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 17th 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. Few ballets offer the men a real chance to shine in jumps and turns, and Jeon gives the Petipa choreography a distinct sense of fluidity that is often missing from other male renditions. Blessed with beautiful feet, a sharply arched back, perfect arm positions and the ability to float off the ground at will, Jeon has every trait needed to fast track to principal at the Mariinsky. The only question is will the administration cultivate him in that direction.
Nadezhda Batoeva, now a prima ballerina in her own right, “brought” Jeon into this role alongside her Nikiya. Her aloof, cool manner made their initial union more formal than exalted, but technically she crosses off all of the boxes. Batoeva is one of the “reliable” types – drop her in a ballet and she sticks like glue, never faltering. She isn’t warm in this role, but her technique can’t be faulted.
In this performance, Jeon was not the only dancer with a debut. Daria Kulikova appeared as Gamzatti for the first time, a great challenge for a dancer only in her third season with the company. While some gestures and poses leave room for refinement, her fight with Batoeva’s Nikiya was a fight of two stern equals over the same man.
Ramanbek Beyshenaliev performed an exciting “Golden Idol” with Eastern flair, curled fingers and spiring jumps. Even over the past season his dancing has become loftier and more polished. Nail Enikeev, recently promoted to second soloist, led the Indian dance with such fiery electricity that the entire audience erupted in applause. The short dance requires extreme stamina and Nail alongside partner Ekaterina Efimova, made it look second nature.
The high energy excitement in the full house on this evening was palpable, and has not reached this level in years with graduations or newcomers. Minchol Jeon is a talented, promising dancer with much to offer. We eagerly await his next performance. Bravo.
Photos from top: Minchul Jeon as Solor in “La Bayadere” by Alexander Neff (c) Mariinsky Theatre 2025;Jeon with Daria Kulikova in “La Bayadere” by Mikhail Vilchuk (c) Mariinsky Theatre 2025; triptych above, from left: Ramanbek Beyshanaliev as the Golden Idol by Natasha Razina (c) Mariinsky Theatre 2022; Jeon with Daria Kulikova by Mikhail Vilchuk (c) Mariinsky Theatre 2025; Jeon as Solor by Alexander Neff (c) Mariinsky Theatre 2025.