Every year, The Nutcracker returns to the stage of Rio de Janeiro’s Theatro Municipal as if coming back to an emotional home. There is something ritualistic about it — for audiences, for dancers, and for the city itself. Created at the end of the 19th century, Tchaikovsky’s ballet has crossed generations not only as a Christmas staple but as one of the main gateways into the world of classical dance. It is the first ballet for many children, an annual reunion for families with the Municipal, and also a quiet barometer of the company’s artistic health.

In the 2025 season, running through December 28, the return carries added weight. The Ballet of the Theatro Municipal closes the year after a period of internal rebuilding, technical maturation, and a renewed sense of identity — a process visible onstage and clearly reflected in audience response. Leading this production is Hélio Bejani, current Director of the Ballet of the Theatro Municipal of Rio de Janeiro and of the Maria Olenewa State School of Dance, as well as Director of the TMRJ’s postgraduate program in Classical Dance — a figure deeply intertwined with the institution’s history.

Bejani knows the Municipal from the inside out. He joined the company’s corps de ballet in 1985 through a public competitive examination and went on to build a career as a soloist and principal dancer. He witnessed firsthand the company’s transformations, its moments of glory and of crisis, earned recognition as Best Classical Dancer at the Brazilian Dance Council Competition, and worked as both partner and choreographer to Ana Botafogo. His rise to the directorship is not merely administrative, but symbolic: it represents leadership forged onstage, grounded in listening to the dancers and in a clear understanding of what it means to keep classical repertoire alive in the 21st century. Over the course of his career, he has choreographed and directed landmark productions and restaged essential titles such as Giselle, Swan Lake, Don Quixote, The Sleeping Beauty, Coppélia, and, of course, The Nutcracker.

In a brief conversation amid the rush of yet another successful season, Bejani discusses the artistic choices behind the current production, the delicate balance between tradition and renewal, the strategic role The Nutcracker plays within the Municipal, the company’s moment in 2025, and the paths beginning to take shape for 2026.

MISCELANA: The Nutcracker is a classic that audiences return to year after year. What has changed in this production — in terms of concept, cast, or artistic interpretation — compared to previous versions? Was there anything you felt needed updating or recalibrating in 2025?
BEJANI: In this 2025 production, we sought to innovate while honoring tradition. The updates include a new artistic reading of the choreography, with a focus on deepening the emotional lives of the characters, as well as the use of lighting to create an immersive, magical atmosphere. The dancers bring a strong emotional connection to the work, especially in the first act, adding vitality and freshness to the performance. We felt it was essential to adjust certain elements to better align with a more contemporary context, while preserving the essence of the classic.

MISCELANA: Keeping a classical ballet alive is always a delicate balance between tradition and renewal. How do you reconcile fidelity to classical repertoire with the need to engage today’s audiences — especially younger generations who may be seeing The Nutcracker for the first time?
BEJANI: The balance between tradition and contemporaneity is fundamental in every aspect. We aim to show audiences that classical ballet can also engage with modernity and evolve. This is reflected in certain adaptations and reinterpretations of scenes and narrative elements. Rather than simply recreating the ballet, we want to interpret it in a way that resonates with today’s audience, building a bridge between past and present.

MISCELANA: In recent years, the Ballet of the Theatro Municipal has gone through a period of artistic and institutional rebuilding. How do you assess 2025 for the company, in terms of the dancers’ maturity, audience response, and artistic identity? What kind of year was this internally?
BEJANI: In 2025, the Ballet of the Theatro Municipal has emerged stronger and on a continuous path of evolution. The dancers’ maturation has been remarkable, with performers demonstrating precise technique and a deep artistic understanding of their roles. Audience response has been very positive, reflecting renewed interest in our repertoire and our artistic identity. Internally, the year was marked by a strong commitment to excellence and collaboration, consolidating our position within the dance landscape.

MISCELANA: The Nutcracker often serves both as an entry point to ballet and as an emotional ritual for many families. Do you feel the work plays a strategic role within the Municipal today, both in audience development and in the city’s emotional relationship with the theater?
BEJANI: The Nutcracker plays a crucial role not only as a ballet but also as a family event that evokes nostalgia and creates lasting memories. It is a symbol of celebration and togetherness, and we sense that many families eagerly anticipate this production each year. The work is therefore strategic in building audiences and strengthening the emotional bond between the city and our theater, reaffirming the Municipal’s cultural importance.

MISCELANA: After a year like 2025, what can we expect from the Ballet of the Theatro Municipal in 2026? Is there a clearer artistic direction, new ambitions, or projects that will help consolidate this moment of renewal?
BEJANI: For 2026, we plan to build on the successes of 2025 with an artistic vision focused on new narratives and innovative collaborations. We are exploring projects that expand the repertoire, bringing contemporary works into dialogue with the classics. The goal is to consolidate this period of renewal and further establish ballet as an accessible and relevant art form for all audiences.