Francesca Davoli

Gamache — Vincenzo Carpino

Mercedes — Aurora Mostacci

Épée — Diego Mulone

Capo dei gitani — Dennis Vizzini

Solisti Fandango — Romina Leone, Diego Mulone

Sancho Panza — Francesco Curatolo

Lorenzo — Fabio Correnti

Amiche/Damigelle — Arianna Cipolla, Ludovica Capozzoli


4 avril


Kitri — Giulia Neri

Basilio — Alessandro Casà

Don Quichotte — Diego Millésimo

Dulcinée — Carla Del Sorbo

Cupidon — Michaela Colino

Gamache — Andrea Mocciardini

Mercedes — Francesca Davoli

Épée — Giovanni Traetto

Capo dei gitani — Emilio Barone

Solisti Fandango — Valentina Chiulli, Giovanni Traetto

Sancho Panza — Francesco Zappalà

Lorenzo — Fabio Correnti

Amiche/Damigelle — Sanna Athmani, Léa Salomon


Ainsi, pendant ces journées printanières, la ville de Palerme se remplit de musique, de danse et de joie. Sous la coupole du majestueux Teatro Massimo, l'esprit aventureux de Don Quichotte, l'amour passionné de Kitri et Basilio et l'éclat festif de la musique de Minkus s'unissent pour offrir au public un spectacle éblouissant.

Un ballet débordant de vie, de couleurs et de virtuosité qui nous rappelle pourquoi Don Quichotte demeure l'un des ballets les plus appréciés au monde : une célébration de la danse, de l'imagination et de la joie du théâtre.

Amsterdam - Dutch National Ballet - La Bayadère - 26 Mar / 19 Apr












La ville d’Amsterdam est depuis longtemps l’un des grands centres culturels d’Europe, une capitale artistique la musique, la danse et le théâtre occupent une place essentielle dans la vie culturelle. Au cœur de cette tradition se trouve l’exceptionnelle compagnie du Dutch National Ballet, qui s’est imposée au fil des décennies comme l’une des plus prestigieuses troupes de danse au monde. Installée dans le magnifique Dutch National Opera & Ballet, la compagnie a su développer un répertoire d’une richesse remarquable, mêlant chefs-d’œuvre du ballet classique et créations contemporaines.

Cette saison, le public a la chance d’assister à une nouvelle production du grand ballet classique La Bayadère, chef-d’œuvre chorégraphique créé par Marius Petipa sur la musique lumineuse et inspirée de Ludwig Minkus. Ce ballet, célèbre notamment pour la scène mythique du Royaume des Ombres, demeure l’un des sommets du répertoire classique. Sa reprise par le Dutch National Ballet promet d’être un événement majeur, tant par l’ampleur de la production que par la qualité exceptionnelle des artistes qui la portent.

La compagnie d’Dutch National Ballet est aujourd’hui reconnue pour la diversité et l’excellence de ses danseurs, venus du monde entier. Parmi les étoiles et principaux solistes figurent de grands artistes internationaux tels que Salome Leverashvili, Qian Liu, Maia Makhateli, Anna Ol, Riho Sakamoto, Olga Smirnova, Anna Tsygankova, Jessica Xuan, Yuanyuan Zhang, Constantine Allen, Young Gyu Choi, Giorgi Potskhishvili, Timothy van Poucke, Jacopo Tissi et Semyon Velichko. La distribution exacte des représentations n’est pas encore annoncée, mais une chose est certaine : quel que soit le cast de la soirée, le public aura le privilège d’assister à une interprétation de très haut niveau. La compagnie regorge de talents extraordinaires, chacun capable d’offrir une soirée inoubliable.

Parmi ces artistes d’exception, ma danseuse favorite est sans aucun doute Olga Smirnova. Pour moi, elle est véritablement l’une des plus grandes ballerines du XXIᵉ siècle. Son style est d’une pureté et d’une élégance rares, son interprétation profondément musicale et d’une finesse incomparable. La voir danser en direct est un privilège immense. L’idée de la voir dans La Bayadère, dans le rôle de Nikiya, est un rêve devenu réalité.

Très souvent, elle partage la scène avec mon danseur italien favori, Jacopo Tissi. Ensemble, ils forment l’un des couples les plus admirés du ballet actuel. Leur complicité artistique, leur ligne classique et leur musicalité créent une alchimie unique sur scène. Les imaginer incarnant Nikiya et Solor dans La Bayadère promet des moments de pure magie.

Bien sûr, au-delà de ces préférences personnelles, toute la compagnie mérite l’admiration. Chaque danseur apporte sa personnalité, sa sensibilité et son excellence technique. C’est justement ce qui fait la beauté du ballet : voir un même rôle interprété par différents artistes, chacun révélant une nouvelle dimension de l’œuvre.

Un autre élément essentiel de ces représentations sera la présence de l’orchestre. Le Dutch Ballet Orchestra est considéré comme l’un des meilleurs orchestres de ballet au monde. Sa précision, sa richesse sonore et son sens du théâtre donnent vie à la musique avec une intensité remarquable. Sous la direction de Koen Kessels, grand spécialiste du répertoire de Minkus, la partition prendra toute son ampleur. Son expérience et sa connaissance profonde de cette musique garantissent des soirées musicales de tout premier ordre.

Ainsi, tous les éléments sont réunis pour faire de cette série de représentations un événement exceptionnel : une grande compagnie internationale, un théâtre prestigieux, un orchestre de premier plan et un chef-d’œuvre absolu du répertoire classique. Pour les amoureux de la danse, assister à La Bayadère à Amsterdam n’est pas seulement une sortie au théâtre — c’est une célébration de la grande tradition du ballet et de la beauté intemporelle de cet art. 

One of the most beloved works in the classical repertoire is preparing for a major new premiere. La Bayadère will soon return to the stage in a renewed production by Dutch National Ballet, offering audiences the rare pleasure that ballet lovers cherish: the opportunity to see the same role interpreted by different artists across several performances.

This new staging seeks to preserve the timeless beauty of the choreography created by Marius Petipa while re-examining the story behind it. Developed collaboratively by Rachel Beaujean, Dr. Priya Srinivasan, Kalpana Raghuraman, and Ted Brandsen, the production presents a refreshed narrative that reflects contemporary perspectives on history and culture. When Petipa originally created the ballet in 1877, he had never visited India. Like many 19th-century works inspired by distant cultures, the original ballet offered a romanticized vision of an exotic land. This new version keeps the magnificent “dance jewels” of Petipa’s choreography while reshaping the libretto through careful historical research and dialogue with artists connected to South Asian traditions.

The music remains the glorious score composed by Ludwig Minkus, whose melodies have accompanied generations of dancers in this legendary work. Sets and costumes by Jérôme Kaplan, lighting by James F. Ingalls, and visual design elements enrich the stage world of the ballet, while the Dutch Ballet Orchestra brings Minkus’s music to life under the baton of Koen Kessels or Alexei Baklan.

The premiere will feature two outstanding stars of the company: Anna Tsygankova and Giorgi Potskhishvili. In subsequent performances, other leading dancers of the company will take on the principal roles, allowing audiences to experience the unique artistic interpretations that make ballet such a living art form.

The history of La Bayadère is itself extraordinary. The ballet premiered in 1877 at the now-vanished Bolshoi Kamenny Theatre, then the home of the Imperial Ballet. It was created for the benefit performance of the great Russian ballerina Ekaterina Vazem, who originated the role of the temple dancer Nikiya. Both Petipa and Minkus were present at the premiere, which was immediately hailed by critics and audiences as one of Petipa’s masterpieces.

Among its many celebrated scenes, none is more famous than the vision of the Kingdom of the Shades, one of the most iconic moments in the entire classical ballet repertoire. The long procession of white-clad ballerinas descending the stage ramp has become a symbol of classical purity and poetic beauty.

The Bolshoi Kamenny Theatre itself occupies an important place in cultural history. Although the auditorium no longer survives today, its façade remains. The theatre was also the stage where Giuseppe Verdi personally attended the premiere of his opera La forza del destino, further cementing its legacy as one of the great artistic landmarks of 19th-century Europe.

Nearly 150 years after its creation, La Bayadère continues to evolve. This new production demonstrates how a classical masterpiece can honor its past while opening new perspectives for today’s audiences—ensuring that Petipa’s vision, Minkus’s music, and the immortal poetry of the ballet remain alive on stage for generations to come. ✨🩰

Saint Petersburg - Giuseppe Verdi - La forza del destino - Mariinsky Theatre - 30th April 2026

On Thursday, April 30th, 2026, Mariinsky Theatre will host an event of truly exceptional artistic and historical importance: a rare performa...