From his first steps inside the Vaganova Academy to a brilliant duet with Diana Vishneva, Konstantin Zverev is a rare example of a triumphal – even unexpected – ascent into the challenging but magical world of Russian and world classical ballet. To find out more about his phenomenal path, his views on the profession, and how he skillfully combines his pedagogical vocation with everyday training with the magic of the stage, read below. For the Russian language version of this interview, please click here.

Слышала, что вы из балетной семьи? I heard you come from a ballet family?
My father danced with Leonid Jakobson’s company. Sasha Sergeev was in my class at the Vaganova Academy, his parents also danced with Jakobson. One year later Philipp Styopin came to study, and his parents are also from Jakobson’s troupe. So we as the children of “Jakobson’s group” underwent a lot in those years at the Academy. We were close to one another, although we didn’t know each other at the start.

Did your father ask if you wanted to dance?
There was no desire formed inside me to dance, probably because I didn’t have that sort of childhood that many have where their parents are in the ballet world, and as a child they spend time in the theatre, in the studios and backstage in the wings. I grew up a normal child and understood that my father danced, but unfortunately I didn’t see him on stage, because by the time I was 6 or 7 years old, he retired from the stage.

Anastasia Vasilets started her journey in distant Sevastopol, not knowing that later she would dance on the stage of the famous Imperial Theater, the Mariinsky, in St. Petersburg. In addition to her work in the ballet company, she began teaching, and now is the head of the Department of Character and Historical Dance at the prestigious Vaganova Academy. We met to discuss her journey and this unique field of activity within the world of Russian ballet. For the Russian version of this interview, please click here.

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Why ballet?
It happened by accident. Like all parents in Soviet times and now in Russia, my parents tried to develop me comprehensively. At first, I went to a dance studio in my hometown of Sevastopol in the House of Officers. After a while, the teacher told my parents to pick me up because I was doing nothing but looking at myself in the mirror. After that, my parents sent me to sing, and when they came to the concert, it turned out that I was standing and not even opening my mouth. The only thing I liked was playing the piano. And then, when I was 6 years old, my father, a military officer, was transferred to Leningrad, and we moved here.

29 November 2025

A few times a year, the restored Petipa masterpiece “The Pharaoh’s Daughter” runs on the expansive Mariinsky-2 stage. This three-act, nearly four-hour extravaganza features lush sets and costumes, and everything from a walk-on camel (performed by two adult men), a lion (done in the same manner), a jungle monkey (performed by an Academy student), and live horses to pull the Pharoah’s chariot. The detailed sets feature a tropical jungle with sparkling waterfall, an exquisite Egyptian palace and the beautiful underwater scene in Act 3 complete with a giant clam shell “elevator”. The production revives step sequences and technique typical of the era in which it was created – it’s as if a black-and-white film of Vaganova, Pavlova and Ksessinskaya’s era has been doused with color and brought to life— even if some of the steps and poses seem unusual to modern eyes. We witness final poses on flat foot in fourth position (or in third with the front foot in half pointe), chainé turns in pointe shoes done on half-pointe, renversés with the torso bent sideways during piqué turns, and other components of technique that have long since left the standard classical canon of the 21^st century.

And yet “Pharoah” is decidedly alive. The short performance block scheduled on the eve of what will be two months of “Nutcracker” was met with lines 100 people long waiting to purchase tickets for just the matinee.

From a mining town in Siberia to the Mariinsky stage, soloist Maxim Izmestiev is living proof that positive thoughts can turn dreams into reality. Read below for the details of his story, or click here for the Russian version of the text.

How did you get involved in ballet?
My sister was the first to attend the Novosibirsk Choreographic School, and my mother decided to send me as well. When my mom told me that I was going to study ballet, I started crying and locked myself in my room. But now I’m very grateful to her that she sent me on this journey.

Did you have any physical training for ballet as a child?
I was actively involved in soccer (British football) where I had regular training sessions.

Despite the recent promotions of Philippe Stepin to principal and Maria Iliushkina (last month) to prima ballerina at the Mariinsky, the perpetual discussion in Petersburg ballet circles over the lack of principal male dancers is one that does not easily disappear. Mariinsky artistic director Andrian Fadeev has demonstrated his eagerness to recognize and promote talent within the ranks over the past year. Now in his second season as director, that trend is continuing, not just with promotions, but with cast lists.

Prima ballerina Oksana Skorik is a classical ballet dream: her Odette features the ideal, slender swan limbs that many other ballerinas dream of, and her Kitri is a buoyant, radiant –if tall—spitfire. She has danced with some of the best names in classical ballet. And recently, when cast as Juliet, she requested a specific partner, the Moscow-born but German-trained Nikita Korneev, with whom she’s previously appeared in ballets such as “Swan Lake”.

Former first soloist Maria Iliushkina, who has charmed audiences with her emotional sensitivity, legato grace, innate lyricism and poetic interpretations of key roles, was promoted to prima ballerina at the Mariinsky on September 19th, just prior to performing in “Swan Lake”. Artistic Director Andrian Fadeev made the announcement prior to curtain backstage. To read about Maria’s story, please see our interview with her.

VaganovaToday was lucky enough to witness her debut in “Romeo and Juliet” this past June, and you can find a review of that performance here as well.

VaganovaToday extends sincere congratulations on this incredible and well-deserved achievement by such a young ballerina. We look forward to seeing her again onstage, and sharing ongoing reports of her career!

There are stars that are born and those that are made. Minchul Jeon, who trained in Korea, veers more to the latter group, given his long lines, easy jumps, perfect carriage and smooth turns. This newcomer to the Mariinsky drew much anticipation after colleague Kimin Kim recommended him to the troupe. Jeon brought not only nobility to the leading role of Solor in “La Bayadere” on the Mariinsky stage at his July 17^th debut, but a grace unseen by many males onstage. His finely honed pantomime exuded notes of imperial carriage, particularly fitting for this formerly Tsarist theatre. This was Jeon’s first leading role at the Mariinsky and only his second performance. He performed the pas de trois in Act I of “Swan Lake” just a few weeks prior

Solor is, above all, a warrior. And many may argue that the role requires sternness or a harsh approach. There is no question that Jeon attacks his allegro work with certitude, but he infused his Solor with lyricism and grace while still maintaining a commanding presence on stage. While this may appear too “soft” for some who prefer to see a stricter hero, the contrast makes the role uniquely his.

Although less well known in some areas of the world, Mikhail Bulgakov’s “Master and Margarita” retains immense popularity in Russia, where musical, opera and film versions have drawn significant attention. But no ballet version of the famous book existed until  Zurich choreographer Edward Klug set his version at the Bolshoi Theatre in 2021 — a version that the Bolshoi brought to the Mariinsky for the first time in July 2025.

Consciously approaching the task with symbolism, the libretto is set on a giant empty stage that, upon further observation, is a pool that triples as a hospital and metro station depending on the props. As with all symbolism, it presents both challenges and benefits. No competition (no existing ballet productions) but also a level of abstraction that removes it from Bulgakov’s text.

Once a year, the Mariinsky presents Jakobson’s “Spartacus” which now holds extra weight since new director Andrian Fadeev ran the Jakobson troupe for more than a decade. While the Mariinsky repertoire doesn’t actively perform other Jakobson works –that’s left to the Jakobson troupe itself when they appear on the Mariinsky stage— this production is a stable feature of the permanent repertoire that nonetheless appears only about once per season.

This year’s mid-May run featured four performances back-to-back in the new pseudo-block format adopted by the theatre of late. The opening scene welcoming formations of legionnaires returning home from battle offers an ongoing parade of Roman warriors in battle gear, cheered on as their swords and shields are raised aloft. Roman crowd fills every bit of the stage, giving the sensation of a well-populated nation.  Against the backdrop of Adam Khachaturian’s celebratory introductory notes expertly led by conductor Vladislav Karklin, the initial atmosphere encompasses pride and triumph.

Vyacheslav Samodurov’s “Tanz Tseni”, or “Dancing Scenes”, set to Igor Stravinsky’s Symphony in C, is a 30-minute modern ballet void of a storyline that offers unique step combinations in clever combinations against a backdrop of trendy, neon strip lighting and flashy costumes. The last ballet of an all-Stravinsky contemporary bill, the work premiered on April 8th and serves as an example of what Russian choreographers offer in the neoclassical and modern genres.