- Tell us about your experience in Ballett Zurich

Ballet Zurich was my artistic home for almost 16 years, a place where I could continue my journey as a dancer and also embark on an important new chapter as a choreographer. I had the privilege of working under the direction of both Heinz Spoerli and Christian Spuck, and I always felt incredibly supported by them. My relationship with each was built on mutual respect and honesty, which created an environment where I could fully dedicate myself to my work.

Throughout my time there, I had the opportunity to contribute to the company's success by giving my all in every performance and project. I am deeply grateful for the rich and diverse repertoire they brought into the company, allowing me to perform works by many renowned choreographers. This exposure significantly shaped my growth as an artist.

Moreover, the support both Heinz and Christian offered me as a choreographer was instrumental in helping me achieve what I am today. Their encouragement allowed me to explore my own creative voice, and for that, I am immensely thankful.

- Do you have a choreography that you dance, that stays in your heart?

It's hard to pinpoint a single piece that had the most impact on me, as I believe every work I danced left its mark, shaping me as both a dancer and a choreographer. However, if I were to mention one, Mats Ek's "Sleeping Beauty" stands out. I had the privilege of performing both the roles of the Father and Carabosse, and these characters resonated with me on a very deep level. 

This opportunity came at a time when I had reached a certain maturity as a dancer, which allowed me to fully embrace and interpret these roles. Working directly with Mats Ek was an unforgettable experience—his approach, depth, and the way he guided me through these complex characters profoundly influenced my artistic growth.

- What was your first approach to the choreography, and how did you start?

Choreography has always been a part of me. Even from a young age, I found myself imagining creating ballets, though it took me some time to feel ready to fully step into that role. I tend to take my time with decisions, but once I commit, it's because I feel prepared. 

My first experience as a choreographer came during my time with the National Ballet of Portugal, where I created a piece titled “Anfractus" for a choreographic workshop. That piece was later selected by the director to become part of the company's repertoire, which was an incredibly encouraging moment for me. After moving to Zurich, I paused choreographing for a bit, but after a few years, I resumed my journey, fortunate enough to create numerous works for Ballet Zurich and the Junior Ballet. This laid the foundation for the choreographic path I continue on today.

- Tell us about your experiences as a guest choreographer in different companies

I always find joy in every place I go, and afterward, I miss those moments deeply. These experiences leave a lasting impression on my heart, and I often think back to many of my creative moments with fondness. I’m fortunate to be invited back to places where I’ve created before, and it brings me immense pleasure to return. However, I’m equally excited to explore new places because, for me, the biggest inspiration comes from meeting new dancers. The diversity and energy each dancer brings is what truly fuels my creative process.

- How do you get inspiration for your choreographies? 

I believe life itself is my primary source of inspiration. Each piece I create ends up reflecting the life I’m living at that time, even if it’s not explicitly intentional. What we feel, the emotions we’re experiencing, inevitably influence the creative process. Whether life is joyful or challenging at the moment, these experiences somehow find their way into my work. That said, no matter how intense life may be—whether it’s a high or a low—once I’m in the studio with the dancers, I feel at home. It’s like a recharge for me, where everything aligns, and I find my grounding again.

- Tell us about your next projects

After the success of "Mind the Gap”, which gave me the chance to create for an incredible group of young dancers, I’m now feeling inspired by the talented dancers of the Cannes Jeune Ballet. I’m working on a new piece set to Stravinsky's "Violin Concerto", a beautiful but challenging score. Following this, I’ll be creating for the BA Contemporary Dance students at Zurich University of the Arts (ZHdK). Next year, I’m particularly excited about my new production of “Carmen" for the Königsfelden Festival—my first full-length narrative ballet and my debut creation for the festival under my artistic direction of Tanz und Kunst Königsfelden. I’m really looking forward to bringing this to life.

- Tell us about your last creation 

Stravinsky’s "Violin Concerto" has been in my heart for quite some time, and now felt like the perfect moment to dive into it. The collaboration between Stravinsky and Balanchine has always fascinated me—the masterpieces they created together are timeless. I often imagine what it must have been like to work so closely with a composer, and it makes me wonder if one day I’ll have a similar creative partnership.

What really drives me now is how this concerto inspires me personally. Can I truly feel this masterpiece in my own way? I wanted to explore that, to see if I could approach such a legendary piece and give it my unique perspective. Ultimately, I believe that while some works in the past were perfectly executed and will stand the test of time, that doesn’t mean we can’t explore different interpretations. In the end, it remains Stravinsky’s "Violin Concerto", but viewed through my own lens, and that’s something I’m excited to share.

- What are you doing when you are not working? 

It’s hard to pinpoint because since I stopped dancing, I haven’t had much time to step away from work. I’d love to have more time to explore the Swiss mountains or visit Portugal to enjoy the beautiful beaches, but moments like that have become rare. However, I know that in the future, I’ll find time for those things. Right now, what makes me happiest is working—doing what I love. It’s a balance I’m still learning, but the joy I get from creating and collaborating keeps me energized, and that’s what matters most at this stage of my life.