Daria Khokhlova, the first soloist of the Bolshoi Theater
The story unfolds during the second year of study at the Moscow State Choreographic Academy, when a young dancer earned her first major lead in The Nutcracker as Princess Masha. She chose to blend the traditional two-role approach by portraying both the little and the big Masha within a single performance, aiming for a fuller two-act development of the heroine, as seen in many theater productions.
In a pivotal moment, Masha hurls a pointe shoe at the Mouse King, enabling her partner to strike with his sword. The original concept called for a miss, yet during the performance the shoe landed squarely on the Mouse King, likely causing real pain. The moment left the performer embarrassed, but the show pressed on without interruption.
Much later, the dancer apologized when she and Bolshoi Theatre prime minister Artemy Belyakov remembered the incident. Belyakov turn out to be the Mouse King, and that memory marks one of the few shared recollections from their school years together.
Premiere of the Bolshoi Theater Igor Tsvirko
In a different triumph, a first-year debut took place during a run of The Golden Age by Yuri Grigorovich. An actor was injured just before a performance, leaving two possible substitutes who happened to be new graduates. A quick study of the program order was required, and the young dancer was summoned to stage only minutes before curtain. He was handed a costume and guided to perform with the cast’s rhythms and cues.
The backstage bustle intensified as the company checked the precision of every step, lift, and beat. When the routine concluded, applause rang from the wings and a colleague proclaimed that the dancer had become a life saver, validating the improvised performance under pressure.
Dmitry Smilevsky, prime minister of the Bolshoi Theater
In his third year on the company stage, Smilevsky shares a December-to-January Nutcracker tradition in which he alternates between roles and is asked to step in mid-performance when a fellow artist is injured. On one occasion, the assistant for the China Doll could not perform, and Smilevsky jumped into action, donning a second costume that happened to be smaller than ideal. He ran onto the stage, joined the dance, and found the right moment to blend into the performance while maintaining the flow. The quick-thinking decision earned the team’s gratitude for the calm, capable handling of an on-stage crisis.
Anastasia Smirnova, the first soloist of the Mikhailovsky Theater
Anastasia Smirnova reflects on four years as a leading soloist, marked by competition wins, theatrical shifts, and a lifetime of travel. A memorable summer saw her perform at the Yellowstone International Arts Festival in Montana, United States, the mountains adding altitude and a new sense of breath control. The ascent to the open-air stage tested her stamina, including a moment of thin air and chilly rain that threatened safety but did not derail the performance. The experience hinted at the broader challenges ballet dancers face when adapting to different climates and venues.
After the rain, the journey back to the United States continued with a rapid schedule and a long flight from Helsinki to Los Angeles. The rapid turnaround reflected the demanding pace of a dancer’s life, underscored by the emotional rewards of sharing a performance program across continents and cultures. It is a clear reminder that artistry in ballet often travels as much as the dancers themselves, embracing spontaneity and resilience alike.
Yulia Lavrentieva, ballerina of the Primorsky stage of the Mariinsky Theater
Yulia lavishes attention on the Primorsky stage in Vladivostok, a city frequently tested by extreme weather. Three years earlier, a brutal weather crisis plunged the city into darkness, with a storm leaving trees and cables iced over and travel nearly impossible. The ice, sometimes just a few millimeters thick, forced safety closures on major routes and required days of careful cleanup before life could resume its usual rhythm. The island remained cut off from the mainland for nearly a week, challenging artists to maintain practice and performance schedules in low light and without reliable heat or water.
Despite these daunting conditions, the company maintained its calendar. Dancers rose at dawn to catch ferries to the island, rehearsed on cold stages with limited resources, and then returned to perform in the Nutcracker. The dedication to duty under such conditions demonstrates the professional grit that fuels classical ballet across Russia and beyond.
Another notable moment came during the Primorsky stage production Corsair, where a last-minute reordering of numbers required the cast and conductor to adapt swiftly. A confusion about the placement of the Forban and Adagio parts led to a moment of comic tension on stage, as the lead soloists and orchestra braced for the unexpected switch. The surrounding crew kept calm, the dancers adjusted, and the show continued with the kind of composure that defines large-scale productions.
Anfisa Oshchepkova, second soloist of the MAMT ballet named after Stanislavsky and Nemirovich-Danchenko
The year 2021 brought Oshchepkova a serious knee injury right after finishing her academy studies. A sudden inability to bend the knee forced urgent medical questions and a fast decision to undergo surgery for a torn meniscus. The tempo of senior year offered little room for rest, yet the plan called for swift rehabilitation, guided by top sports surgeons in St. Petersburg and a structured program of physiotherapy, targeted gymnastics, and careful progression back to performance level.
With the support of loved ones and medical professionals, Oshchepkova returned to the stage in time for graduation. The path involved measured steps, patience, and listening to the body as it rebuilt strength. The journey highlighted a dancer’s resilience and the importance of a thoughtful recovery plan. Rehearsals resumed gradually, balancing caution with ambition as the final show approached.
Ultimately, the narrative reveals more than isolated moments of triumph. It is a portrait of a generation of ballet artists who balance demanding schedules, travel across borders, and navigate the unpredictable nature of live performance—while keeping their eyes firmly on the art they love. The stories underscore the discipline, improvisation, and courage that propel dancers toward the highest levels of achievement in the world of classical ballet.