As co-founder Katia Anapolskaya explains, the initiative is conceived as a space for exchange, offering spectators the opportunity to encounter dancers from different schools and theatres and to experience each institution’s unique artistic vision. At a time when contemporary dance is becoming increasingly dominant on European stages, the project deliberately asserts itself as a platform devoted to safeguarding the visibility of classical dance. Its purpose is to sustain and promote this heritage by bringing together young artists from theatres in France, Italy and the United Kingdom.

The evening opened with a finely executed Pas de trois from “Paquita,” performed by the Scaligeran soloists. The ballet had previously been staged at Teatro alla Scala by Gil Isoart. Linda Giubelli and Agnese Di Clemente were joined by Edward Cooper, an Australian dancer trained at the Bolshoi, currently dancing at the Teatro alla Scala, whose clean batterie and precise jumps stood out. Together they formed a spirited trio that captured the international essence of the event. The variations unfolded as a festive display of crystalline technique, a succession of turns and arabesques that led the piece to its close with striking musicality and finely calibrated ensemble coordination.

They were followed by first soloists of the Opéra de Paris, Hohyun Kang, recently promoted to that rank, and Francesco Mura, in “La Sylphide” by August Bournonville. This Romantic gem was brought to life by Kang’s tender performance and feather light jumps; her port de bras was imbued with the elusive quality of a true spirit. Mura’s elevation and batterie were notable, and the phrasing of his legs revealed a deeply personal and consistently elegant approach to music.

Other principal artists of the Paris Opéra Ballet performed the White Swan pas de deux from the second act of “Swan Lake.” Inès MacIntosh and Lorenzo Lelli, not frequently seen together on the Paris stage, formed a remarkably harmonious duo, displaying genuine chemistry and deep mutual understanding. MacIntosh’s technique was once again striking, here softened by a vein of delicate and poignant lyricism. Lelli, trained at the Teatro alla Scala, displayed an artistic maturity that confirms his recent promotion to sujet and suggests he may rise further within the company’s ranks.

Navrin Turnbull embodies a compelling international trajectory: Australian by origin and formed at the prestigious John Cranko School in Stuttgart, he is now firmly established at Teatro alla Scala. His ascent in Milan culminated in January 2026 with his promotion from soloist to principal dancer, following a performance of Rudolf Nureyev’s “The Sleeping Beauty.” He brought to the stage the solo of Prince Désiré from the same ballet, one of the most demanding male variations in the classical canon. Its challenges lie not only in technical intricacy but also in the need to suggest psychological depth, particularly when performed in isolation from the narrative arc of the full work. Turnbull held the audience with a performance of refined elegance, sustained by elongated lines and a controlled, lunar melancholy well suited to the role.