Anna Karenina by Leo Tolstoy, published in instalments in the literary magazine Russkij Vestnik in 1877, is one of the eternally charming masterpieces of Russian literature, capable of inspiring multiple incarnations. On the big screen, Anna Karenina had the face of Greta Garbo (1935), of Vivien Leigh (1948), and even Keira Knightley in 2012, just to mention a few. But also the world of ballet was not indifferent to the allure of this story. In 1972, the Bolshoi Theatre staged a choreography inspired by Tolstoy’s novel with music by composer Rodion Shchedrin, husband of the theatre’s first ballerina, Maya Plisetskaya, who played the leading role. The version coming to the Dubai Opera in December, however, is more recent and was conceived in 2005 by Boris Eifman, choreographer and artistic director of the St. Petersburg State Ballet Theatre, who chose the music of Pyotr Tchaikovsky. Eifman, putting aside the secondary story lines, focuses on the love triangle, Anna - Karenin - Vronsky, the dominant passions, the inner struggles and the subconscious, on that emotional content that makes the story of Anna Karenina so timeless.