There are cities where art travels through, and cities where it stops. Last week, Astana was one of the latter.
For the first time, the Royal Danish Theatre, one of Europe’s oldest and most respected performing arts institutions, founded in 1748, performed in Kazakhstan’s capital, bringing with it nearly three centuries of stage tradition.
The Royal Danish Theatre is known for preserving one of the clearest classical ballet traditions in Europe. That tradition is rooted in the work of August Bournonville, the 19th-century choreographer whose ballets shaped the identity of Danish ballet.
His most famous work, La Sylphide, remains in the repertoire of major companies across Europe and beyond, including Astana Opera, one of the leading theatres in Eurasia.
On the other hand, a very different energy came from guest artist Selene Muñoz. Her performance combined flamenco intensity with contemporary movement.
Royal Danish Theatre brings gala programme to Astana
At Astana Ballet, the Royal Danish Theatre presented a programme of 10 works that brought together classical heritage and contemporary European choreography.
The performance moved between eras and styles, reflecting the company’s broader repertoire – from classical works rooted in 19th-century tradition to more contemporary choreographic voices.
At the centre of the evening was the Bournonville tradition, with performances including The Jockey Dance, The Kermesse in Bruges, and Premier danseur pas de deux.
“We brought to Astana from Denmark our most precious cultural heritage – our elevated art,” said Royal Danish Theatre ballerina Beatriz Domingues.
“It is a national treasure, which is why it is so important to present it to international audiences. We performed in Almaty last year, and we were deeply impressed by the enthusiasm and warm reception. It is a great joy for all of us to return to Kazakhstan.”
A contrasting energy came from guest artist Selene Muñoz, whose performance combined flamenco intensity with contemporary movement.
“I’m really happy to be here in Astana and to share my work with the audience,” Selene Muñoz said.
“This solo is very personal to me, as it brings together my Spanish roots and contemporary movement. It’s a way for me to express where I come from and how I move today.”
The visit was organised with the involvement of Meirambek Nazargozhayev, the first Kazakh-born member of the Royal Danish Theatre. Back on stage in his home country, he performed a solo, ‘Loneliness’, set to Beethoven’s Moonlight Sonata.
Bridging ballet traditions at the Kazakh National Academy of Choreography
The tour was not limited to the gala performance. At the Kazakh National Academy of Choreography in Astana, dancers opened their rehearsal practice to students through masterclasses focused on the Bournonville tradition.
In Kazakhstan, where the Russian ballet school remains the dominant training system, such exchanges are particularly significant, offering students exposure to a different European classical approach and expanding their artistic perspective.
The sessions were led by artists closely associated with this tradition, including Dinna Bjorn, one of the leading experts on Bournonville heritage, and choreographer Eric Viudes.
“I think I was able to share the Bournonville tradition through these classes,” Dinna Bjorn said.
“What makes it special is that it can be combined with other styles, and that’s what I want young dancers to understand. They can perform classical repertoire, including elements of the Russian school, as well as contemporary works, while still staying within the Danish tradition.”
The visit was more than a tour stop. It marked another moment in Astana’s growing role as a cultural meeting point between Europe and Asia, where international companies are increasingly finding new audiences far from their traditional homes.