The Culture

Ballets de Monte-Carlo Unveils a Bold New Season

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by Natalia Bezruk Senior Contributor
September 14, 2026
Ballets de Monte-Carlo Unveils a Bold New Season

Image by mgnorrisphotos from Pixabay

Following its 40th-anniversary celebrations, Les Ballets de Monte-Carlo is looking firmly to the future with an ambitious 2026/2027 season combining celebrated productions, world premieres and international collaborations.

Under the artistic direction of Jean-Christophe Maillot, the new programme draws on the company’s extensive repertoire while continuing its dialogue with contemporary dance. The season opens at the Salle Garnier from 29 October to 1 November with Maillot’s Roméo et Juliette. Thirty years after its creation and more than 400 performances later, the production remains one of the choreographer’s signature works.

December brings a contrasting double bill to the Grimaldi Forum. Kor’sia presents Bronia, followed by Maillot’s atmospheric Altro Canto, set to Monteverdi and featuring costumes designed by Karl Lagerfeld. The festive period will see the return of Ma Bayadère, accompanied by the Orchestre Philharmonique de Monte-Carlo, following its successful run last season.

Spring places contemporary creation centre stage as the Monaco Dance Forum welcomes international artists in April. Among the highlights are Aakash Odedra, Israel Galván and a WINNDance programme featuring choreography by John Neumeier and Javier de Frutos.

A major moment arrives later that month with an evening dedicated to Béla Bartók. Running from 27 April to 2 May, it will feature two world premieres: a new interpretation of Maillot’s The Miraculous Mandarin and Alexei Ratmansky’s The Wooden Prince.

Summer returns to the elegance of the Salle Garnier with La Mégère apprivoisée, Paul Lightfoot’s See You, George Balanchine’s Violin Concerto and Maillot’s much-loved Cinderella.

Beyond Monaco, the company will continue its role as a cultural ambassador with performances across Europe, Africa, Asia and the Caucasus — reinforcing the Principality’s place on the international dance calendar.


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Natalia Bezruk

Senior Contributor

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