Baku International Arts Festival brings English National Ballet, Akram Khan and Kentridge

The city of Baku once again transformed into a vibrant cultural hub as it hosted the second edition of the Baku International Arts Festival (BIAF) from October 28 to November 8, 2026. This multidisciplinary event brought together a diverse assembly of artists from around the world, including the United Kingdom, South Africa, Israel, Monaco, and Canada, alongside Azerbaijani talent, fostering a unique fusion of international and local artistry.

Central to this year’s festival was the emphasis on collaborative projects, where foreign artists worked closely with Azerbaijani ensembles and educational institutions such as the Baku Choreography Academy and the Azerbaijan State Academic Opera and Ballet Theatre. This integration of local performers with global figures underscored the festival’s commitment to cultural exchange and artistic mentorship.

The opening concert at the Muslim Magomayev Azerbaijan State Academic Philharmonic Hall paid homage to composer Dmitri Shostakovich on the occasion of his 120th birth anniversary. Shostakovich’s significant ties to Azerbaijan were highlighted through performances of his First Concerto for piano, trumpet, and orchestra, evoking his historic 1934 concert in Baku. Esteemed soloists Lukas Geniušas and Tine Thing Helseth led the musical tribute, accompanied by the Baku State Chamber Orchestra and the BIAF Festival Orchestra under the baton of Dmitry Sitkovetsky, whose family heritage resonates deeply with the city.

A notable highlight was the screening of South African artist William Kentridge’s animated film "Oh To Believe in Another World," which was seamlessly paired with a live performance of Shostakovich’s Symphony No. 10 by the festival orchestra. Kentridge’s visual narrative, employing collage and puppetry, created an evocative Soviet-era museum atmosphere complementing the symphony’s emotional depth. This symphony bears a personal connection to Baku through its inspiration drawn from Shostakovich’s affection for Azerbaijani pianist Elmira Nazirova. The concert further featured the Concerto for Piano and Orchestra on Arabian Themes, co-composed by Fikret Amirov and Nazirova, performed by Farhad Badalbeyli, rector of the Baku Music Academy and a personal acquaintance of both composers.

Upcoming musical events promised further excitement. Violinist David Garrett, known for his symphonic presentations of contemporary hits, made his Baku debut on November 4 at the Heydar Aliyev Center. The festival’s grand finale on November 8 featured Grammy-winning violinist Maxim Vengerov at the Philharmonic Hall, closing the event with a display of virtuosity.

The dance segment, commencing October 31, spotlighted innovative choreography and cross-cultural storytelling. Akram Khan’s "Thikra: Night of Remembering" premiered in Baku, blending Kathak and contemporary dance forms. The production’s visual elements were shaped by Saudi artist Manal AlDowayan, whose installation art has received international acclaim. Set originally in the Saudi Arabian desert, the performance evokes a poignant gathering of women reconnecting with ancestral spirits.

Following Khan’s presentation, Israeli choreographer Shahar Binyamini introduced his works "New Earth" and "Bolero X" on November 5 and 6. Binyamini, with a distinguished background including the Batsheva Dance Company and collaborations with the Paris Opera Ballet, infused the performances with intense physicality and innovative group dynamics. His engagement extended beyond the stage, as he mentored Azerbaijani dancers through intensive training workshops, reinforcing the festival’s collaborative spirit.

The English National Ballet marked their inaugural appearances in Baku with "Masters in Motion: Forsythe / Pite" on November 6 and 7. The programme juxtaposed Crystal Pite’s introspective "Body and Soul (Part 1)" with William Forsythe’s dynamic "Playlist (EP)," a fusion of classical ballet with contemporary music genres ranging from R&B to house. This pairing showcased the evolving landscape of ballet through a modern lens.

Adding to the ballet offerings, Les Ballets de Monte-Carlo presented Jean-Christophe Maillot’s reinterpretation of "Swan Lake" titled "LAC" on November 7. Retaining Tchaikovsky’s iconic score, Maillot reshaped the narrative into a dark psychological drama, aligning with the 150th anniversary of the original composition and enriching the festival’s homage to classical heritage.

Theatre productions also occupied a prominent place. Renowned director Lev Dodin’s staging of Chekhov’s "The Seagull" was performed by the Maly Drama Theatre from St Petersburg, featuring innovative stage design that immersed audiences in a lakeside atmosphere. The production’s recent accolades included prestigious Russian theatre awards, reflecting its artistic significance.

Tel Aviv’s Gesher Theatre brought "Bloody Mary," an avant-garde interpretation inspired by Schiller’s "Mary Stuart," to the Azerbaijani stage. Diverging from traditional adaptations, the production employed grotesque and circus-like elements, challenging conventional historical narratives through fragmented storytelling.

The Rezo Gabriadze Marionette Theatre offered a theatrical fusion with "Alfred and Violetta," a poignant retelling of the famed love story set against the backdrop of 1990s Tbilisi. Completed posthumously by Gabriadze’s son, the piece was praised for its blend of humor and emotional depth, having premiered in Venice in 2022.

Additional festival highlights included choreographer Sharon Eyal’s exclusive presentations and a multidisciplinary sound ritual titled "To Carthage Then I Came," conceived by Romeo Castellucci and Scott Gibbons. This piece, merging theatre, music, and visual art, was adapted specifically for Baku’s Museum of Stone Chronicle, an industrial heritage site.

Throughout the festival, public engagements enriched the experience, featuring dialogues with key figures like Akram Khan, Manal AlDowayan, and Lev Dodin, alongside a lecture by historian Peter Frankopan exploring Baku’s historical role as a cultural crossroads.

The 2026 Baku International Arts Festival reinforced its position as a beacon of artistic innovation and intercultural dialogue, presenting over twenty events that bridged continents and disciplines. By fostering collaboration between international luminaries and Azerbaijani artists, BIAF continues to nurture a vibrant creative ecosystem within the region.