Perm is currently hosting the XIX Open Russian Ballet Competition “Arabesque” named after Ekaterina Maximova. One of the oldest and most distinctive showcases of young talent was established nearly four decades ago.

Opening of the Festival

This year’s competition takes place during the 100th anniversary of Perm Ballet. The first part of the opening evening featured a 20-minute plotless ballet Variations on a Rococo Theme set to music by Pyotr Ilyich Tchaikovsky, staged by Alexei Miroshnichenko, head of the Perm Opera Ballet Company. The orchestra, conducted by maestro Ivan Khudyakov-Vedenyapin, played with sincerity and warmth, while the cello of Roman Efimov added a rich, expressive voice.

The production premiered 15 years ago as part of a graduation concert of the Perm Ballet School, soon entered the theater’s repertoire, and became the first choreographic interpretation of this widely performed and beloved work by Tchaikovsky. It has also been included multiple times in graduation programs of the Moscow State Academy of Choreography. This ballet—a delicate stylization of Rococo elegance and a homage to the refined neoclassicism of George Balanchine—today appears somewhat faded, having lost some of its capricious grace and intricate charm. Tchaikovsky once described Rococo as “light, carefree joy”—something that felt missing here.

“Wandering Stars”

A bright and memorable highlight of the opening was the musical performance Wandering Stars by the State Youth Song and Dance Ensemble “Altai” named after Alexander Berezikov. The ensemble is led by Elena Berezikova. The production, in which scenes сменяют друг друга с калейдоскопической быстротой, was brought from Barnaul.

Wandering Stars is a remarkable surprise from legendary figure Vladimir Vasiliev, an artist of boundless imagination and profound ballet erudition. Many years ago, he said in response to a question about his creative aspirations: “I dream of creating a ballet Wandering Stars based on one of my favorite novels by Sholem Aleichem. I remember reading it as a young man and crying.” He also recalled visiting in 1990 the writer Bel Kaufman, Sholem Aleichem’s granddaughter, in New York.

“She was a wonderful, simple person, spoke Russian well, and showed me a photograph of herself as a child in her grandfather’s arms. Although he passed away early—when she was only five—she seemed to know everything about him… That was when my dream of staging a performance about Jewish Romeo and Juliet reignited. Even at the level of the plot, I was captivated by the idea of a heroine who is a singer and a hero who is a dancer; this genre combination intrigued me for a long time, along with the haunting Jewish melodies that resonated within me.”

The novel is set at the turn of the 20th century, before the First World War. Its plot is simple: a love story between Reyzl, the daughter of a poor cantor, and Leybl, the son of a wealthy man. Life separates them across the world, and years later they meet again, realizing their feelings have endured—but the past cannot return.

Vasiliev’s concept evolved: instead of a ballet, the result is a multi-genre performance. The hero becomes an artist, while the heroine remains a singer. They are both famous, yet above all sensitive, deeply feeling individuals. Both are devoted entirely to art; for them, life and творчество are one and the same.

This is clearly Vasiliev’s theme. His devotion to the theater—its past and present—is extraordinary. As a choreographer, he brings to the stage stories previously untold—elevated and slightly sentimental. Wandering Stars is one of them. He is drawn to thoughtful melancholy—evident in both his poetry and paintings—and masterfully balances joy and sorrow, pathos and irony, the elevated and the everyday.

In this production, Vasiliev appears in multiple roles: director, choreographer, librettist, and creator of multimedia design (“I already had paintings on Jewish themes and added some ‘necessary sketches’”). The love and care behind the production are evident. The second choreographer is Dmitry Zalessky, a participant in Vasiliev’s contemporary choreography workshops, who followed the director’s vision with precision. The music, rich in folk melodies, was selected under the direction of Pyotr Kamennykh.

The performance—a collage of vivid and ironic scenes—captivates: energetic dances, heartfelt vocals (both solo and choral), ensemble music, and the fragile, expressive voice of a solo violin. The creators generously fill the stage with inventive choreography and vibrant group scenes.

Carnivalesque theatricality and playful eccentricity shine in the scene of a traveling troupe arriving in a forgotten Bessarabian town. The leads, Yegor Berezikov (a dreamy romantic Leybl) and Anastasia Povolotskaya (a tender Reyzl), are outstanding. Their decision to flee with the troupe during a fire is filled with youthful energy and doubt, and their final reunion years later under the stars is deeply moving.

Even minor roles are performed with enthusiasm—each character feels alive and distinct. Supporting roles are vividly portrayed by Evdokia Kuts and Konstantin Rybakov (Reyzl’s parents), Konstantin Tambovtsev (Leybl’s father), Dmitry Kushnin (the theater director), and Sofia Shishkina (Leybl’s wife).

The production’s visual beauty is striking, but its core lies in its parable-like message about love without resolution and personal sacrifice for the sake of art. The audience received it with great enthusiasm—an excellent start to the competition.

At the curtain call, Vladimir Vasiliev himself came on stage. The song Hava Nagila (“Let us rejoice”) began to play, and everyone joined in dancing.

“Arabesque”: Format, Priorities, Figures

“Arabesque” is both one of the most prestigious and one of the most accessible competitions. Its central figures for many years have been the legendary duo Ekaterina Maximova and Vladimir Vasiliev.

Their mission has been to discover Russian talent. Applications were open to all, and the competition’s “open” status allows international participants. It is rooted in classical ballet traditions—a tribute to its heritage.

Following Maximova’s passing, Vasiliev remains the permanent artistic director and jury chairman. The jury values refinement, taste, technique, and talent.

The competition is held in two age groups—junior and senior—each awarding its own set of medals. Every two years, young dancers from around the world gather in Perm. The city takes pride in this event, and the hall is full even during daytime rounds.

In 2026, the competition features 100 dancers from 13 countries, including Australia, Armenia, Belarus, Brazil, Kazakhstan, Kyrgyzstan, Mongolia, Russia, the USA, Turkey, Uzbekistan, France, and Japan.

There are 47 participants in the junior group and 53 in the senior group. Perm is represented by 15 dancers. Among the theater’s participants are Alena Fonareva, Radim Shaigardanov, and the duo Alexander Mikhalev and Ann-Juliette Pineiro.

Students from major choreography schools across Russia are also participating. A contemporary choreography side competition will include over 200 participants.

The organizing team, led by director Elena Zavershinskaya, works efficiently and with great coordination.

“Arabesque” offers numerous awards. The first round has concluded, and the second is beginning. Despite the inevitable nerves, many performances were strong and demonstrated serious preparation.

New schools are emerging—young, not yet rooted in tradition, but already showing style and solid technique.

As Vladimir Vasiliev often tells participants: “Years will pass, but you will never forget the days spent on Perm soil. ‘Arabesque’ will remain in your life as the beginning of your artistic journey.”

Tatyana Fedorenko
PhD in Art History, Member of the Press Jury