REVIEW: "Koransha Ballet Muses 2025" — The Best Ballet Stage in Japan of the Year 2025

A Night of Pure Artistry: Reflecting on "Ballet Muses 2025"

Looking back from 2026, the performance that remains the most vivid in my memory is "Ballet Muses 2025", presented by Koransha. Koransha is one of Japan's leading organizers of world-class performing arts, specializing in bringing renowned ballet and opera companies to Japan.
I saw both Program A and B, and without a doubt, it was the most profoundly moving and deeply resonant ballet stage of the entire year of 2025.

In a country like Japan, where many galas feel repetitive, this showcase was a rare masterpiece. It wasn’t just a collection of famous pas de deux; it was a carefully curated journey filled with a profound love for the art and deep respect for its history.
The program allowed us to feel the weight of history behind traditional Russian ballet, while fully showcasing the universal tradition and beauty of the art form. It acted as a precious bridge, reconnecting us with the essence of ballet that we have always cherished.

Radiant Debuts and a Breath of Fresh Air from the New Generation

The most anticipated dancer was Elizaveta Kokoreva, the youngest Principal dancer at the Bolshoi Ballet. Her performance was a radiant debut that astonished even the most seasoned balletomanes in Japan. Her technical strength in Carmen, La Sylphide, and Grand Pas Classique was breathtaking—precise and powerful. While her partner, Danil Potaptsev, still showed some youthful nervousness, he never let himself be overwhelmed by her presence. Instead, he gave his absolute best, performing with a bold spirit and a sincere effort to support her.

Another highlight was the pairing of Haruka Sassa and David Motta Soares, both principals from the State Ballet of Berlin.
Sassa’s performance in Sylvia, choreographed by George Balanchine, was truly unforgettable; she seemed to communicate directly with the audience, filling the theater with joy. They were so cheerful that they were a true delight to watch.
Compared to the other performers who sought to express a typically Russian solemnity, their dancing had the freshness of young spring greenery, bringing a breath of fresh air to the entire program. Furthermore, their performance in Christian Spuck’s work was sleek and cool, showcasing their impressive versatility.

For me, the most interesting contrast was between Maria Khoreva (First soloist of the Mariinsky Ballet) and Makar Mikhalkin (Soloist of the Bolshoi Ballet).
To be honest, Khoreva was quite different from my expectations. Instead of the soft, lyrical "Mariinsky style" I had imagined, she displayed a more assertive and flashy presence.
While some of the veteran dancers seemed to be pacing themselves, Mikhalkin was doing the exact opposite—he gave his absolute maximum effort in every jump and turn. This sincere passion was palpable, and it was truly heartening to see a young dancer leave everything on the stage without holding anything back. Mikhalkin’s energy gave us a glimpse of his tremendous potential, and I am truly excited to see what kind of dancer he will become in the years to follow.

The Fleeting Beauty of Maturity and Youth

Alyona Kovalyova surprised me with her transformation. In just three years since last time I watched her performance, her girlish innocence has vanished, replaced by the mature dignity of a seasoned woman—a reminder of how fleeting a dancer's youth can be.
Performing a lavish repertoire including Grigorovich’s "Legend of Love", she was perfectly matched by Egor Gerashchenko. Despite appearing under the weather, his powerful physique held its own against Kovalyova’s nearly 180cm frame.

Maria Ilyushkina and Timur Askerov, principal dancers of the Mariinsky Theater, showcased a calm elegance, though Askerov’s tendency to pace himself in his jumps was a bit of a letdown. To be honest, Ilyushkina lacked the regal technical mastery and the commanding presence of "Golden Era" prima ballerinas like Lopatkina and Vishneva. However, her youth provided a different kind of charm that shone through regardless. Thanks to Kumiko Ishii’s SNS post, I looked past the technical imperfections and appreciated her shimmering radiance as a newly-promoted prima. Her performance captured a precious, fleeting beauty that ultimately compensated for a lack of seasoned perfection.

On the other hand, the performance by Yulia Lukyanenko and Victor Lebedev from the Mikhailovsky Theatre was, unfortunately, not quite up to expectations. Considering the prestige of the Mikhailovsky Theatre, it was a missed opportunity to see them at their full potential. Whether it was an off-night or a lack of preparation, their performance felt somewhat out of step with the exceptionally high standards of the other artists. In a gala of such high caliber, their presence didn't quite leave the same lasting impression.

Homage and Reverence: The Spirit of Ballet Tradition

The emotional peak was the finale, choreographed by Morihiro Iwata, former first soloist of the Bolshoi Ballet who also served as Artistic Director at Russian state ballet companies. As the first Asian dancer to join the Bolshoi, Iwata wove his deep bond with Russian ballet into the choreography. Within this short piece, he precisely incorporated the unmistakable essence of masterpieces like Grigorovich’s The Nutcracker and other iconic works. Seeing these instantly recognizable touches brought tears to my eyes as a long-time ballet fan.

While many galas end with a typical display of flashy jumps and turns, this finale offered something more: a profound homage to the spirit of traditional Russian ballet. Beyond just a flashy ending, the révérence itself was seamlessly woven into the choreography, thoughtfully designed to ensure each dancer could fully receive the audience's acclaim. It was a moment overflowing with respect for both the art form and the performers themselves. This finale, filled with such deep reverence, is why "Ballet Muses 2025" stands as the best performance of the year.