Sara-Nora Krysteva: At the Burgas competition young people from all over the world gain experience and build invaluable connections
The fourth edition of the International Ballet Competition “Sara-Nora Prima” will once again turn Burgas into a meeting stage for young ballet talents from around the globe. The event will take place between July 4 and July 12, 2026. Traditionally, a ballet academy is held during the days of the competition, starting on July 4 and concluding with a gala concert by the participants on July 12 on the stage of the Burgas State Opera.
The main competition program will be held over four evenings—from July 6 to July 9 at 6:00 PM—and on July 11 at 7:00 PM, the audience will have the opportunity to watch the awards ceremony and the Laureates’ Gala Concert.
Registration for participation is online on the association’s website: www.saranoraprima.org and is open until May 31, 2026. The competition is structured into three age groups: 9–12, 13–16, and 17–27 years old. The youngest participants may perform either en pointe or in soft ballet shoes, at the discretion of their teacher, while the older participants are required to present a more complex program of classical variations, pas de deux, and contemporary performances.
Over the four years since its founding, the competition has established itself as a significant international forum, attracting more than 450 participants from 20 countries. Behind this success lies not only the competitive element but also the vision of the founders of the competition and academy, Sara-Nora Krasteva and Evgeniya Trofimchuk, to create an environment for creative exchange, professional development, and networking among young ballet artists.
A major contribution to the high standard of the competition comes from its prestigious international jury, composed of renowned figures in the ballet world—prima ballerinas, principal dancers, and directors of leading institutions. This year, performances will be evaluated by Prof. Masha Ilieva; prima ballerina Marta Petkova, Artistic Director of the Ballet at the Sofia Opera and Ballet; Angelina Gavrilova, Director of Ballet “Arabesque”; Galina Srebreva, Director of NUTI; Galina Kalcheva, Head of Ballet at the Burgas State Opera; as well as internationally recognized figures such as Denis Cherevychko, Principal Dancer at the Vienna State Opera; Ayşen Sünal, Director of the National Ballet in Istanbul; Jojun Jo from the Korea National University of Arts in Seoul; and Konstantin Kostyukov, an international choreographer. Members of the jury also take part in the academy’s training program, making the forum a unique opportunity for direct contact with leading professionals.
We spoke with prima ballerina and the longest-serving head of the ballet at the Sofia Opera and Ballet, Sara-Nora Krysteva, whose name, achievements, and dedication to the art of ballet are at the heart of the competition:
– Ms. Krysteva, when you launched the competition four years ago, there was some uncertainty about how it would develop—especially since the world had not yet fully recovered from the pandemic. Today, the competition is internationally recognized. How do you assess the journey so far?
– At the beginning, there was indeed concern—as with any new initiative. But from the very first edition, we invested a clear vision and a great deal of work. Today, we can say that the competition has established itself as an international forum. Over these three editions, we’ve had more than 450 participants from 20 countries, which shows that it has already earned its audience and trust.
But for me, the most valuable thing is not the statistics—it’s the atmosphere. The children and young artists build friendships, exchange invaluable international experience, learn from one another, and, as the saying goes, “set their clocks” against each other. For the younger participants especially, this is an important stage—building mindset, confidence, and stage presence.
– What is the role of the awards—what is the concept behind them?
– I have never wanted the award to be an end in itself. Of course, it’s wonderful to receive recognition and a financial prize, but what matters much more is what comes next. That’s why we created a rich system of additional awards—opportunities to perform with major companies, scholarships, invitations to work with ballet organizations.
This is something I have personally followed throughout my career—to support young artists with real opportunities for professional realization. The most valuable reward is the chance to step onto a big stage, with an orchestra, in a professional environment. That is what truly shapes you as an artist.
– The competition takes place entirely on the stage of a real opera house. How important is that?
– It’s extremely important. From the very beginning, I insisted it be held in a theatrical setting. I’m often asked why it’s not on an open-air stage like other festivals. The answer is simple—ballet needs comfort. There must be no wind, rain, or other external factors that could hinder the performers.
At the Burgas State Opera, the conditions are excellent—a stage that is even larger than the one at the Sofia Opera, good rehearsal studios, dressing rooms, and outstanding technical staff. This gives participants confidence and the opportunity to show their very best.
– What is the jury looking for in the performances—is technique the leading factor, or something else?
– We’re looking for the golden balance. Technique is necessary, but it’s not enough. Ballet is an art—we tell a story without words. If stage presence, artistry, musicality, and emotional depth are missing, the performance remains just a display of technical skills. We are neither acrobats nor gymnasts—we are ballet artists.
Young dancers often choose very difficult variations, but that’s not always the right approach. It’s better to choose something that suits them and that they can perform convincingly. We, the jury, see them for just a few minutes on stage—in that short time, they must show their individuality and presence.
– Do you observe changes in ballet schools around the world?
– Yes, and they are very interesting. The Asian school, for example, has made enormous progress in artistry—something that used to be their weaker side. At the same time, in Europe, we have started to focus too much on technique and sometimes lose the emotional aspect. That’s why we must develop technique without losing the soul of the performance.
– What opportunities will participants have this year?
– Every year, we strive to expand these opportunities. There will be offers for guest performances, contracts with ballet companies, and scholarships. Over just the past three years, we have already realized 15 productions featuring our laureates in various state theaters, along with many scholarships and other opportunities.
This is something that truly has real value—a genuine start in the profession.
– The ballet academy is also becoming an increasingly important part of the forum.
– Yes, last year we introduced a gala concert for the academy as well, which this year will take place on July 12. Awards are also presented there—not financial ones, but professional opportunities such as scholarships, internships, and various invitations.
What’s important is that everyone can choose—to participate only in the academy, only in the competition, or in both. This provides flexibility and more opportunities for development.
