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.

Claude Debussy’s Pelléas et Mélisande, directed by Ruth Berghaus, has returned once again to the Staatsoper Unter den Linden. This production has been part of the theatre’s repertoire since 1991, and that fact alone gives the evening a special aura: what appears on stage is not merely another revival, but an encounter with the theatre’s history, with a particular aesthetic, and with the artists through whom many of us once discovered opera.

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.

Sara Allegretta , soloist at La Scala , professor at the Conservatorio di Musica Niccolò Piccinni in Bari and a bearer of the Italian bel canto tradition, has arrived in Moscow . From June 23rd to 27th, she is holding a vocal intensive for singers , featuring open master classes, individual lessons, and separate work with an orchestra. For Moscow's vocal community, this is a rare opportunity to see how the Italian school works not just in theory, but in live teaching: with br

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.

Claudia Muzio remains one of the most fascinating and elusive figures in twentieth-century vocal art. Remembered not only for the beauty of her voice, but for the emotional truth, refinement, and almost mysterious intensity of her interpretations, she continues to inspire singers, collectors, and opera lovers nearly a century after her greatest triumphs. In this interview, we speak with a singer and researcher Monica Zanettin whose long-standing devotion to Muzio began wit

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