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.

Despite the conglomerate of French and Hungarian influences in a slightly confusing libretto, the ballet “Raymonda”, set in a Middle age castle, is a decidedly Russian work of art. Vaganova Today first witnessed this balletic masterpiece in 2007 when prima ballerina Uliana Lopatkina reprised the leading role twice in the three-night block. Nearly 20 years later, a handful of new faces have renewed “Raymonda”, infusing new talent into the old ballet.

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Maria Iliushkina led the four-night run alongside Even Capitaine, the local Frenchman who is her frequent partner. In addition to exquisite positions and precision technique, Iliushkina infused her Raymonda with radiance and soulful warmth, adding a human element and infusing her character with love. Not a single misstep – from the quick retire passé section, to the tricky dance with the long white tulle shawl—occurred in her expert delivery, but more intriguing is Iliushkina’s complete embodiment of the character. Gentleness overshadows regal bearing. She is less the unattainable princess and more the well-bred, soft-mannered girl taken aback by the rough, uncouth mannerisms of Abderakhman who attempts to gain her hand by any means possible, even violence. For this performance, Roman Belyakov performed an aggressive bloodthirsty Abderakhman easily killed by de Brienne. Belyakov excels at romantic roles (his recent “Romeo” proved excellent), but this performance proved his talent in character roles as well.

For those in the know, and even those who aren’t, not too long ago, Mariinsky prima ballerina Viktoria Tereshkina married soloist Roman Belyakov, and the two have become a common fixture not just on city sidewalks and the Petersburg stage, but various stages around the world. Vaganova Today attended their performance of “Romeo and Juliet” in early March which confirmed that the pair definitely brings their offstage romance onstage with them – at least in this ballet.

The Lavrovsky “Romeo” is hardly new to fans of Russian classical ballet, and it is this version that runs at the Mariinsky. The Bolshoi has two versions – Lavrovsky’s version and Ratmansky’s renovated version – but their recent Petersburg visit showed that their Lavrovsky has shiny new sets and simplified choreography especially in some sections of the corps de ballet dances which slightly disappointed many pure classicists. The Mariinsky version allows for no adjustments to the steps, and the result is high-quality dancing and the maintenance of a decades-long tradition.

Belyakov’s stately Romeo –he seems taller than most– appears on the city square, meandering, dreaming and as far away from war and conflict as anyone could be. Belyakov easily embodied the peace-loving romantic as he stared lovingly at the statue in the square. As we know, it’s not until his friends Mercutio and Benvolio persuaded him to attend the masked ball that the trouble begins.

Despite having seen the Mariinsky’s “Swan Lake” hundreds of times, it has been, surprisingly, quite some time since VaganovaToday has covered one. Covid and other life events have intervened, but on February 1st, a unique opportunity arose to watch some of the Mariinsky’s brightest stars in the leading roles of this Tchaikovsky classic.

Exquisite lines and proportions are the hallmarks of both Oksana Skorik, who danced Odette, and Nikita Korneev, who performed the role of Prince Siegfried. This onstage couple are frequently paired together and have achieved a flawless synastry in their respective roles. Skorik, with impeccable lines and meticulous placement, is perhaps the highest echelon of a ballet physique across the world today.

A Muscovite raised in Germany, Nikita Korneyev is now in his ninth season with the Mariinsky and has long been dancing solo roles. Vaganova Today sat down with him to learn more about his international career path.  For the Russian version of this interview, please click here.

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You come from a ballet family?
My parents were both dancers, we have a dynasty in my family. They worked in the N.Kasatkina-V.Vasilyov troupe in Moscow but we moved to Germany in 2000. First they worked at the Semperoper in Dresden and later in Weisbaden and Essen.

Did you also want to dance?
Yes, I wanted to dance as well. My father, on the other hand, told me that it was a very difficult and hard profession. But that didn’t scare me. During my childhood I did lots of sports: I played tennis, track and field, and soccer. But when I started to take ballet, I understood that with my parents it would be a lot easier in this sphere, because they know a lot more about it than any of my other pursuits, and with their experience it would be easier for me to study.

I was in the theatre throughout my childhood since my parents worked there. I saw things backstage, from the wings, in the dressing rooms, and the performances. My first experience onstage was in Moscow when I was 5 years old in “The Nutcracker”. We rode on sleighs in the first scene, it’s a slightly different version of the ballet.