Ballet Moscow
What makes this company unique is the equal presence of classically trained dancers and contemporary dancers. This allows them to stage both classical and contemporary ballets. But the ultimate achievement is when a single ballet synthesizes these different styles. This is precisely what our era demands, for which the past is merely an inexhaustible source of ideas, not a canon to be strictly followed. Fortunately, today’s dance is canon-free. This joy of freedom from rules and prejudices is clearly evident in Ballet Moscow’s productions. Each production is an ecstasy of freedom, which is, incidentally, highly contagious. And sometimes even destructive, as in Jeroen Verbruggen’s "Dance Floor," which they will present in St. Petersburg.
In its work, Ballet Moscow explores boundaries—between tradition and experimentation, between today and yesterday, between what is possible and what is not. After all, to understand how something should be done, sometimes you have to do it wrong—and they do so, unafraid of making mistakes, combining different genres, sometimes forcing classical dancers into contemporary territory.
Another distinctive feature is their reliance on classical literary themes, which isn’t typically found in contemporary dance. We’re used to classical ballet telling stories, while contemporary ballet often offers technically complex performances at the intersection of abstraction and philosophy. Not so: Ballet Moscow chooses the language of contemporary dance to stage literary works. For example, Alexander Pepeliaev’s bold production of "The Idiot Cafe," based on Fyodor Dostoevsky’s novel "The Idiot," which won a Golden Mask award. Canadian choreographer Robert Binet staged Leo Tolstoy’s novella "The Kreutzer Sonata" for the Moscow company. Samuel Beckett’s play "Waiting for Godot" was transformed through choreography into a drama of vain hopes and shared loneliness by Vaganova Academy graduates Anastasia Kadruleva and Artem Ignatyev, former soloists with the Boris Eifman Ballet and now choreographers with the Moscow Ballet Theatre.
Finally, the third unique feature of this company is that it features both renowned European and emerging Russian choreographers. This explains the incredible genre diversity and the ability of each dancer to perform anything.
In the autumn of 2022, the company became part of the Novaya Opera. This young, creative, and ambitious company represents a unique example on the global stage: a contemporary dance company functioning within a major musical theatre in line with the opera company, orchestra, and choir.
They have proven that the classics are a constant dialogue with our present, and that modernity is a reflection of the future in the looking glass of the past.
And here and now freedom happens — to be yourself.
In its work, Ballet Moscow explores boundaries—between tradition and experimentation, between today and yesterday, between what is possible and what is not. After all, to understand how something should be done, sometimes you have to do it wrong—and they do so, unafraid of making mistakes, combining different genres, sometimes forcing classical dancers into contemporary territory.
Another distinctive feature is their reliance on classical literary themes, which isn’t typically found in contemporary dance. We’re used to classical ballet telling stories, while contemporary ballet often offers technically complex performances at the intersection of abstraction and philosophy. Not so: Ballet Moscow chooses the language of contemporary dance to stage literary works. For example, Alexander Pepeliaev’s bold production of "The Idiot Cafe," based on Fyodor Dostoevsky’s novel "The Idiot," which won a Golden Mask award. Canadian choreographer Robert Binet staged Leo Tolstoy’s novella "The Kreutzer Sonata" for the Moscow company. Samuel Beckett’s play "Waiting for Godot" was transformed through choreography into a drama of vain hopes and shared loneliness by Vaganova Academy graduates Anastasia Kadruleva and Artem Ignatyev, former soloists with the Boris Eifman Ballet and now choreographers with the Moscow Ballet Theatre.
Finally, the third unique feature of this company is that it features both renowned European and emerging Russian choreographers. This explains the incredible genre diversity and the ability of each dancer to perform anything.
In the autumn of 2022, the company became part of the Novaya Opera. This young, creative, and ambitious company represents a unique example on the global stage: a contemporary dance company functioning within a major musical theatre in line with the opera company, orchestra, and choir.
They have proven that the classics are a constant dialogue with our present, and that modernity is a reflection of the future in the looking glass of the past.
And here and now freedom happens — to be yourself.
“We are not afraid to explore the new, to support artists still unknown to a wider audience, and enjoy what we do the best — dance in all its forms.”
— Artistic Director of the Company, Honored Artist of Russia
Anastasia Yatsenko
"The Moscow Ballet Theatre is on the right path, with management and artistic direction moving in the same direction, developing and improving quality across all aspects of creative work."
— Petersburg
"The Ballet Moscow Theatre is one of the most powerful choreographic theatres in Russia. Its artistic policy is based on a seamless synthesis of classicism and innovation. Ballet Moscow pursues the idea of maximum genre diversity, boldness in the choice of expressive means, and visual and musical design."
— hello.ru
Dance Open 2020:
Dancefloor
Dance open 2026:
Les Noces (the Wedding)
Dancefloor
Dance open 2026:
Les Noces (the Wedding)
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