Varna International Ballet has taken over the UK winter touring slot previously occupied by the Russian State Ballet of Siberia, which used to visit the UK pre-2022. So writes Alena Shmakova for theQR.co.uk…
Raymond Gubbay, who managed the tours, brought in the Varna company (founded in 1947) while searching for a replacement. While Varna is a provincial Bulgarian company, Bulgaria’s National Opera and Ballet in Sofia dates back to the 1890s. The artistic direction of the company is under Sergei Bobrov, formerly the artistic director of the Krasnoyarsk State Opera and home of the Russian State Ballet of Siberia. Bobrov relocated to Bulgaria in 2022.
The company’s soloists form an impressively international ensemble, representing at least nine countries from the UK to Brazil.
A Grand UK Tour and Classical Repertoire
According to the programme, the UK tour spans 23 locations, with only two in Scotland: an opportunity to bring classical ballet to regions lacking strong classical companies. This year’s repertoire includes three of the most beloved and recognisable titles: Cinderella, Swan Lake, and The Nutcracker.
The company’s soloists form an impressively international ensemble, representing at least nine countries from the UK to Brazil.
The Glasgow schedule included two performances of Swan Lake and one of The Nutcracker. I attended the final Glasgow performance, following the afternoon Nutcracker matinee. The company appears to rotate at least three soloists in the principal roles, but the corps de ballet is likely the same across shows. I hope they had some rest between the demanding Glasgow schedule and their two-show day in Darlington immediately afterwards. Although a programme was available, the precise cast list was not, so the only dancer I could confidently identify was Timofei Fedotov as Prince Siegfried.
Artistic Direction and Performance Highlights
Given the company’s background, it would be unfair to compare Varna’s productions directly with those of the Royal Opera House or the Bolshoi. Varna’s Swan Lake is noticeably shorter, with revised music and choreography that still nods to Petipa but differs significantly from the Mariinsky or Bolshoi versions familiar from recordings. Even so, the choreography felt beautiful, delicate, and engaging, if not as technically demanding as that of the world’s top ballet houses. The iconic 32 fouettés remain, and the Odile section was strong and emotionally convincing. Odette’s portrayal, however, lacked some emotional sharpness and tragic depth, though it remained technically secure.
Timofei Fedotov offered expressive plasticity and convincing acting in the first half of the ballet, but the second act, requiring greater technical stamina, seemed to narrow his emotional range. His partnering, however, was admirable, with confident lifts and support.
I particularly enjoyed the performance of Benno von Somerstein, the Prince’s friend, who displayed excellent jumps and vibrant energy. One moment, however, when Rothbart flew across the stage through fog, followed by a flock of swans, felt unintentionally humorous; it was unclear whether this was a staging mishap, an execution issue, or a deliberate choice. Roberta Estrella Marques gave a spirited performance as the Spanish Princess, reimagined as part of a Pas de Trois themed around matadors. Her fluidity and fan work were full of Spanish character.
The Technical Execution of the Corps de Ballet
The corps de ballet delivered a mesmerising “white swans on the lake” scene and a precise Danse des petits cygnes. However, the opening village dance felt in need of further refinement, particularly the last row of male dancers, who struggled with their entrechats. The Neapolitan dance occasionally suffered from off-timing tambourines, and the Mazurka lacked the sharp, heel-driven bravura characteristic of the Polish spirit. Still, considering many dancers had performed The Nutcracker earlier and were preparing for two shows the next day, they maintained admirable technical strength despite some rough edges.
As expected for a touring production, the set design was simple. Sergei Bobrov’s stage design provided sufficient visual context, though the video projections were low-resolution and sometimes confusing. The main antagonist is known as a male sorcerer, yet the introductory projection depicted a female figure casting the spell on Odette. This inconsistency did little to support the narrative. I would have preferred more budget invested into a different ballroom projection for Act III rather than reusing the same engraving-style backdrop from the village scene. In contrast, the costumes by Tonka Mitkova and Olena Kulykova were bright, high-quality, and visually striking, especially the immaculate rows of white tutus.
Orchestral Brilliance and Venue Challenges
The production features a live orchestra, and I was delighted to see a harp included for Swan Lake. The string section deserves particular praise, especially violinists Roman Derenji, Violetta Stoyanova, and Zheluy Stoyanov. The principal violin solo in the Odette & Prince Pas de Deux was exquisite: it cried out, it trembled, it ripped through your soul. The trumpets, however, were uneven, and the first two fanfares for the foreign princesses’ entrances were slightly smudged.
Still, considering many dancers had performed The Nutcracker earlier and were preparing for two shows the next day, they maintained admirable technical strength despite some rough edges.
The orchestra is small, which naturally limits its power, but the sound technician at the Armadillo did an excellent job balancing the acoustics so that even solo harp and violin lines were clearly audible. Unfortunately, the Armadillo in Glasgow lacks an orchestra pit. My view was partially obstructed by the harp, and some audience members complained that the conductor blocked their view of the stage. A similar issue was reported at another tour venue. In Glasgow, the problem was compounded by higher pricing for front-row seats and the last-minute removal of some seating to accommodate the orchestra.
Final Verdict on the Varna International Ballet
Overall, in my opinion, the Armadillo was not the ideal venue for classical ballet, and it affected my ability to fully immerse myself in the show. Perhaps scheduling conflicts with Celtic Connections limited venue options in Glasgow. Still, the absence of a pit and the modern, somewhat austere design did little to create theatrical magic. Additionally, I have never encountered such long queues for the women’s facilities in any theatre I have visited, despite the auditorium not being full.
Being asked to empty my water bottle on entry, combined with long bar queues and no water fountains, made the experience feel overly commercialised. The ticket also failed to specify a bag policy and only listed door-opening times; finding the actual start time of the show required some effort.
Despite these shortcomings, Varna International Ballet delivered a sincere and musically rich Swan Lake, carried by committed dancers and a sensitive orchestra. For many UK regions, this tour may be the only opportunity to experience classical ballet live, and on that front, the company fulfils an important role. With improved venue choices and clearer organisation, their future tours could offer an even more immersive experience. I would also like to see them perform some of their less well-known repertoire, such as The Fountain of Bakhchisarai, Scheherazade, or Walpurgis Night, as these works are less prone to suffering from direct comparison with major productions by renowned companies.
All Images supplied by Varna International Ballet
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