Program

Obligatory repertoire for the first round

Junior division

Girls (solo)

  • A. Adam - “Le Corsaire”. One variation of Odalisque (any one of the three) from pas de trois, Act III. Choreography: M. Petipa. (Music for the pas de trois: A. Adam, C. Pugni, R. Drigo).
  • P. Hertel - “La Fille Mal Gardee”. Variation of Lisa, Act II. Choreography: A. Gorsky. (Music of the variation: R.Drigo).
  • F. Herold - “La Fille Mal Gardee”. Variation of Lisa , Act II. Choreography: F. Ashton.
  • H. Paulli, E. Helsted, N. Gade, H. Lumbye - “Napoli”. Variation of Teresina, Act III. Choreography: A. Bournonville.
  • L. Minkus, “Don Quixote”. Variation of Kitri from the IV act. Choreography: M. Petipa, A. Gorsky.
  • L. Delibes - “Coppelia”. Variation of Swanilda, Act III. Choreography: A. Gorsky.
  • P. Tchaikovsky - “The Nutcracker”. Variation of Masha (Clara), Act II. Choreography: V. Vainonen.
  • B.Asafiev – “The Flames of Paris”. Variation of Jeanne, Act IV. Choreography: V. Vainonen.

Boys (solo)

  • A. Adam - “Giselle”. Male variation from Peasant pas de deux, Act I. Choreography: M. Petipa. (Music of the variation: F.Burgmuller).
  • P. Hertel - “La Fille Mal Gardee”. Variation of Colin, Act II. Choreography: A. Gorsky.
  • F. Herold - “La Fille Mal Gardee”. Variation of Colin, Act II. Choreography: F. Ashton.
  • H. Paulli, E. Helsted, N. Gade, H. Lumbye - “Napoli”. Variation of Gennaro, Act III. Choreography: A. Bournonville.
  • L. Delibes - “Coppelia”. Variation of Franz, Act III. Choreography: A. Gorsky. (Music of the variation: E. Guiraud).
  • L. Minkus - “Don Quixote”. Variation of Basil, Act IV. Choreography: M. Petipa, A. Gorsky.
  • P. Tchaikovsky - “The Sleeping Beauty”. Blue Bird variation, Act III. Choreography: M. Petipa.
  • P. Tchaikovsky - “The Nutcracker”. Variation of Prince, Act II. Choreography: V. Vainonen.
  • B.Asafiev - “The Flames of Paris”. Variation of Philippe, Act IV. Choreography by V.Vainonen.

Senior division

Female (solo)

  • C. Pugni - “Esmeralda”. Variation of Diana from pas de deux of Diana and Acteon, Act II. Choreography: A. Vaganova. (Music of the variation: R.Drigo).
  • H. Levenskjold - “La Sylphide”. Variation of Sylphide, Act II. Choreography: A. Bournonville.
  • A. Adam - “Giselle”. Variation of Giselle, Act I. Choreography: M. Petipa. (Music of the variation: L. Minkus).
  • L.Minkus – “La Bayadere”. One of the three variations from the “Shadows”. Choreography: M.Petipa.
  • L. Minkus - “Don Quixote”. Variation of Kitri, Act IV. Choreography: M. Petipa, A. Gorsky.
  • P. Tchaikovsky - “Swan Lake”. Variation of Odette, Act II. Choreography: L. Ivanov.
  • P. Tchaikovsky - “The Sleeping Beauty”. Variation of the Diamond Fairy, Act III. Choreography: M. Petipa.
  • D. Auber - Female variation from "Grand Pas Classique", Choreоgrpahy: V. Gzovsky
  • A.Glazunov – “Raimonda”. Variation of Raimonda, Act I. Choreography: M.Petipa.

Male (solo)

  • H. Levenskjold - “La Sylphide”. Variation of James, Act II. Choreography: A. Bournonville.
  • L. Minkus - “La Bayadere”. Variation of Solor. Choreography: M. Petipa, V. Chaboukiani.
  • L. Minkus - “Don Quixote”. Variation of Basil, Act IV. Choreography: M. Petipa, A. Gorsky.
  • C. Pugni - “Esmeralda”. Variation of Acteon, Act IV. Choreography: A. Vaganova.
  • P. Tchaikovsky - “The Nutcracker”. Variation of Prince, Act III. Choreography: V. Vainonen.
  • D. Auber - Male variation from "Grand Pas Classique", Choreоgrpahy: V. Gzovsky
  • P. Tchaikovsky - “The Sleeping Beauty”. Blue Bird variation, Act III. Choreography: M. Petipa

Duet

  • B. Asafiev - “The Flames of Paris”. Pas de deux of Jeanne and Philippe, Act IV. Choreography: V. Vainonen.
  • A. Adam - “Giselle”. Grand pas de deux of Giselle and Albrecht, Act II. Choreography: J. Perrault, G. Coralli, M. Petipa.
  • D. Auber - “Grand Pas Classique”. Choreography: V. Gzovsky.
  • P. Tchaikovsky - “Swan Lake”. Black Swan pas de deux, Act III. Choreography: M. Petipa.
  • P. Tchaikovsky - “The Sleeping Beauty”. Pas de deux of Aurora and Desire, Act III. Choreography: M. Petipa, K. Sergeyev.
  • A. Adam - “Le Corsaire”. Pas de deux of Medora and the Slave, Act II. Choreography: M. Petipa. (Music of pas de deux: R. Drigo).
  • E. Helsted - “The Flower Festival in Genzano”. Pas de deux. Choreography: A. Bournonville.

General provision

Each item should be performed in one round only.

Duet or solo performance of modem pieces is allowed for Duets in Junior and Senior Divisions during Round 1 and Round 2.

 

In this competition I saw a lot of talented young people, many amazing surprises... featuring himself, his work, each participant thus represented his country, the level of its culture. We all were interested to see what is happening in the world in the field of dance, what's new and significant.

Arnold Haskell, UK

The alarming tendency is that the contestants very often change the chorographical “texts”. This arises a strongest protest in me – I do not want to see the well-known choreography of a ballet masterpiece to be filled up with various “additions” which destroy its style and logic…Distortion of choreographer’s original texts is caused by the technical difficulties which make it hard to perform for the contestants. Then they make a “light version”. The situation is very irritating and requires certain amendments in the competition Regulations.

Charles Jude, France

... This is a great event and I am confident that even the performance on the most famous stages in the world will be a precious memory for all who participate in the competition, regardless of whether they will be among the first or not.

Arnold Haskell, UK

And what I would consider to be the most important – the Competition allows us to see that it is the individual style that is most valued in art

Alicia Alonso, Cuba

Since the very first competition in 1969 many things have changed. And if at that time the difference between the countries with long-standing traditions of classical dance and the counties which did not have any was very big, in the following years this gap has faded away. The popularity of ballet has grown up all around the world. And all the better, as I think it has become difficult to demonstrate you mastery, skills, - the professional requirements have been leveled up!

Olga Lepeshinskaya, USSR

Our Competition, giving a very difficult program, thus stimulates the progress of ballet.

Yuri Grigorovich, Russia
To affirm the basis of classical dance, constantly renewing it, enriching it with new lexis, new themes, new genres – that is what our common task is, that is what should reveal itself most brightly at the Competition.
Igor Moiseev, USSR
To success at the competition you need to have a great deal of personality, the strength… You need to be able to show that you love ballet and to perform even better than you actually can.
Loipa Araujo, Cuba
Ballet is not a sport, the combination of ballet movements should be expressive, meaningful, magical. Bazil and Jose should have the same brilliant technique, but by no means – the same expression.
Ben Stevenson, USA
At the International competition in Moscow I have seen a lot of what is really interesting, which I woul never see anywhere else. I love the art of classical dance and will never lay its precious heritage aside. But every time the epoch brings out something fresh, new. And you do not have to make the choice of “either…or” in art. That is fine which is perfect. This is life itself.
Agnes De Mille, USA
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Organizers