Laurent Novikov is the stage name of Lavrenty Lavrentyevich Novikov (1888-1956), a Russian ballet dancer, choreographer, and teacher. In historiography, his figure has long been overshadowed by the label of "Anna Pavlova's constant partner." However, this description conceals a rich biography: Novikov belonged to a generation of masters who experienced imperial training, Sergei Diaghilev's Ballets Russes, the storms of the revolutionary era, and emigration, ultimately becomin

The Cherry Orchard. The Orchard of Cherries is a new production born on the stage of the Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre. The driving force behind the project was People’s Artist of Russia and Mariinsky Theatre prima ballerina Diana Vishneva, while the production itself was made possible with the support of the Diana Vishneva Foundation for the Development of Ballet Art. Alexander Tchaikovsky composed the music for this choreographic adaptation of C

At the beginning of the 20th century, London knew Russian exotic ballet well, but did not yet fully know the Russian ballet school. There is a difference between these two things. Oriental costume, characteristic dance and spectacular divertissement could charm the audience in one evening. The academic system required a different classification: daily work, precision, training and an artist who is able to demonstrate this system with his own body.

Autumn brings the start of a new theatre season. Ballet and opera companies carefully shape their programmes, hoping to attract both regular theatregoers and new audiences. To help you choose, we have selected five productions from the repertoire of Staatsballett Berlin that deserve special attention this season.

A new digital library founded by NOVAT principal dancer Artem Pugachev turns the grammar of classical dance into a precise visual archive — one movement, one video, one carefully preserved detail at a time.

On 24 September, the Mariinsky Theatre welcomed distinguished guests: the National Ballet of Cuba. The performance took place as part of the programme of the 12th St Petersburg International Cultural Forum, and the company chose the classical ballet Giselle, which has long been almost as beloved by Russian audiences as their own.

Edward Clug's A Midsummer Night's Dream is undoubtedly one of the most compelling productions to have entered the Staatsballett Berlin repertoire in recent seasons. Milko Lazar's percussive score and Clug's distinctive movement vocabulary evoke the spirit of antiquity, recalling an era when rhythmic percussion and expressive physicality formed the essence of ritual and dance.

While ballet companies around the world are gently winding down the 2025/26 season, on Monday morning the Bayerisches Staatsballett dropped what can only be called a bombshell on balletomanes everywhere. On 13 July the theatre published the following post on its official Instagram: "Julian MacKay and the Bayerisches Staatsballett are parting ways with immediate effect. The Principal Dancer is leaving the Munich company today, 13 July 2026. We would like to thank Mr. MacKay

Japanese dancer Haruka Sassa’s path to Berlin was anything but planned. After years in Japan, the United States, Sweden and Norway, she arrived at Staatsballett Berlin almost spontaneously — first as a soloist, and soon after as a principal dancer.

At VOO Space in Berlin, the interdisciplinary project Leonis Works x VOO Space brought together contemporary art, music, and performance. The highlight of the evening was the world premiere of AGAPE, a new performance conceived and choreographed by Renato De Leon.