I have been part of the Landestheater Salzburg for almost two months now and am definitely on my way to feeling settled. The new routine is becoming my norm but still fresh enough to be interesting, and the people that now fill my days are all making life enjoyable and welcoming.
I feel cosy in my cute little apartment, filled with leftover furniture and comforting photos of friends and family. I am adapting to the very different timetable here where we work through rather than having a split working day. We begin at 10am with training followed by morning rehearsals till 14pm, a half-hour lunch break and continue with rehearsals until 5pm. When we start performing it will be a little different, but for now, I am really liking this way of working.
❝This is a big ballet to create so a lot of interesting work is going into this part of the process❞
Before I joined the company I admit I was a little worried about this change as I couldn’t imagine not having the long afternoon break I have grown comfortable too, but now I really appreciate having the evenings to relax and recover for the next day. Our bodies have so much more time to recuperate and it also gives us the feeling of a ‘normal life’; work is done at 5pm, time to enjoy dinner, meeting friends or an evening at home.Continue reading “Finding My Feet in Salzburg”→
The world is a small place. But the dance world is even smaller. And you wouldn’t believe how international every school or company is around the world. I have had friends from everywhere and there is a huge chance that they know people I have met in school or in other companies. And there is even a bigger chance they are from a different country and are now living in a different country to that due to dance.
In my experience alone – I have shared a room with a Norwegian girl and became friends with a bunch of Australians during my school time. When I started working I joined the company with an American, Israeli and Austrian. I created life long friendships with a Korean, French and a Belgian. I have shared a dressing room with a Spaniard, Czech, and many Japanese girls. I have partnered Brazilians, Chinese, Armenians and Italians. I have worked with teachers and choreographers from too many places to remember and the list goes on of international friends, co-workers and associates I have met because of my chosen profession.
❝We are able to form very close bonds to people we would never have met if it weren’t for dance❞
The theatre becomes a dancer’s second home, a place where we spend at least 50% or more of our daily waking hours. We work there, we eat there, we shower, dress and sleep there. Our friends are usually with us and its the place we do what we love most, dance.
It’s because of all these reasons that it becomes a very important building for us, and one of the most important rooms in this building is our dressing rooms.
❝This is where the beauty of ballet meets the ugly on a daily bases❞
When I was younger and performed once or twice a year in a theatre the dressing rooms were already one of the best parts and when I was part of a dance school, I remember it being so exciting to get our dressing rooms, all the girls together just like the professionals – we were just so grown up. And I was probably deep down even more excited when I first joined a professional company and found my own permanent spot in the dressing room. I had made it. Continue reading “The Dressing Room of a Ballerina”→
One of the hardest weeks of the season is upon us – Ballet Week, and there is no turning back now so we might as well go for it full force. During this time the company will perform every evening of the week a different ballet from this seasons repertoire, finishing with a ballet gala on the final night.
It is always a tough week for the dancers but often a very rewarding one, especially once we have survived it. We have rehearsals in the mornings preparing for the next show or Gala pieces followed by a break in the afternoon to rest before that evenings show. It is a time we are pushed to our limits both physically and mentally. Throughout the week, we must judge when to push our bodies and when to hold back, in order to be fit enough to last another show. The change of styles and choreographies each day can be difficult, and to set the mind up for a new atmosphere and emotions every morning is challenging, not to mention finding the will to get out of bed after another late, energy filled night.Continue reading “A Week at the Ballet”→
Opening nights are always full of excitement for both the performers and audience, with a mixture of emotions flying through the theatre. When that curtain goes up the stage is filled with the productions highs or lows but today I wanted to share with you the emotions we dancers feel once the curtain comes down. The ones the audience never see.
A few weeks ago Staatsballett Karlsruhe had our third premiere of the season performing the colourful creation from Youri Vámos, ‘A Midsummer Night’s Dream’. With this piece being pure entertainment (not only for the public) it was another premiere I will remember always. Continue reading “That Premiere Feeling”→
I often hear artists being portrayed as very emotional people but I ask myself if we are actually more exaggerated and eccentric when it comes to feelings than the average person? Yes, we care a lot about what we do for a living and we are asked daily to bring all sorts of emotions to the surface, but I wouldn’t say we are more sensitive than non-dancers, it just depends on the person and their own personality. I think we are all emotional when we want to be.
❝I can also bring my own feelings and experiences onto the stage with me to help develop a character❞
Dance is a way of expressing emotion so I think it’s quite normal if once in a while we subconsciously, or maybe even consciously, take those feelings out of the studio and into our daily lives, and vice versa. As for me, I love to get emotional and really into a role. The stage is a place where I am put into many different situations I wouldn’t encounter in my normal life and I can also bring my own experiences onto the stage with me to help develop a character.
You may all know from my post ‘A Chance to Return to The Hammond School’, that during May I spent a week in England at my childhood dance school, The Hammond, as I had been invited to take part in the school’s 100-year anniversary production of Sir Peter Wright’s ‘Giselle’. My years as a student there were so wonderful I couldn’t wait to return to where it all began. And of course, it was even more memorable than I could have imagined.
Arriving at the school, I had butterflies in my stomach. It was so strange to be back. How the school has changed in ten years I have been away, with its own in-house theatre and brand new studios replacing the portacabins I danced in. However, once my dance colleague, Flavio Salamanka and I found our way into the theatre and spotted my old ballet teacher, Miss Jane Elliott, working with her pupils, the familiar, friendly atmosphere I remembered was still ‘in the air’. Being introduced to her pupils as ‘my Harriet’, Jane had me feeling like I never left. Continue reading “My Unforgettable Debut as Giselle”→
I wanted to show my appreciation for this great person by dedicating this post to him and his work. Including a short interview about him, his past and his future. Flavio Salamanka, you will be missed.
Last Sunday we danced our final performance of the season which is always an exciting evening – another year completed, another year survived. However this year, not only was it a great one, it was also a very sad show for Karlsruhe StaatsBallett, as it was the last ever performance of our Kammertänzer Flavio Salamanka, a dancer who has been with the company since the beginning and who I have had the chance to dance many roles with and learn so much from.
We have had the pleasure of watching Flavio in numerous classical leads such as Swan Lake and Nutcracker to the more modern lead roles in A Midsummers Night’s Dream and Rusalka. Flavio has done it all. And he has done us proud. He has been such a big part of the company and many members of the public have followed his career over the 14 years he has danced here. Continue reading “Goodbye My Friend”→
With the premiere of Peter Schaufuss‘s La Sylphide at the end of the week, things are really coming together and getting exciting. We had a few dress rehearsals last week and I had the unexpected chance to dance the Sylphide.
Originally being the third cast for the main role and just coming back from injury, I was not expecting to be dancing it for a while. But things changed when Peter asked how I felt about giving it a go in the next day’s run through. I was feeling good and knew the role pretty well so why not. With this ballet, there is surprisingly no pas de deux choreography so it is very easy to mix up the casts. Peter told us he wanted to change the dancers around so we all had the chance to dance and he also had the chance to see us in each role.
After the run, they were happy enough to give me another chance to rehearse it again the next day on stage. This rehearsal also went well and it was beautiful to dance with the live orchestra, which always brings another depth to the piece. I was then surprised last Monday morning when Peter set the cast for the first dress rehearsal and I would dance the Sylph. Continue reading “How a Fairy Gets Her Wings: An Unexpected Chance to Fly”→
Tonight will be this season’s first performance of our ballet creation ‘Anne Frank‘. And it will be a pleasure to bring it back to life. Since premiering last season, ‘Anne Frank’ has been a great success which means a lot to the company because it was created by one of our very own dancers, Reginaldo Oliveira. I have briefly mentioned this creation before and as I am sure you can tell from the name it is a piece with so much meaning and history.
Originally from Brazil, Oliveira moved to Germany to join Karlsruhe Staatsballett 10 years ago and discovered his talent for choreography while working within the company. He has had the chance to create many pieces with the dancers here but ‘Anne Frank’ was his first full-length ballet.
When I first heard we would be creating the story of this little girl’s diary from the Second World War I was very intrigued. I had a feeling Reginaldo would find a new interesting way to tell such a tragic tale. I have heard similar comments asked by the public, wondering how someone would portray such horrific history with ballet. But after experiencing the ‘holding onto the happiness while heading towards darkness’ opening scenes and the ‘hear a pin drop’ silence during the concentration camp second act, their questions were all answered. Continue reading “Anne Frank”→