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Traumata

“Planida” (“Russian Character”/“Nerve”/“Francesca da Rimini”)
MuzArts
Maly Theatre/Alexandrinsky Theatre
Moscow/St. Petersburg, Russia
September/November 2025 (video)

by Ilona Landgraf
Copyright © 2026 by Ilona Landgraf

1. A.Putintsev (Yegor Dryomov), “Russian Character” by P.Glukhov, MuzArts 2026 © MuzArts/B.Annadurdiev2. A.Putintsev (Yegor Dryomov), “Russian Character” by P.Glukhov, MuzArts 2026 © MuzArts/B.Annadurdiev Tomorrow, MuzArts’ triple bill Planida returns to Moscow’s Maly Theatre where it premiered in September 2025. It combines two old pieces—Nerve by Anna Shchekleina and Francesca da Rimini by Yuri Possokhov—along with Russian Character, a then-new creation by Pavel Glukhov. As in previous productions, dancers of the Bolshoi Ballet will be on stage. Thanks to MuzArts’ executive producer, Daria Faezova, I was able to watch videos of the program recorded at the Maly Theatre and St. Petersburg’s Alexandrinsky Theatre.

 

All three pieces deal with the concept of “Planida,” the predetermined course of life that is realized regardless of human action. Planida is roughly synonymous with fate, but while fate refers to unfolding events, Planida focuses on final results.

4. G.Gusev (Yegor`s comrade), A.Putintsev (Yegor Dryomov), and P.Sorokin (Yegor’s comrade); “Russian Character” by P.Glukhov, MuzArts 2026 © MuzArts/B.Annadurdiev3. E.Kokoreva (Katya Malysheva), E.Krysanova (Maria Polikarpovna), A.Putintsev (Yegor Dryomov), and M.Lobukhin (Yegor Egorovich); “Russian Character” by P.Glukhov, MuzArts 2026 © MuzArts/B.Annadurdiev Glukhov’s Russian Character is based on Alexei Tolstoy’s eponymous war story and is dedicated to the heroism and fortitude of the Soviet people during the Great Patriotic War. It premiered last year for the eightieth anniversary of the war’s end. The hero of Tolstoy’s story is the young tanker, Yegor Dryomov, whose face was badly burnt when his tank was knocked out at the Battle of Kursk. On recovery leave at home, he visits his parents but does not dare to frighten them. Instead, he pretends to be their son’s friend. Internally, however, he hopes that they will recognize him anyway.

5. G.Gusev (Yegor`s comrade) and A.Putintsev (Yegor Dryomov), “Russian Character” by P.Glukhov, MuzArts 2026 © MuzArts/B.Annadurdiev6. Ensemble, “Russian Character” by P.Glukhov, MuzArts 2026 © MuzArts/B.AnnadurdievBut they say nothing, though his mother senses the deception. The meeting with Yegor’s beautiful bride, Katya Malysheva, is even more painful. She not only fails to identify him but also staggers back at the sight of his disfigured face. Resolved to bury his feelings, Yegor returns to his comrades at the frontline. There, he receives a letter from his mother asking for the truth. Yegor confesses his deceit and begs for forgiveness. His mother and bride visit him later, and all ends well.

8. P.Sorokin (Yegor’s comrade), “Russian Character” by P.Glukhov, MuzArts 2026 © MuzArts/B.Annadurdiev 7. G.Gusev (Yegor`s comrade), A.Putintsev (Yegor Dryomov), and P.Sorokin (Yegor’s comrade); “Russian Character” by P.Glukhov, MuzArts 2026 © MuzArts/B.Annadurdiev The black silhouette of Glukhov’s Yegor (Alexei Putintsev) stood motionless in the darkness, watching a huge window slide open. Behind it, a blaze roared. The simple table in front of the fire later turned out to signify his family’s home. Accompanied by grave piano music, clanging metal (played by the Moscow Youth Chamber Orchestra under the baton of Andrei Kolyasnikov from a shallow pit on the right side of the cross-shaped stage), and monotonal sacral singing (performed by the Ippolitov-Ivanov Chamber Choir of the Moscow State Pedagogical Institute, which stood in the left pit), Yegor’s elbow shielded his eyes, and then his hand rested reassuringly behind his back. His breathing eased, then his fist clenched.

9. E.Krysanova (Maria Polikarpovna) and A.Putintsev (Yegor Dryomov), “Russian Character” by P.Glukhov, MuzArts 2026 © MuzArts/B.Annadurdiev 10. E.Krysanova (Maria Polikarpovna) and M.Lobukhin (Yegor Egorovich), “Russian Character” by P.Glukhov, MuzArts 2026 © MuzArts/B.Annadurdiev11. E.Krysanova (Maria Polikarpovna) and M.Lobukhin (Yegor Egorovich), “Russian Character” by P.Glukhov, MuzArts 2026 © MuzArts/B.AnnadurdievThe sound of a bell put an end to the fire, leaving a gray scene that, except for white and red scarves and Katya’s (Elizaveta Kokoreva) modest red lipstick, remained gray throughout. To the first rattling sounds of an accordion (played by Aidar Gainullin—a renowned Russian musician and Honored Artist of the Republic of Tatarstan—who sat at the stage’s right front side), Yegor turned toward the audience. As if to calculate the fire range and angle of his tank’s gun, his arms stretched and bent in various angles, and his feet measured their range of motion. Finally, he gathered his courage and ran toward the table against the edges of which his parents (Ekaterina Krysanova and Mikhail Lobukhin) supported themselves.
14. A.Putintsev (Yegor Dryomov) and E.Krysanova (Maria Polikarpovna), “Russian Character” by P.Glukhov, MuzArts 2026 © MuzArts/B.Annadurdiev 13. A.Putintsev (Yegor Dryomov) and E.Krysanova (Maria Polikarpovna), “Russian Character” by P.Glukhov, MuzArts 2026 © MuzArts/B.Annadurdiev12. A.Putintsev (Yegor Dryomov) and E.Krysanova (Maria Polikarpovna), “Russian Character” by P.Glukhov, MuzArts 2026 © MuzArts/B.AnnadurdievIn front of a tall lattice window behind which leafless trees swayed in the wind, the family kitchen suddenly resembled a sanctuary. The encounter was like a ritual during which the three knotted themselves in complicated poses as if to avoid straightforward questions. Yegor’s true identity was almost revealed, but his head eluded the grip of his parents’ hands in the very last moment, and though he danced at length with Katya, one couldn’t read her thoughts. Pushed by the urging score, their and his parents’ synchronous pas de deux conveyed the strains of wartime relationships but didn’t relate specifically to Yegor.

15. M.Lobukhin (Yegor Egorovich) and A.Putintsev (Yegor Dryomov), “Russian Character” by P.Glukhov, MuzArts 2026 © MuzArts/B.Annadurdiev16. A.Putintsev (Yegor Dryomov), E.Kokoreva (Katya Malysheva), G.Gusev (Yegor`s comrade), and P.Sorokin (Yegor’s comrade); “Russian Character” by P.Glukhov, MuzArts 2026 © MuzArts/B.AnnadurdievAs the kitchen window briefly turned into a hell of fire again, Yegor was back with his comrades (Georgy Gusev and Ivan Sorokin), sharing a cigarette, some laid-back, off-duty time, and combat. Later, they teased Yegor with the white scarf that Katya had given him as a keepsake. It was replaced by a red one that covered Yegor’s face once his comrades had carried him off the battlefield, circled by huge ravens. When his mother’s quivering hands tore the scarf away, Yegor ran off.

18. A.Putintsev (Yegor Dryomov) and ensemble, “Russian Character” by P.Glukhov, MuzArts 2026 © MuzArts/B.Annadurdiev 17. A.Putintsev (Yegor Dryomov) and ensemble, “Russian Character” by P.Glukhov, MuzArts 2026 © MuzArts/B.AnnadurdievFacing reality tormented his mother and revealed the strength of his father (Krysanova and Lobukhin danced a fabulously strong pas de deux at this point). It also reminded her of the affectionate relationship she had with her young son.

Only three-quarters of the way through the piece did bloody scarves disfigure Yegor’s face. His hands and arms frantically covered them, even though his father forcefully pulled them off again and again. This was his son, and he stood with him. However, Yegor needed to come to terms with his own past. He finally took his place among his family, next to Katya.

19. Ensemble, “Nerve” by A.Shchekleina, MuzArts 2026 © MuzArts/B.Annadurdiev20. “Nerve” by A.Shchekleina, MuzArts 2026 © MuzArts/B.Annadurdiev21. “Nerve” by A.Shchekleina, MuzArts 2026 © MuzArts/B.AnnadurdievIn Shchekleina’s Nerve (2022), a man’s course of life is fundamentally changed by some unknown, deeply disturbing event. Only once did the shadow of his head pass by on the backdrop, but he certainly was the owner of the brain, the gray matter of which we were permitted to peep into. It showed seven black dancer-neurons in a harmonious workflow. Rhythmic electronic pulses (music by Vasily Peshkov) induced their gentle undulations.

24. “Nerve” by A.Shchekleina, MuzArts 2026 © MuzArts/B.Annadurdiev23. “Nerve” by A.Shchekleina, MuzArts 2026 © MuzArts/B.Annadurdiev22. “Nerve” by A.Shchekleina, MuzArts 2026 © MuzArts/B.Annadurdiev Black fabric tubes pulled over their heads symbolized axons. Their network kept each neuron in place. Suddenly, an unnerving sound unleashed flashing signals that generated spiky movements. Seconds later, the dancers’ limbs lashed mechanically sideways, indicating a cerebral deadlock. Neural degeneration was underway. One after the other, the dancers pulled the axons off their heads and fled, their arms flailing. Ripped from their cell bodies, the axons deteriorated.

25. “Nerve” by A.Shchekleina, MuzArts 2026 © MuzArts/B.Annadurdiev26. “Nerve” by Anna Shchekleina, MuzArts 2026 © MuzArts/B.Annadurdiev The robot-like man who appeared from the fathomless, black space must have been the one whose nerves we had just witnessed suffering. He was not merely thin-skinned, but skinless up to his bones and muscles. Raw and unprotected, the sheer existence of his body alienated him. The woman who entered the dark stage from the opposite side was similarly exposed and disturbed. When she touched the man’s arm, both pulled back reflexively as if burned. Initially wavering between curiosity and attraction, their encounter quickly turned into a shadowboxing-like attack. Although the woman never touched the man, he crawled on all fours, shirking from her blows and kicks. She had already receded into the distance, but his arms continued to clench his chest.
28. I.Gainutdinov, “Nerve” by A.Shchekleina, MuzArts 2026 © MuzArts/B.Annadurdiev27. “Nerve” by A.Shchekleina, MuzArts 2026 © MuzArts/B.AnnadurdievOnce he felt safe and recovered to his feet, the black tentacles of a huge polyp appeared on the left side of the backdrop. Perhaps, they represented the level to which the traumatized spirits had declined?

Six people who replaced the maltreated man accomplished the first step of mental restoration. Although still skinless and strutting like spiders, their arms reaching out like tentacles for prey, they had the brains for an acrobatic pas de trois. One man, with legs straddling at the front of the stage and his arms stretched into a V-shape, thrust his chest toward heaven, collapsed, and struggled back onto his feet. His flailing arms and kicking legs seemed to fend off the thickening knot of tentacles on the backdrop. His gaping mouth gave him a helpless look, but he persevered. While he jerked and his hands gripped his neck as if he were choking, the tentacles vanished.

29. I.Gainutdinov, “Nerve” by A.Shchekleina, MuzArts 2026 © MuzArts/B.Annadurdiev30. A.Kovaleva and I.Gainutdinov, “Nerve” by A.Shchekleina, MuzArts 2026 © MuzArts/B.AnnadurdievHuge progress was made when he brought the others, who had turned into awkward pillars of salt, into the warm spotlight. Their sense of beauty and togetherness was restored and healing completed when, upon a woman’s solo, a man (Ildar Gainutdinov) slumped on stage like a newborn, his hair tousled and skin wet with oil. His legs buckled under his weight as he attempted to walk, and, while gazing at his arms, he slowly became conscious of himself.

32. Ensemble, “Nerve” by A.Shchekleina, MuzArts 2026 © MuzArts/B.Annadurdiev 31. Ensemble, “Nerve” by A.Shchekleina, MuzArts 2026 © MuzArts/B.AnnadurdievWhen a woman (Alena Kovaleva) joined him, their movements complemented each other’s like yin and yang. Accompanied by spherical sounds, harmony came to the group. Actions and reactions merged into a gentle flow. Being together and being human was precious. After swimming through invisible waters, which they seemed to pour twice over their heads like a baptismal ritual, their hands rested in front of their necks, flickering from the pulse of life. Just as they assembled around a circle of light, the stage went dark.

33. A.Stashkevich (Francesca) and E.Gerashchenko (Giovanni), “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.Annadurdiev 34. I.Gainutdinov (Paolo), A.Stashkevich (Francesca), E.Gerashchenko (Giovanni), and ensemble; “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.AnnadurdievPossokhov’s Francesca da Rimini was created for San Francisco Ballet in 2012 and added to MuzArts’ repertory in 2016. It’s accompaniment, Tchaikovsky’s symphonic poem of the same title, is rich and colorful.
Francesca da Rimini, an Italian noblewoman of Ravenna, had an affair with Paolo Malatesta, the stepbrother of her husband, Giovanni. Upon discovering the adultery, Giovanni murdered both.

36. A.Stashkevich (Francesca), I.Gainutdinov (Paolo), and ensemble; “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.Annadurdiev35. I.Gainutdinov (Paolo), E.Gerashchenko (Giovanni), A.Stashkevich (Francesca), and ensemble; “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.Annadurdiev Dante Alighieri, a contemporary of Francesca, included her fate in his Divine Comedy, in which she and Paolo were banished to the second circle of the Inferno reserved for the lustful. There, she explained to Dante that love overpowered her while she was reading a chivalric romance about Lancelot du Lac, “We yielded to our passions because of one single line in that book… A pimp was that book, and a pimp was the one who wrote it.”

37. I.Gainutdinov (Paolo) and A.Stashkevich (Francesca), “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.Annadurdiev 38. I.Gainutdinov (Paolo) and ensemble, “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.Annadurdiev Possokhov’s Francesca (Anastasia Stashkevich), wearing a silky, pristine white dress (costume design by Igor Chapurin), was similarly reading a book—Dante’s Divine Comedy. Next to her on a broken, marble fresco sat Giovanni (Egor Gerashchenko), his half-red, half-olive colored shirt perhaps indicating that he had both loving and hateful sides. In all probability, he would end up in hell as well, but for now, he was part of Francesca’s tormenting memories. Paolo (Ildar Gainutdinov) stood behind them in the semi-darkness, looking away.
41. I.Gainutdinov (Paolo) and A.Stashkevich (Francesca), “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.Annadurdiev40. I.Gainutdinov (Paolo) and A.Stashkevich (Francesca), “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.Annadurdiev39. A.Stashkevich (Francesca), I.Gainutdinov (Paolo), and ensemble; “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.Annadurdiev Five court ladies in floor-length, red dresses (Olga Marchenkova, Ekaterina Besedina, Ekaterina Smurova, Anna Zakaraia, and Anna Grigireva) and three guardians of hell (Vasily Danilchuk, Anton Gainutdinov, and Karim Abdullin), their pale white, full-body leotards darkened from soot, joined them in the cavernous, gloomy blue of hell.
42. A.Stashkevich (Francesca) and I.Gainutdinov (Paolo), “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.Annadurdiev43. A.Stashkevich (Francesca) and I.Gainutdinov (Paolo), “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.Annadurdiev From all sides, fragments of marble statues (among them amorous couples) protruded into the foggy air like remnants of a shattered past (set design by Maria Treguba). The relationship between Francesca and Giovanni wasn’t yet shattered but was bloodless and one-sided. Giovanni was staid and earnestly loving, whereas the sensitive Francesca seemed to live in a dream world. Although her eyes avoided Giovanni at all times and she disliked his kiss on her neck, he was her anchor.

46. A.Stashkevich (Francesca) and I.Gainutdinov (Paolo), “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.Annadurdiev 45. A.Stashkevich (Francesca) and I.Gainutdinov (Paolo), “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.Annadurdiev44. A.Stashkevich (Francesca) and I.Gainutdinov (Paolo), “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.AnnadurdievBefore leaving the scene, Giovanni put a protective hand on his wife’s head and a brotherly one on Paolo’s shoulder, but, abruptly turning around and glancing at Paolo, he must have apprehended what was to come. With Giovanni gone, the court ladies whispered when Paolo approached Francesca. They mimicked her attempts to resist his advances or crossed the stage with quick steps, stirring the air with flurries of port de bras. Often, their crossed-over hands held their skirts chastely folded or, sitting on the floor, their crossed legs shielded their loins. The moment Francesca fell for Paolo, the ladies sank to the feet of the guardians of hell.
47. E.Gerashchenko (Giovanni) and A.Stashkevich (Francesca), “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.Annadurdiev48. A.Stashkevich (Francesca) and I.Gainutdinov (Paolo), “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.Annadurdiev49. A.Stashkevich (Francesca) and E.Gerashchenko (Giovanni), “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.Annadurdiev Paolo rotated around Francesca like a windmill, directing his hasty, passionate jumps at her. Bypassing his outstretched arms was impossible. She tried to run away but then stopped helplessly and gave in. As he carried her erect body, she stretched her arms sideways like the crucified Christ, then she collapsed over his shoulder, emptied of all strength. Abhorred by the lovers’ kiss, the ladies shielded their eyes behind their elbows. Only when Francesca bowed her head submissively to them did the arrogant, contemptuous lot back out.

51. A.Stashkevich (Francesca), I.Gainutdinov (Paolo), and E.Gerashchenko (Giovanni); “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.Annadurdiev 50. I.Gainutdinov (Paolo), E.Gerashchenko (Giovanni), and ensemble; “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.Annadurdiev The following scene portrayed the love triangle and the disloyal court as a sober chess game, shedding light only on those few squares where action took place. The second Paolo stepped onto Francesca’s square, the two found themselves back in hell. Portentous brass sounds heralded Giovanni’s return. He rolled in like a thunderbolt, propelling himself high and landing in a deep lunge, from where his disbelieving yet furious gaze caught Francesca and Paolo in an intimate embrace. Paolo’s head hung guiltily as Giovanni leapt toward him, his outstretched arm asking why. Mad with anger, Giovanni jumped toward the lovers twice. The invisible dagger in his hand first killed Francesca, then Paolo. Still raging with ire, Giovanni stepped over the corpses, scornfully kicking them. Then the three guardians of hell put a robust noose over his head and, pulling him away by the rope, ensured that guilt would strangle him forever.
52. E.Gerashchenko (Giovanni), I.Gainutdinov (Paolo), A.Stashkevich (Francesca), V.Danilchuk, A.Gainutdinov, and K.Abdullin (Guardians of Hell); “Francesca da Rimini” by Y.Possokhov, MuzArts 2026 © MuzArts/B.Annadurdiev

Links: Website of the Maly Theatre
Trailer Planida
Photos: 1. Alexei Putintsev (Yegor Dryomov), “Russian Character” by Pavel Glukhov, MuzArts 2026
2. Alexei Putintsev (Yegor Dryomov), “Russian Character” by Pavel Glukhov, MuzArts 2026
3. Elizaveta Kokoreva (Katya Malysheva), Ekaterina Krysanova (Maria Polikarpovna), Alexei Putintsev (Yegor Dryomov), and Mikhail Lobukhin (Yegor Egorovich); “Russian Character” by Pavel Glukhov, MuzArts 2026
4. Georgy Gusev (Yegor`s comrade), Alexei Putintsev (Yegor Dryomov), and Pavel Sorokin (Yegor’s comrade); “Russian Character” by Pavel Glukhov, MuzArts 2026
5. Georgy Gusev (Yegor`s comrade) and Alexei Putintsev (Yegor Dryomov), “Russian Character” by Pavel Glukhov, MuzArts 2026
6. Ensemble, “Russian Character” by Pavel Glukhov, MuzArts 2026
7. Georgy Gusev (Yegor`s comrade), Alexei Putintsev (Yegor Dryomov), and Pavel Sorokin (Yegor’s comrade); “Russian Character” by Pavel Glukhov, MuzArts 2026
8. Pavel Sorokin (Yegor’s comrade), “Russian Character” by Pavel Glukhov, MuzArts 2026
9. Ekaterina Krysanova (Maria Polikarpovna) and Alexei Putintsev (Yegor Dryomov), “Russian Character” by Pavel Glukhov, MuzArts 2026
10. Ekaterina Krysanova (Maria Polikarpovna) and Mikhail Lobukhin (Yegor Egorovich), “Russian Character” by Pavel Glukhov, MuzArts 2026
11. Ekaterina Krysanova (Maria Polikarpovna) and Mikhail Lobukhin (Yegor Egorovich), “Russian Character” by Pavel Glukhov, MuzArts 2026
12. Alexei Putintsev (Yegor Dryomov) and Ekaterina Krysanova (Maria Polikarpovna), “Russian Character” by Pavel Glukhov, MuzArts 2026
13. Alexei Putintsev (Yegor Dryomov) and Ekaterina Krysanova (Maria Polikarpovna), “Russian Character” by Pavel Glukhov, MuzArts 2026
14. Alexei Putintsev (Yegor Dryomov) and Ekaterina Krysanova (Maria Polikarpovna), “Russian Character” by Pavel Glukhov, MuzArts 2026
15. Mikhail Lobukhin (Yegor Egorovich) and Alexei Putintsev (Yegor Dryomov), “Russian Character” by Pavel Glukhov, MuzArts 2026
16. Alexei Putintsev (Yegor Dryomov), Elizaveta Kokoreva (Katya Malysheva), Georgy Gusev (Yegor`s comrade), and Pavel Sorokin (Yegor’s comrade); “Russian Character” by Pavel Glukhov, MuzArts 2026
17. Alexei Putintsev (Yegor Dryomov) and ensemble, “Russian Character” by Pavel Glukhov, MuzArts 2026
18. Alexei Putintsev (Yegor Dryomov) and ensemble, “Russian Character” by Pavel Glukhov, MuzArts 2026
19. Ensemble, “Nerve” by Anna Shchekleina, MuzArts 2026
20. “Nerve” by Anna Shchekleina, MuzArts 2026
21. “Nerve” by Anna Shchekleina, MuzArts 2026
22. “Nerve” by Anna Shchekleina, MuzArts 2026
23. “Nerve” by Anna Shchekleina, MuzArts 2026
24. “Nerve” by Anna Shchekleina, MuzArts 2026
25. “Nerve” by Anna Shchekleina, MuzArts 2026
26. “Nerve” by Anna Shchekleina, MuzArts 2026
27. “Nerve” by Anna Shchekleina, MuzArts 2026
28. Ildar Gainutdinov, “Nerve” by Anna Shchekleina, MuzArts 2026
29. Ildar Gainutdinov, “Nerve” by Anna Shchekleina, MuzArts 2026
30. Alena Kovaleva and Ildar Gainutdinov, “Nerve” by Anna Shchekleina, MuzArts 2026
31. Ensemble, “Nerve” by Anna Shchekleina, MuzArts 2026
32 Ensemble, “Nerve” by Anna Shchekleina, MuzArts 2026
33 Anastasia Stashkevich (Francesca) and Egor Gerashchenko (Giovanni), “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
34. Ildar Gainutdinov (Paolo), Anastasia Stashkevich (Francesca), Egor Gerashchenko (Giovanni), and ensemble; “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
35. Ildar Gainutdinov (Paolo), Egor Gerashchenko (Giovanni), Anastasia Stashkevich (Francesca), and ensemble; “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
36. Anastasia Stashkevich (Francesca), Ildar Gainutdinov (Paolo), and ensemble; “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
37. Ildar Gainutdinov (Paolo) and Anastasia Stashkevich (Francesca), “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
38. Ildar Gainutdinov (Paolo) and ensemble, “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
39. Anastasia Stashkevich (Francesca), Ildar Gainutdinov (Paolo), and ensemble; “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
40. Ildar Gainutdinov (Paolo) and Anastasia Stashkevich (Francesca), “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
41. Ildar Gainutdinov (Paolo) and Anastasia Stashkevich (Francesca), “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
42 Anastasia Stashkevich (Francesca) and Ildar Gainutdinov (Paolo), “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
43. Anastasia Stashkevich (Francesca) and Ildar Gainutdinov (Paolo), “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
44. Anastasia Stashkevich (Francesca) and Ildar Gainutdinov (Paolo), “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
45. Anastasia Stashkevich (Francesca) and Ildar Gainutdinov (Paolo), “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
46. Anastasia Stashkevich (Francesca) and Ildar Gainutdinov (Paolo), “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
47. Egor Gerashchenko (Giovanni) and Anastasia Stashkevich (Francesca), “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
48. Anastasia Stashkevich (Francesca) and Ildar Gainutdinov (Paolo), “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
49. Anastasia Stashkevich (Francesca) and Egor Gerashchenko (Giovanni), “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
50. Ildar Gainutdinov (Paolo), Egor Gerashchenko (Giovanni), and ensemble; “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
51. Anastasia Stashkevich (Francesca), Ildar Gainutdinov (Paolo), and Egor Gerashchenko (Giovanni); “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
52. Egor Gerashchenko (Giovanni), Ildar Gainutdinov (Paolo), Anastasia Stashkevich (Francesca), Vasily Danilchuk, Anton Gainutdinov, and Karim Abdullin (Guardians of Hell); “Francesca da Rimini” by Yuri Possokhov, MuzArts 2026
all photos © MuzArts/Batyr Annadurdiev
Editing: Kayla Kauffman

 

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Live Life to the Fullest

“Zorba the Greek”
Tartar State Academic Ballet
Jalil Opera and Ballet Tartar State Academic Theatre
Kazan, Russia
November 2025 (video)

by Ilona Landgraf
Copyright © 2026 by Ilona Landgraf

1. “Zorba the Greek” by L.Massine, Tartar State Academic Ballet 2025 © Tartar State Academic Ballet “A man needs a little madness or never dares to cut his ropes and be free,” urged Zorba the buttoned-up aristocrat Basil, in Michael Cacoyannis’s 1964 film Zorba the Greek. The film is based on Nikos Kazantzakis’s 1946 novel Life and Times of Alexis Zorbas, won three Academy Awards, and featured Anthony Quinn as Zorba and Alan Bates as Basil. Zorba, an earthy and boisterous peasant, had this kind of madness and, on their venture to Crete, instilled it in Basil as well.
In addition to the film, the novel inspired a musical, radio play, telemovie, and ballet, which was choreographed by Lorca Massine (Léonide Massine’s son), includes music by Mikis Theodorakis, and premiered at the Arena di Verona in 1988. Vladimir Vasiliev and Gheorghe Iancu danced the leading roles. Continue reading “Live Life to the Fullest”

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Believe in Miracles

“The Nutcracker. Waiting for a Miracle”
Bolshoi Ballet
Bolshoi Theatre
Moscow, Russia
December 29, 2025 (documentary)

by Ilona Landgraf
Copyright © 2026 by Ilona Landgraf

1. E.Kokoreva (Marie), D.Savin (Drosselmeier), and ensemble, “The Nutcracker” by Y.Grigorovich, Bolshoi Ballet 2025 © Bolshoi Theatre/D.YusupovOf the many special moments in Yuri Grigorovich’s The Nutcracker, there’s one you shouldn’t miss: when the Christmas tree is growing, and Marie’s transformation takes place. Then you need to make a wish. At least, that’s the insiders’ tip from the Bolshoi Ballet’s artists involved in the production.

Grigorovich’s The Nutcracker premiered at the Bolshoi Theatre in 1966 and was performed for the eight hundredth time earlier in December. Perhaps that’s why the Russian Channel One broadcast a one-hour documentary about The Nutcracker at the end of December. The film outlines the plot, provides insight into the music, set, and costumes, and looks at sixty years of performance history, during which nothing changed. Numerous coaches and ballet masters guarantee that Grigorovich’s legacy is preserved and kept alive. Continue reading “Believe in Miracles”

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Flimsy

“Marie Antoinette”
Vienna State Ballet & Volksoper Wien
Volksoper Wien
Vienna, Austria
December 20, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. E.Bottero (Marie Antoinette) and A.Garcia Torres (Ludwig XVI), “Marie Antoinette” by T.Malandain, Vienna State Ballet 2025 © Vienna State Ballet/A.Taylor2. R.Horner (Queen Mother), “Marie Antoinette” by T.Malandain, Vienna State Ballet 2025 © Vienna State Ballet/A.TaylorThierry Malandain’s Marie Antoinette was the Vienna State Ballet’s second premiere under Alessandra Ferri’s directorship. The one-act piece, created for the Malandain Ballet Biarritz, received its premiere in 2019 at the Palace of Versailles’s Opéra Royal. Its stage was inaugurated in 1770 during Marie Antoinette’s lavish wedding to Louis Auguste, heir to the throne.
Marie Antoinette follows the life of the then only fourteen-year-old Dauphine of France until her execution by guillotine in 1793. That’s twenty-three years of life (nineteen of which Marie Antoinette was Queen consort) to narrate. But Malandain tells little, and the ninety minutes of Marie Antoinette dragged on. Continue reading “Flimsy”

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Doing the Company Proud

“Gala pour les 50 ans de l’Académie Princess Grace”
L’Académie Princesse Grace
Salle Prince Pierre, Grimaldi Forum
Monte Carlo, Monaco
December 19, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. Students of the Academy Princess Grace, “We’ve Got Rhythm!” by M.Rahn, L’Académie Princess Grace 2025 © A.BlangeroLes Ballets de Monte-Carlo has much to celebrate this season: the company’s fortieth anniversary and the associated Academy Princess Grace’s fiftieth anniversary. The company will host a gala in July 2026, and the Academy’s gala took place last Friday. It combined a “best of” selection of works performed by the Academy during the past sixteen years. Princess Caroline of Hanover, president of Les Ballet de Monte-Carlo, attended the gala.

The legs of seven girls flew high to George Gershwin’s I’ve got Rhythm, and the joy and confidence in their faces, as well as the freedom, dash, and buoyancy of their movements, left no doubt that this would be a pleasant evening. Michel Rahn’s 2011 neoclassical choreography of almost the same title, We’ve Got Rhythm!, looked Balanchine-esque and employed a large group of male and female students. Continue reading “Doing the Company Proud”

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“A Splendor for the Eyes”

“The Sleeping Beauty”
The Australian Ballet
Sydney Opera House/Joan Sutherland Theatre
Sydney, Australia
December 16, 2025 (live stream)

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. B.Bemet (Princess Aurora) and ensemble, “The Sleeping Beauty” by D.McAllister after M.Petipa, The Australian Ballet 2025 © D.Boud According to the Australian Ballet’s artistic director, David Hallberg, The Sleeping Beauty is “a splendor for the eyes.” The production, which originated ten years ago under the directorship of Hallberg’s predecessor, David McAllister (who also contributed choreography based on Petipa’s original), is more; it is food for the soul.

As if zooming in on the painting of a distant palace projected on the curtain, the first scene showed the royal writing cabinet, where the whimsical Catalabutte (Jarryd Madden) omitted Carabosse from the list of invitees to Princess Aurora’s christening party. The curve of the painting’s frame recurred in the shape of the banisters that led down to the royal hall. Jon Buswell’s lighting increased the impression of paintings in motion. Continue reading ““A Splendor for the Eyes””

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Lasting Icons

“Two Annas”
MuzArts
Tovstonogov Bolshoi Drama Theatre
St. Petersburg, Russia
December 2025 (video)

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. P.Malikova (Anna Akhmatova), E.Sevenard (Anna Akhmatova), and D.Potaptsev (Nikolai Gumilev), “Akhmatova” by Y.Possokhov, MuzArts 2025 © Diaghilev P.S. Festival/M.Vilchuk The production company MuzArts, founded in 2014 to showcase the Bolshoi Ballet’s prima ballerina, Svetlana Zakharova, has grown into a vital force of Russia’s ballet scene. Their recent production, Two Annas, was supported by the Diaghilev P.S. International Festival of Arts, a prominent, intercultural, cross-genre event that has been held in St. Petersburg since 2009. Two Annas premiered at St. Petersburg’s Tovstonogov Bolshoi Drama Theatre this February and received its Moscow premiere at the Maly Theatre. Thanks to the MuzArts’s director, Yuri Baranov, I was able to watch a video of the production. Continue reading “Lasting Icons”

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Adventurous

“Peter Pan”
Vienna State Ballet & Volksoper Wien
Volksoper Wien
Vienna, Austria
November 22, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. Ensemble, “Peter Pan” by V.Orlić, Vienna State Ballet/Volksoper Wien 2025 © A.Taylor Vienna’s Volksoper buzzed with excitement shortly before the performance of Vesna Orlić’s dance adaptation of Peter Pan. The great many children in the auditorium fell into eager silence when a rousing fanfare opened the ballet.

Orlić, leading ballet master of the Volksoper ensemble, began choreographing in 2006. For her 2019 Peter Pan, she was justifiably awarded Austria’s music theater prize. The production, which is based on James Matthew Barrie’s 1911 novel Peter and Wendy (known as Peter Pan), is witty, gripping, and great entertainment for the young and the old. I don’t know why the company’s former artistic director, Martin Schläpfer, shelved it. His successor, Alessandra Ferri, instantly decided on a revival. Continue reading “Adventurous”

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Mockery

“Die Fledermaus” (“The Bat”)
Vienna State Ballet
Vienna State Opera
Vienna, Austria
November 21, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. T.Afshar (Johann) and O.Esina (Bella), “Die Fledermaus” by R.Petit, Vienna State Ballet 2025 © Vienna State Ballet/A.Taylor2. T.Afshar (Johann) and O.Esina (Bella), “Die Fledermaus” by R.Petit, Vienna State Ballet 2025 © Vienna State Ballet/A.Taylor For Johann Strauss II’s bicentennial, the Vienna State Ballet revived Roland Petit’s 1979 ballet adaptation of Strauss’s famous operetta, Die Fledermaus (The Bat). It’s accompanied by a “best of” selection of compositions by Johann Strauss II, his father, Johann Strauss I, and his brother, Josef. The score’s oomph and gaiety are infectious. Strauss’ music, particularly the Viennese waltzes (of which Die Fledermaus has plenty), is part of the DNA of the Vienna State Opera’s orchestra, and under Luciano Di Martino’s baton, it fizzed like champagne. Melodies rose boisterously to a tipping point, balanced provocatively on the edge, and rippled down with relish as if on a rollercoaster ride. Continue reading “Mockery”

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Applied Faith

“Romeo and Juliet”
Hungarian National Ballet
Hungarian State Opera
Budapest, Hungary
November 8-9, 2025 (evening performance and matinee)

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. M.Yakovleva (Juliet), L.Scrivener (Romeo), and ensemble; “Romeo and Juliet” by L.Seregi, Hungarian National Ballet 2025 © A.Nagy/Hungarian State OperaMost ballet companies have a version of Romeo and Juliet. The Hungarian National Ballet’s version, by László Seregi (1929-2012), has been on the program regularly since its premiere in 1985. A crowd puller, the opera house was sold out at both performances I watched.

Seregi’s name is well known to Hungarian ballet lovers. Initially trained as a folk dancer, he joined the opera’s corps de ballet when it was short on artists during the 1956 revolution. In 1977, he became the company’s director but, feeling burdened by his duties, suffered from an enduring artistic crisis. Continue reading “Applied Faith”

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Reborn

“Callirhoe”
Vienna State Ballet
Vienna State Opera
Vienna, Austria
October 19, 2025 (live stream)

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. M.Young (Callirhoe) and ensemble, “Callirhoe” by A.Ratmansky, Vienna State Ballet 2025 © Vienna State Ballet/A.Taylor 2. V.Caixeta (Chaireas) and ensemble, “Callirhoe” by A.Ratmansky, Vienna State Ballet 2025 © Vienna State Ballet/A.TaylorThe title of Martin Schläpfer’s farewell choreography, Pathétique, summarized the condition of the Vienna State Ballet he left behind after five years as its artistic director. His successor, Alessandra Ferri, restructured the company. Some dancers left, and others joined, some of whom were returnees. Last weekend, she presented the first premiere under her reign, Alexei Ratmansky’s Callirhoe (which he choreographed for ABT in 2020 under the title Of Love and Rage). It felt like the rebirth of the company. I cannot remember when I last saw the Vienna State Ballet perform with such force. Congratulations! Continue reading “Reborn”

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Watered Down

“Le Corsaire”
Korean National Ballet
Forum Ludwigsburg
Ludwigsburg, Germany
October 18, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. Ensemble, “Le Corsaire” by J.Song, Korean National Ballet 2025 © Korean National BalletLast weekend, the Korean National Ballet presented Le Corsaire at the Forum Ludwigsburg. The tour stopped at Suejin Kang’s, the company’s artistic director, former home in the Stuttgart region, where she is a cherished former principal of Stuttgart Ballet. The senior guard of Stuttgart’s ballet circle therefore flocked to the performance as if it were a family gathering.

The Koreans’ Le Corsaire premiered in 2020 and is by Jungbin Song, a soloist of the company who began choreographing in 2016. He kept some of Petipa’s signature choreography (such as the tender pas de deux of Medora and Conrad in Act II; the pas de trois of Medora, Conrad, and Ali; and the Grand Pas de Trois des Odalisques) but rewrote the plot significantly. Continue reading “Watered Down”

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The Art of Embarrassing Oneself

“Stravinsky in Paris” (“Farewell in Paris”/“Le Sacre du Printemps”)
State Ballet of the Gärtnerplatztheater, Munich
Forum Ludwigsburg
Ludwigsburg, Germany
July 30, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. M.J.Perko (Jerry) and ensemble, “Farewell in Paris” by J.Verbruggen, State Ballet of the Gärtnerplatztheater 2025 © M.-L.Briane Since 1932, the city of Ludwigsburg in Baden-Württemberg has hosted an annual summer festival featuring various cultural genres. Many events are held at the Ludwigsburg Palace, a vast complex that served as the Duke of Württemberg’s residence after its completion in 1733. Munich’s State Ballet of the Gärtnerplatztheater, whose Stravinsky in Paris marked the festival’s final dance event, performed at the Ludwigsburg Forum near the palace. Last October, the Gärtnerplatztheater showed Troja (“Troy”) by the Greek-born Andonis Foniadakis on its tour to Ludwigsburg. Its display of sexist abuse was annoying. As the press praised Stravinsky in Paris as a “confetti rocket,” I was curious about its “sophisticated dance and music.”
Stravinsky in Paris, a co-production of the Gärtenerplatztheater and the Ludwigsburg Festival, recently premiered in Munich. The double bill combines Jeroen Verbruggen’s Farewell in Paris and Marco Goecke’s Le Sacre du Printemps.
The nonchalant steps of the straw-hatted men who opened Farewell to Paris seemed inspired by a blend of Broadway style and Parisian savoir vivre. In their pale pink of their blazers and pants, they seemed to belong in a little girl’s dream (costumes by Emmanuel Maria). Continue reading “The Art of Embarrassing Oneself”

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Something Is Going On

“Twilight”/“Bronia”
Les Ballets de Monte Carlo
Salle Garnier Opéra de Monte-Carlo
Monte Carlo, Monaco
July 18, 2025

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. Ensemble, “Twilight” by L.Timulak, Les Ballets de Monte-Carlo 2025 © A.BlangeroLes Ballets de Monte-Carlo closed the season with two new creations: Twilight by Lukáš Timulak and Bronia by Mattia Russo and Antonio de Rosa. So far, all productions I’ve seen in Monaco have been performed at the Grimaldi Forum, a modern glass and steel complex whose Salle des Princes lies below sea level. The new double bill was, however, presented at the Salle Garnier at the Opéra de Monte-Carlo, which is next door to the famous casino. A miniature replica of the Paris Opera, the Salle Garnier is a red and gold Italian theater built in the Second Empire style. It was here that Sergei Diaghilev’s Ballets Russes took up residence in 1911. Until the First World War, Diaghilev’s company rehearsed, prepared new productions, and stored sets and props in Monte-Carlo. On April 9, 1911, the Ballets Russes gave its first performance, which featured Scheherazade and Giselle. On April 19th, Nijinsky and Karsavina gave their debut in Fokine’s Le Spectre de la Rose. This history was significant in the context of the recent premiere. Continue reading “Something Is Going On”

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“We Need Him”

“Diaghilev”
Dancers of the Bolshoi Ballet
Bolshoi Theatre (New Stage)
Moscow, Russia
June 24, 2025 (video)

by Ilona Landgraf
Copyright © 2025 by Ilona Landgraf

1. A.Meskova (Gypsy Woman) and D.Rodkin (Sergei Diaghilev), “Diaghilev” by A.Kaggedzhi, Dancers of the Bolshoi Ballet 2025 © G.Galantnyi  2. D.Rodkin (Sergei Diaghilev), “Diaghilev” by A.Kaggedzhi, Dancers of the Bolshoi Ballet 2025 © G.Galantnyi  The man in need whom Sergei Lifar wrote about in 1939 was Sergei Diaghilev (1872-1929), impresario of the Ballets Russes and a revolutionist of ballet. Diaghilev’s burning passion to discover and promote creative beauty is unequaled. He shaped the perception of Russian culture in the West and, like a virus, changed the DNA of twentieth-century art. Without him, Vaslav Nijinsky, Tamara Karsavina, Ida Rubinstein, Feodor Chaliapin, and Igor Stravinsky wouldn’t have become known to the world, and the careers of choreographers, such as Michel Fokine, Bronislava Nijinska, Léonide Massine, and George Balanchine, might have taken another path. Ten years after Diaghilev’s death, no one had filled the void he had left behind.

Ninety-six years later, a new Diaghilev has yet to be found, but—as Russia and the West separated again—the need for a bridge-building spirit and culture that unites people across borders is more pressing than ever. That’s why Russia launched the cultural search festival We Need Diaghilev last year, which features various expositions, lectures, and performances at Russian and foreign venues. Continue reading ““We Need Him””