Bunheads, rejoice: The annual Prix de Lausanne competition starts this week in Lausanne, Switzerland! And just like last year, those of us stuck stateside can still get in on the excitement by watching the live stream from today through February 6.
The daily stream promises inside looks at all the dance-y action—think footage of performances from the wings, interviews with teachers and coaches and video of classes and stage presentations. Today's highlights include footage of the girls’ presentations of classical variations—and be sure to tune in for the finals on Saturday, February 6, to see who takes home this year’s top awards.
The elite competition is hosting 69 candidates from 19 different countries this year, including 4 dancers from the United States. Click here for the full list and see if you recognize any names.
A shot from last year's competition (photo by Gregory Batard via Prix de Lausanne)
Ballet nerds like me LOVE the Prix de Lausanne. The super-prestigious competition, held annually in Lausanne, Switzerland, attracts top dancers from around the world, for starters. But it's also remarkably open about its proceedings. For the past few years, it has live-streamed the final round of competition on its website—encouraging bunheads of all stripes to keep up, even if they can't make it to Europe.
This year, the PdL is taking things a step further: It's broadcasting not just the final round, but also excerpts from each day's activities. From February 2nd to February 6th, you'll be able to watch one hour of live coverage each day at prixdelausanne.org/multimedia/live-streaming/.
What are you likely to see? The candidates rehearsing and taking class, bien sûr, plus interviews with competitors, teachers and jury members. There'll even be insider-y peeks at coaching sessions. And the whole thing wraps up with the live-stream of the February 6th "selections" and February 7th finals in their entirety, so you can witness firsthand how the dancers' hard work has paid off. (Click here for the full list of candidates—you'll probably recognize a bunch of names.)
To all the competitors: Merde! And to all the ballet fans out there: Get your popcorn ready! While you're waiting for the February 2nd to roll around, check out this slideshow of photos from last year's Prix.
All photos by Gregory Batardon, via Prix de Lausanne
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Houston Ballet II’s Tyler Donatelli was one of only 10 dancers from the United States accepted to compete at the prestigious Prix de Lausanne this year. To get the inside scoop on the ballet competition, DS asked Tyler to keep a diary during her week in Switzerland. —Jenny Dalzell
I just arrived in Lausanne, and it’s breathtaking. It’s been a long trip to Switzerland: a plane from Houston to Washington, D.C., a seven-hour flight to Geneva, and then a 30-minute train to Lausanne. Luckily, I wasn’t alone. My teacher Sabrina Lenzi came with me, along with Michael Ryan, another Houston Ballet II dancer who is competing.
I had to head to the theater for a warm-up class right after I checked in at the hotel. Once there, I got to practice in a studio with a raked floor, just like the stage where we’ll be performing. I didn’t feel too shaky—I just had to make a few adjustments, like really leaning forward when doing turns upstage. I kept my practice session pretty short; I didn’t want to overdo it. Plus, I had to head over to registration to get my number (304!) and instructions for the week. OK—off to bed now. I need some serious sleep.
The first official day of the competition! It started with a judged ballet class, with about 30 other girls in my group. I wasn’t too nervous—I’ve competed at Youth America Grand Prix, which also judges classes, so I know how to stay relaxed.
photo, Gregory Batardon/Prix de Lausanne
Next I had a stage run-through of my classical piece. I’m performing Gamzatti’s variation from La Bayadère. Whenever I get onstage, I get this sensation—a burst of electricity through my body. I stop thinking, let my body do the work and live in the moment.
Next came contemporary class. I wasn’t used to the teacher’s style, so remembering the combinations was a challenge. But one of my goals this year has been to improve my contemporary movement quality, and I think these classes will help.
Jet lag has caught up to me, and waking up today wasn’t easy. Nevertheless, I was ready for another day of dancing. First up was another judged ballet class. The teacher, Stefanie Arndt, gave corrections about placement that reminded me of my teacher at home, which was comforting.
photo, Gregory Bartardon/Prix de Lausanne
I also had a coaching session for my contemporary solo, from Richard Wherlock’s Le Sacre du Printemps. When I was selected to compete in Switzerland, I started learning the solo from online videos. Now, after the session, I’m relieved by how closely my teachers and I interpreted the movement. Working with Richard’s assistant helped me put the finishing touches on the piece and really dig out the raw emotion behind the choreography.
Today began with a (thankfully!) non-judged class in the studio with the raked floor. It’s so different taking barre on a slant—but I actually love it. The rake makes me lift up more, and it’s easier to feel if my weight’s too far back or forward.
After that, I had my third contemporary class of the week—this time judged. I was a little apprehensive going in: I was in the first group in the front line, and my focus had to be on point.
photo, Gregory Batardon/Prix de Lausanne
Next came a classical coaching session with Monique Loudières, a former Paris Opéra Ballet étoile. She stressed simplicity in positions, and gave a great tip about lifting up, which helped fix some of the difficult transitions in the variation.
After yesterday’s intense contemporary and classical coaching sessions, I got a good night’s sleep to prepare for today—Selection Day! When I arrived at the theater, the men and women in my group took a class on the stage. Then I put on my tutu and got pumped up—I love rocking out to Aerosmith before a performance. Before I knew it, my number was called. Leaping and turning was exhilarating—I didn’t want to leave the stage!
After a quick change into my contemporary costume and a fast tease of my hair, I was back onstage. I tuned out the world behind the wings, and for the first time, I felt like I was really portraying the character and story of the dance.
Then I waited to find out which dancers would advance to the finals. To pass the time, Michael and I played endless amounts of Flappy Bird on our phones. Unfortunately, I didn’t pass to the next round. I’m disappointed, but I put forth my best effort and I’m proud of myself for making it as far as I did. On a brighter side, Michael did make it through, and I’m excited to cheer him on tomorrow.
I haven’t had much time to wallow—the past two days have been pretty nonstop. Yesterday, I participated in a networking class where we took ballet with school and company directors watching. Today, we got the results: I was offered two jobs—with Julio Bocca’s company in Uruguay and with Queensland Ballet in Australia—and five scholarships to schools worldwide, including the English National Ballet’s
summer program and the John Cranko Schule in Stuttgart. I decided to decline the offers—I’m really happy at Houston Ballet II. But I’m honored so many directors were
interested in me. And even though I wasn’t a finalist, the exposure I’ve gotten at Prix de Lausanne has been an award in itself.
NYC is bursting with promising ballet dancers this week, thanks to the Youth America Grand Prix finals held at Lincoln Center's Koch Theater. To all the competitors (at YAGP and beyond), we're shouting a big "Merde!!" your way.
We can't wait to see what amazing things these kids will do next. Don't believe us? Just take a look at these teens competing in the '90s and early '00s. They sure turned out (more than) OK.
Before she was New York City Ballet principal Sara Mearns, she was simply the amazingly talented 15-year-old Sara Mearns, competing at YAGP:
Recognize this guy? It's none other than the dreamiest of all American Ballet Theatre principals, Marcelo Gomes, competing at the Prix de Lausanne in 1996.
Here's international ballet superstar Alina Cojocaru at the Prix de Lausanne in 1997:
No surprises here: ABT soloist Sarah Lane's port de bras was just as glorious in 2002!
And San Francisco Ballet soloist Simone Messmer was just as regal at 16, competing at YAGP regional finals in 2001:
It's hard to imagine Diana Vishneva before she was a start of the Mariinsky Ballet and ABT. Nevertheless, here she is in 1994, competing at the Prix de Lausanne:
And finally, here's a special treat: Alex Wong in leopard booty shorts at the Prix de Lausanne in 2004. Go ahead, watch it sixteen times. We have.
Here at DS HQ, we're more than ready to be kicking off a new month (please please please tell us that March is going to finally bring us some warmer temperatures and pretty flowers...please?) and, fittingly, a brand-new issue!
The March issue of Dance Spirit is our annual Ballet Issue, and how lovely is this prima-in-the-making on the cover?
A little backstory...
I have been obsessed with Juliet Doherty for years. I saw her perform the role of Clara in the Radio City Christmas Spectacular and I fell hard for her gorgeous facility, sweet smile and perky onstage personality. At the time, Juliet was a competition dancer training at Fishback Studio of the Dance—her great-grandmother's studio—in her hometown of Albuquerque, NM. Now, at 16, Juliet's making big moves toward a serious ballet career: She's currently a level-seven student at the San Francisco Ballet School and she's performed as Clara in San Francisco Ballet's Nutcracker. Earlier this year she competed at the Prix de Lausanne in Switzerland. And let's not forget—she's a ballerina named Juliet. It's perfect.
We are so excited to feature Juliet on the cover of this issue. Not only is she a stunning dancer (as you can see from the cover—can this girl take a beautiful picture or what?), she's also super-smart (she was asked to give an inspirational TEDx Talk in 2012!), ultra-sweet and insanely humble.
Click here to read Juliet's cover story. And, as always, we've got plenty of extras for your viewing enjoyment: click here to check out a ton of outtakes from Juliet's cover shoot in L.A. with photographer Joe Toreno, and then watch a behind-the-scenes video from the shoot.
We love you, Juliet, and we can't wait to see what you do next!
(Photo by Joe Toreno)
In the summer of 2012, Juliet Doherty gave a talk at a TEDx conference in her hometown of Albuquerque, NM. She was the only teenager to speak that day—and, in a ballet costume and pointe shoes, the only person not wearing a suit. After her speech, during which she encouraged listeners to “be great,” Juliet performed a solo. That was the day she got her first standing ovation. “The amazing thing,” she says, “is that it wasn’t just about my dancing. It was about the message I was trying to put out there.”
It’s safe to say that won’t be Juliet’s only standing ovation during her ballet career. Now 16, Juliet is a student in the San Francisco Ballet School’s pre-professional training program, and she’s already collected a handful of professional performing credits (as Clara in the Radio City Christmas Spectacular and in San Francisco Ballet’s Nutcracker) and competition wins (she won gold at the Youth America Grand Prix finals when she was 14). Earlier this year, Juliet competed at Prix de Lausanne in Switzerland. She talked to Dance Spirit about ballet competitions, Broadway and “being great.”
By the time this issue comes out, you will have competed at Prix de Lausanne, which was a longtime goal of yours.
Juliet Doherty: This will be my first overseas competition. When I came to San Francisco Ballet two years ago, I talked to Patrick [Armand, the associate director of the SFB School] about it. He said I could compete right away, but I chose to train for a year with the school first so I could get the full experience without the added stress of competition. After a year of training, I filmed my competition application video. In November, I found out I had been selected to compete. Since then it’s been a lot of rehearsing, working on my variation, learning my contemporary solo and adding my own artistry to the pieces.
Which pieces did you prepare?
JD: My age division had 10 variations and four contemporary selections to choose from. I chose the Swanilda Scene 1 Act 1 variation from Coppélia, and for my contemporary I picked “Saraband,” from Vasos Comunicantes. Most of the contemporary options were a minute long, but this one is almost three minutes. I wanted to be challenged.
Performing at the Youth America Grand Prix finals in 2012 (courtesy Juliet Doherty)
Not everyone in the ballet world is on board with competitions. What’s your take?
JD: When you’re dancing in a company, you’re constantly under the pressure of performing and being looked at. I think the best way to get a taste of that at a young age is through competitions. Then, down the road, you can think, “OK, this has happened before. I know how to handle it.”
I try to bring everything I’ve learned at competitions into my performances. I have a solid technical base; my competition experiences won’t hinder that.
The SFB School is a big supporter of ballet competitions. Did that factor into your decision to attend?
JD: Yes. I was competing at the YAGP finals in NYC in 2012 and took the scholarship class on the last day of the competition. That’s when Patrick offered me a summer scholarship. I was 14 and starting to consider moving away from home to a pre-professional school. I got a few different offers that day, but I had a good feeling after talking to Patrick.
I spent the summer at SFB and I loved it, so I stayed for the entire year. Now I’m back for my second year. I’ve also been lucky enough to perform with the company for two years as Clara in Nutcracker.
As Clara in the Radio City Christmas Spectacular in NYC (photo by Gene Schiavone)
How’d you get that role?
JD: People just came into class for five minutes with a clipboard and watched us during barre combinations. Then four of us got calls later saying we’d been cast.
It’s neat because I got to work one-on-one with Helgi Tomasson [SFB’s artistic director]. As a student, we’re always looking at Helgi wondering, “Who is this mysterious guy?” The first time we ever danced in front of him, he said, “Are you nervous?” We were hesitant to say yes, so we just nodded, and he said, “OK, you should be.”
But dancing Clara with SFB wasn’t your first time being Clara.
JD: I was Clara in the Radio City Christmas Spectacular for three years—two years on tour, and one year in NYC. Dancing at Radio City Music Hall, on that huge stage, was incredible. During our first dress rehearsal, we were doing our center bows, and I had to run off after my bow. I didn’t realize how far I actually had to run to get into the wings! I could hear the director, Linda Haberman, yelling at me, “Keep running, keep running!” It took me so long to get offstage.
Have you always known you wanted to be a ballerina?
JD: No! I’ve danced my entire life—I grew up dancing at my great-grandmother’s studio, Fishback Studio of the Dance—but even when I was doing Radio City, I wasn’t set on ballet. I thought I might want to sing and act more. It was my mom’s idea to take me to YAGP—she was my main teacher and coach until I was 14—so I went for the first time when I was 9.
I was a brat then. I never wanted to practice my variation. But that summer, something clicked. I realized I had to change my attitude or no one would work with me. From then on, I decided I would pursue ballet, and I’ve become a totally different person.
“I look back at when I was 6 years old and I had no idea how to do a jazz square. I was just onstage having fun. That’s what audiences enjoy. They don’t come to see a perfect performance—they come to be moved and to feel something.”
(Photo by Oliver Endahl/Ballet Zaida)
Walk us through a day in your life.
JD: I wake up around 7:30 am. I live in the student residences at the SFB School. The first thing I do in the morning is make my breakfast, which is usually a green drink.
I take the public bus to get to SFB. I usually start with technique class or floor barre, then pointe or pas de deux, or special extra rehearsals. Each class is 90 minutes to an hour and 45 minutes.
After my last class, I go about my day. I shop for groceries, do laundry or clean my room. Then I’ll cook my dinner and squeeze in some schoolwork. I go to sleep between 10:30 and 11 pm. Any later than that and I can’t function the next day. I have one class on Saturdays at 9:30 am, but I have the rest of the weekend free.
How do academics factor in?
JD: I’m doing an independent study online. I read a lot, and my work doesn’t have due dates. I want school to be a part of my life, but it’s not my main focus right now.
What’s your dream role?
JD: Juliet in Romeo and Juliet!
(Photo by Oliver Endahl/Ballet Zaida)
Any idea which company you’ll be doing that with?
JD: I’d love to go to Europe—not necessarily with one company, but to dance on multiple stages, working with as many choreographers as possible.
You were part of the workshop for Susan Stroman’s Little Dancer in 2012. Now the show is potentially coming to Broadway, starring New York City Ballet principal Tiler Peck. Might we see you on the Great White Way someday?
JD: It’s really cool seeing dancers cross over into acting. I love when dancers are versatile and get opportunities to do more than just one thing. I don’t think they’ve had auditions yet for the part I was workshopping, so I’m considering going out for it—we’ll see!
What’s the most valuable advice you’ve ever received?
JD: Every dancer struggles with being in her head. There’s always that voice saying, “You’re not good enough.” Before competitions, my parents will remind me, “You’re your own biggest competitor. Let go of everything you’re holding on to. It will just get in your way. The only person trying to pull you down is the little voice in your head.” Once I remember that, everything gets easier. It’s an ongoing thing with me. Some days are horrible. But some days I exude all the confidence in my dancing that I want to have. It’s just about quieting that voice.
“You are already good enough to get where you want to go. You have greatness inside of you and it can be discovered at any moment. You don’t need to be at a certain level to say, ‘OK, now I’m great,’ or, ‘If I add this one thing to my repertoire, then I’ll be good.’ You’re born with greatness. All you have to do is recognize that.”
(Photo by Joe Toreno)
Ready, Set, Juliet
Must-see TV: “Even though it kind of corrupted Albuquerque, I watch ‘Breaking Bad’ when I miss home. But since that show is so emotionally draining, I also like to watch ‘The Carrie Diaries,’ ‘The Mindy Project’ and ‘New Girl’—I don’t have to get involved, I can just follow along and laugh.”
If you were a superhero, what would your power be? “I just want to fly.”
Your go-to stress reliever: “Calling my parents at the end of the day.”
Strangest thing in your dance bag: “A banana holder. It’s a hard, yellow plastic banana-shaped thing and it prevents your bananas from getting bruised. It’s an amazing invention and I always have it with me.”
Favorite dancer of all time: Natalia Makarova
Performer you’d die to work with: Steve Kazee, who originated the role of Guy in Once on Broadway
Breakfast of Champions
Start your day like Juliet—who follows a plant-based vegan diet—with this recipe for her “Super Green Smoothie.”
Combine a handful of kale, a handful of spinach, half a cup of any frozen fruit (she likes mango or mixed berries), a banana, 4 ounces of apple juice, 8 ounces of water and some flaxseeds in a blender. “The greens may seem scary at first, but trust me, the fruit makes it naturally sweet,” Juliet says. “You’ll feel energized and ready for whatever challenges the day may bring.
It's Prix de Lausanne week! The elite ballet competition kicked off yesterday in Lausanne, Switzerland.
One of our favorite things about the event is that, while it may be happening thousands of miles from most of us, the Prix organizers release all kinds of goodies to help us feel like we're right in the middle of the action. They have an incredibly active Twitter account and Facebook page, for one. But they also have a photographer documenting each day of the competition, and photos from registration and yesterday's rehearsals are already up. They're great—intimate and totally real. Plus, several of 'em feature our good friend Juliet Doherty, looking gorgeous as always. (Juliet fans, let's just say you're gonna love our March issue.)
Take a look at a few of our favorites below, and tune in here on Saturday morning for a live stream of the competition's finals!
(all photos by Gregory Batardon)
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