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”.
Some have found it is nearly unbelievable that Korneev had not performed this role previously, for he possesses the strength, the physique and, as shown on October 7th, the persuasive acting skills required of principal level performers. His “soft”, loving Romeo carries the tall but feather-light Skorik high overhead with ease, and slowly pushed away Tybalt’s sword at first, determined to end the constant conflict. But then he transformed into an appropriately vengeful, impulsive fighter in the battle with Tybalt, and later an agonized mourner by the start of Act 3. When Tybalt, played expertly by a bloodthirsty Evgeny Deryabin, pushed him down to the floor with unexpected force, Korneev continued the swordfight while standing up from the floor, not missing a beat with the music or a strike of the sword. Korneev’s was a Romeo hard bitten by love and loss, palpable in his tender treatment of Juliet, his angst upon hearing news of her “death”, and his determination to both find her and end his own life in the final Act.
Skorik, superb in all she does, easily draws from a deep well of dramatic expression that is not always tapped into during more staid “white” ballets like “Swan Lake”. But oh her range of emotions as Juliet! A frozen sense of stunned surprise at seeing Romeo for the first time, affectionate embraces in the bedroom scene, impetuousness in refusing (initially) her parents’ assigned marriage, and frantic certitude when she finally takes Romeo’s hand as she stabs herself with his knife. She emoted this entire range of feelings with clarity and scope, making her character both heartfelt and real. Korneev easily matched her level of dramatism, creating the sensation of two artists of the same caliber coming together for the most professional delivery of this agonizing libretto. Given the rather paltry ranks of standing “Romeos” in the Mariinsky, Korneev is a surefire choice for this role going forward.
Alexander Sergeev, well known for his popular, iconic role as Mercutio, warmed the audience’s hearts in this performance as well. Konstantin Zverev, the self-absorbed yet handsome Paris, proved excellent in showing his narcissism, and his offense at Juliet’s ultimate rebuke just prior to the morning of their wedding. And as if shining as rays of hopeful light, depicting the positive outcome of a dreamy romance, Camilla Mazzi as Juliet’s Friend and Troubador Ramanbek Beyshenaliev danced a buoyant, joyful duet – measured at the entry to the grand ball, and harmonious in Juliet’s bedroom scene.
Despite some issues with the wind section, the Mariinsky orchestra mostly faithfully rendered the poignant Prokofiev score under the hands of conductor Andrey Ivanov.
If you have the chance to see “Romeo and Juliet” on the Mariinsky stage, the Korneev/Skorik duet is one that is a must see.
All photos by Natasha Razina (c) 2025 Mariinsky Theatre.