We spoke with teacher Marina Vezhnovets and her student Anastasia Yarmosh, representing Belarus, about the meaning of the competition, pre-performance jitters, the ability to immerse yourself in character, and the importance of not comparing yourself to others.

Tan Sağtürk (Advisor to the Minister of Culture and Tourism of Turkey on Arts Affairs, Vice President of the International Federation of Ballet Competitions (IFBC)), an artist, teacher, and director with extensive international experience, reflects on the importance of competitions like the International Ballet Competition, the balance between technique and artistry, how the jury recognizes a young performer's potential in the first round, and why a single mistake shouldn't r

During the 15th International Ballet Competition, we spoke with Gulzhan Tutkibayeva — People’s Artist of the Republic of Kazakhstan, Professor, and Artistic Director of the Ballet Company of the Abay Kazakh National Opera and Ballet Theatre. In our conversation, she shared her first impressions of the participants, spoke about the criteria used by the jury, the role of artistry, and why a competition performance requires special concentration, inspiration, and inner maturity

During the first round of the competition, we spoke with Anna Bylkova — a participant from Russia and a student at the Moscow State Academy of Choreography. For young artists, a competition performance becomes a moment of maximum студенткой Московской государственной академии хореографии. Для молодых артистов конкурсное выступление становится моментом максимальной концентрации: за несколько минут нужно показать технику, образ, музыкальность, характер и умение собрать на сцене

On the second day of the competition, the first qualifying round continues. We spoke with Nilay Tahiroglu , Senior Group (Turkey) , about what remains beyond a few minutes on stage: about excitement, inner peace, connection with the role, and sensations on the stage of the Bolshoi Theatre.

The International Ballet Competition is not only a test for its participants, but also a unique point of observation for those who evaluate their performances. The perspective of the jury combines professional rigor, personal stage experience, and the ability to see, within just a few minutes of a variation, not only technique, but also the future artist behind it.

On June 27, the first round of the junior and senior groups took place at the Moscow International Ballet Competition.

On 20 June, the Hamburg Ballet gave the premiere of Alexei Ratmansky's two-act Wunderland. Shown as part of Hamburg's Tanztriennale, the production opened the 51st edition of the celebrated Hamburger Ballett-Tage (Hamburg Ballet Days), the festival founded by John Neumeier in 1975.

The premiere of the ballet evening Fearful Symmetries took place in Berlin, bringing together one-act ballets by George Balanchine and Christian Spuck. The programme opened with one of Balanchine’s most celebrated works – Symphony in C, set to music by Georges Bizet.

On 12 May, The Lady of the Camellias returned to the Bavarian State Ballet after a six-year absence. In the intervening years, the company changed its artistic director and welcomed a new generation of soloists — for many of them, this run of performances marks a premiere. We spoke with Ksenia Shevtsova — principal dancer of the Bavarian State Ballet (and guest soloist of the Stanislavsky Theatre) — about working with John Neumeier, preparing the role of Marguerite Gautier