Despite the rarity of ballet premieres, the Mariinsky Theatre continues to delight audiences with debuts by young dancers in leading roles in classical masterpieces. On October 20 and 21, for instance, two debuts took place in Romeo and Juliet: on the first evening, Ryoma Hudzeleu (グジェレフ瞭舞) performed the role of Romeo, while on the second, Valeria Kuznetsova introduced a new Juliet to the public.
Hudzeleu – typically expressive, athletic, and quick in his movements – paired harmoniously with Maria Shirinkina (Shklyarova), an experienced ballerina remarkable for her technical ease and emotional depth.
Impulsive and natural in his emotions, Hudzeleu’s Romeo – with his boyish lyricism – felt fresh. From the hesitancy he displayed during the Capulet Ball, understandable in a dancer making his debut in the role and a young man experiencing love at first sight, to the deeply felt Balcony Scene, the tragic intensity of the duel with Tybalt, the romance of the Bedroom Scene, and finally the raw emotion of the Forest Scene and the Tomb Scene, Hudzeleu offered an engaging portrayal of a young man in love, with moments of genuine emotional intensity.
From a technical standpoint, Hudzeleu’s performance was distinguished by large, energetic jumps – including a swift, precise grand jeté and jetés entrelacés that seemed to soar above the stage – as well as soft landings and skilful, careful partnering with Maria Shirinkina (Shklyarova), whose Juliet, lyrical and tender, was striking in her grace and lines while bringing a quiet depth and strength to the character.
Valeria Kuznetsova’s debut as Juliet was highly anticipated, drawing interest from both ballet enthusiasts and professionals in the field. The contrast between Kuznetsova and her coach, Mariinsky Theatre prima ballerina Viktoria Tereshkina, who has delivered exemplary performances of Juliet for many years, added an extra layer of intrigue. While Kuznetsova, a highly talented dancer who seems particularly well suited to lyrical roles and gentle, ethereal heroines, is still developing her artistic identity, Tereshkina has long exemplified dramatic intensity, passionate expression, impeccable technique, and formidable stage presence in the role of Juliet.
Lively and playful at the start, Kuznetsova’s Juliet began to reveal her tender yet impulsive nature during the Capulet Ball. In the Balcony Scene, she was remarkably natural, conveying the wonder of a young woman in love; in the Bedroom, she was desperate and passionate. Determined to defy her father and follow her heart, she remained a fearless, tragic figure right to the very end.
Tall and elegant, Kuznetsova impressed with her beautiful, elongated lines, expressive arms, and supple, flexible body. Her arabesque was particularly lovely, while her jumps were assured. Yet it was her partnership with Minchul Jeon that made the performance truly memorable: their duets were outstanding, combining technical confidence with a remarkable sense of connection.
For his part, Minchul Jeon (전민철), who made his debut as Romeo in February 2026, during his first season at the Mariinsky, reveals new facets of the character with each performance. Technically accomplished, with soaring jumps, beautifully arched feet, and innate elegance, his Romeo is breathtakingly in love. A considerate and reliable partner, Jeon brings out the best in both himself and his ballerina, allowing them both greater freedom of expression on stage.
Watching young soloists of the Mariinsky Ballet in leading roles, one finds oneself wanting to see more and more of them – to see them in different roles, exploring a variety of characters and modes of expression. After all, a delicate, lyrical ballerina can reveal a passionate side as Juliet, while a dancer known for his impulsiveness can embody a youthfully romantic Romeo.
Text: Julia Sumzina
Photos: Romeo and Juliet, photos by Natasha Razina (2026) © Mariinsky Theatre
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