On two major Kazakh stages \u2014 in the capital Astana and in Almaty \u2014 the IV Freedom Festival unites some of the most prominent names from the world of ballet. <\/p>\n
Star performers from the Berlin State Ballet and the American Ballet Theatre joined forces with Astana Opera and the Berlin Ballet Company to present a two-act program: a classical staging of Paquita followed by a series of contemporary works. Tickets for the festival quickly sold out, a clear sign of the growing demand for world-class ballet in Kazakhstan.<\/p>\n
Act I: Classical Paquita<\/p>\n
The first evening opened with Paquita, staged by Altynai Asylmuratova \u2014 People\u2019s Artist of Russia, former prima ballerina of the Mariinsky Theatre, the Royal Ballet, the Marseille National Ballet and currently the Artistic Director of Astana Opera.<\/p>\n
\u201cShe\u2019s exquisite \u2014 one of my favorite ballerinas to watch,\u201d said Chloe Misseldine, Principal Dancer of the American Ballet Theatre, who performed the title role.<\/p>\n
The international cast arrived in Kazakhstan only a week before the festival and had to travel from Astana to Almaty, leaving little time for rehearsals. For Misseldine, however, the compressed schedule was not a challenge: she had danced this timeless masterpiece two years earlier and immediately felt at home in the role again.<\/p>\n
At the press conference, Martin ten Kortenaar \u2014 Principal Dancer of the Berlin State Ballet, performing Lucien d’Hervilly \u2014 noted that despite the tight schedule, rehearsals were smooth and focused.<\/p>\n
Both he and Misseldine are accustomed to international collaborations, which they see as vital to their artistic development. \u201cIt\u2019s always nice as a dancer to be able to travel and work with other dancers,\u201d he said. \u201cFor me, it opens my eyes to the rest of the ballet world.\u201d<\/p>\n
The performance itself was a model of academic precision: the leading roles were delivered with both technical clarity and artistic grace, the corps de ballet was polished and confident, and the audience responded with enthusiastic applause and shouts of \u201cBravo!\u201d<\/p>\n
Act II: Contemporary Program \u2014 CHOREO X<\/p>\n
The second act transitioned into contemporary territory, where the Berlin Ballet Company \u2014 joined by guest artists Chloe Misseldine and Martin ten Kortenaar \u2014 performed works that were sensual, vulnerable, passionate, and boldly expressive. Each piece conveyed its own emotional language, yet together they formed a cohesive and compelling narrative. In contrast to the classical tradition showcased in Act I, Act II explored the current landscape of ballet and pointed toward its future.<\/p>\n
Arshak Ghalumyan, director of the ensemble, emphasized the importance of these artistic exchanges: \u201cCreating cultural bridges is invaluable \u2014 for Kazakhstan, for international companies, for everyone. Knowledge exchange is the only way we can grow and evolve together.\u201d<\/p>\n
The act culminated in GOOD OLD MOONE, a bold performance in which dancers eventually began to scream \u2014 a raw, cathartic outburst repeated until its energy became almost contagious. For a moment, it felt as though the entire audience might join in. The sense of release was palpable, and the hall erupted in applause.<\/p>\n
Beyond the stage<\/p>\n
This marks the Berlin Ballet Company\u2019s third appearance at the Freedom Festival, and each time the ensemble brings fresh material. Several pieces this year were premieres, showing the company\u2019s commitment to experiments and artistic evolution.<\/p>\n