Tell us about your dance journey
I started ballet in the dance studio that was in my hometown when I was 4 years old. My mum signed me up for a class because i couldn’t stop dancing at home! I rapidly wanted to dance more and more and my teacher suggested that I try the audition for the Paris Opera Ballet School. I entered the school in 2011 and graduated 8 years later in 2019. I didn’t get a contract with the company so I furthered my training for a year at Dutch National Ballet Academy before joining the Junior Company from Ballett Zurich. And since the 22/23 season I dance with Staatsballett Berlin!
Tell us about your time at the École de danse de l'Opéra de Paris
I joined when I was 9 years old. At this age I didn’t really understand how life changing that decision would be. Initially I just wanted to dance more and be around other boys who also do ballet. Really quickly the militarylike education and possibility to be cut every year made things really intense. Although it was a very tough 8 years the ballet world is very harsh and the school really prepared me for that. They instill amazing foundations for ballet technique as well as a discipline and respect towards others that is necessary later.
I feel really spoiled that my education took place in that institution and it was always made very clear to us that the history and prestige of the school was one of a kind. I got to dance each year on the stage of the Palais Garnier, tour to Moscow and perform on the stage of the Bolshoi theater and Stanislavski and work with iconic ballet figures. The one that marked me the most is Gilbert Mayer, one of the last masters of french technique and pedagogy, he thaught me everything I know and I hope that one day I can pass down his precious knowledge.
How was your experience at the Junior Ballet Zurich?
Zurich was a big shock for me. I basically grew up in the walls of the Paris Opera, with a very close minded view of the ballet world and very little knowledge of what was happening outside of Paris. The repertoire of Ballett Zurich is outstanding but very contemporary and neoclassical. It felt like starting from zero again, brought lots of doubts but looking back these two years were absolutely necessary in my journey, being in contact with beautiful artists who moved so differently, and being challenged with new repertoire and lots of creation processes. That’s why it felt right to audition in Berlin upon the suggestion my director Christian Spuck.
In 2022 you joined Staatsballet Berlin, tell us how it’s going there
Joining Staatsballett Berlin was a dream come true. I could finally combine my classical training from Paris Opera and the new experience I gained from Ballett Zurich. It was very intimidating to dance along so many accomplished dancers and renowned stars. But the atmosphere of the company reflects the city’s. Everyone’s individuality is celebrated and artistry is the priority.
It’s my third season here and so far my time here has been amazing. The city is so inspiring, especially for young artists. I would say that with Staatsballett, we are very privileged because we get to work in person with almost every choreographer that’s programmed. In just two years I’ve worked in the studio with Marcia Haydée, William Forsythe, Christian Spuck, Patrice Bart, Alexander Ekman, Crystal Pite and Ohad Naharin!
Do you have a favorite choreographer ?
I have a few! From what I’ve performed already I would say William Forsythe and David Dawson. But I still dream of dancing some Balanchine, MacMillan and Jirì Kylian!
What do you think about the german dance scene compared to the french one?
I think because France is so centralized everything goes through Paris and Nureyev still has a strong hold on ballet in France. The dance scene in Germany is quite interesting because it is home to some legendary names such as John Neumeier or John Cranko, and there is a strong culture of choreographers being in charge of companies all over the country. Now I think this tradition keeps on going with big names like Marco Goecke and Christian Spuck.
To be a bit more precise and speak about the Berlin scene, I really enjoy that we have such a wide range of taste within our audience, which gives us the opportunity to be successful with classics like Swan Lake or Sleeping Beauty but also captivate the audience with some choreographers like Sharon Eyal or Marcos Morau.
How important is for you dance?
At this point dance is my life. It maybe sounds a bit corny but dance is what I’ve been doing every day since I was 9 years old, it shaped the person I became, decided where I would live and mostly brought me to meet so many people that are now very important in my life.
Being a dancer doesn’t stop the day you quit dancing professionally, I’ll carry that with me forever and I couldn’t be happier with it.
What are you doing when you are not working?
I think my number one hobby outside of work is fitness! Whenever I have the chance I’m either at the gym, the pilates studio or biking around! I’m also in the process of getting my driver’s license and learning German… both very challenging!
Photo credits:
Anastasia Muna
Petrushka by Marco Goecke credit: Yan Revazov
Blake Works I by William Forsythe credit: Admill Kuyler
The Sleeping Beauty by Marcia Haydée credit: Admill Kuyler