Margarita Fernandes and Antonio Casalinho in Tchaikovsky PDD

Margarita Fernandes and Antonio Casalinho in Tchaikovsky Pas de Deux. Music by Pyotr Tchaikovsky, choreography by George Balanchine. Ballet Icons Gala 2026, London Coliseum 15.2.2026.

The exceptional partnership between Margarita Fernandes and António Casalinho—particularly in high-stakes bravura pieces like George Balanchine’s Tchaikovsky Pas de Deux—is the result of a rare combination of shared history, technical synchronization, and an almost “telepathic” level of trust.

Here is why their partnership stands out in this specific work:

Both dancers trained together from a very young age (since they were approximately 8 years old) at the Annarella Sanchez International Conservatory in Portugal. Because they were molded by the same teachers in the Cuban style, their “port de bras” (arm movements), the height of their jumps, and their phrasing are perfectly matched. The Cuban method emphasizes speed, high extensions, and explosive power. These are the exact requirements for Balanchine’s Tchaikovsky PDD, which was designed to show off the “American” style of fast, lean, and athletic dancing.

The Tchaikovsky Pas de Deux is famous for its “fish dives” and rapid-fire catches. Because they have been partnering for over a decade, Casalinho knows exactly how Fernandes shifts her weight. This allows them to perform the overhead lifts and the iconic floor-skimming dives with more speed and less “set-up” time than dancers who are paired later in their careers. They possess a shared “internal clock.” In the fast-paced coda of the PDD, they move as a single unit, hitting the sharp accents of Tchaikovsky’s score in perfect unison.

Both dancers are relatively compact and extraordinarily athletic. Casalinho’s strength as a partner allows him to handle the vigorous tosses and catches of the PDD effortlessly, while Fernandes’ light, springy jumps make her appear weightless in his hands. Both are known for having “limitless” engines. In a piece that often leaves dancers gasping for air by the finale, they maintain a high level of performance quality until the final bow.

Beyond their professional training, they are incredibly close friends (and have been described by their teachers as being like siblings, or more recently as a couple). This personal bond translates to a genuine joy on stage. Balanchine’s Tchaikovsky PDD isn’t a tragic story; it’s a celebration of dance. Their natural rapport and “eye contact” make the performance feel like a spontaneous conversation rather than a rehearsed routine. They have openly discussed how their relationship allows them to be brutally honest during rehearsals, accelerating their growth and allowing them to polish the tiny details that other couples might overlook.

Photos by Jack Devant © with kind permission of the Ballet Icons Gala, special thanks to Olga Bakaleets