Naiad, a sea nymph, fell in love with a Sicilian fisherman and, for his sake, begged the sea gods to make her a mortal girl. In the nineteenth century, a ballet with this plot was performed all over Europe under various names. With the advent of the new century, it was resumed in St. Petersburg by Alexander Shiryaev, and in the current century it was introduced by Yuri Burlaka, a connoisseur of ancient choreography. In 2017, he staged three ensembles from The Naiad and the Fisherman in Yekaterinburg: the Naiad phenomenon, a fishing holiday, the famous Naiad transformation scene and her dance with her own shadow. The suite is not easy for performers – in fact, it is a choreographic concert for a ballerina, a premiere and an ensemble of soloists. Returning Naiad and the Fisherman to the repertoire, Ural Ballet presents a new galaxy of soloists who have declared themselves in recent seasons.
It was first staged at the Ural Opera in 2017. Performed in the program with the ballet Kleptomania
