Zum Ballett geprügelt…

und trotzdem zum Ballett-Superstar aufgestiegen!

Yuli – ein bemerkenswerter Film über die ergreifende Lebensgeschichte des Profitänzers Carlos Acosta.

Als Kind liebte er Breakdance und hasste Ballett. Sein grosses Vorbild war der Fussballer Pelé. Aber sein Vater, ein LKW-Fahrer, erkannte das grosse Talent seines Sohnes und steckte ihn unbarmherzig in die staatliche kubanische Ballettschule.

Der Rest ist Ballettgeschichte – Carlos Acosta wird der erste schwarze Romeo beim renommierten Royal Ballet London und begeistert die Welt.

Anders als in den üblichen Tanzfilmen werden wichtige Filmszenen getanzt. Anstatt zu zeigen, wie der Vater den kleinen Carlos verprügelt, stellt Carlos Acosta (als Vater) die Prügelstrafe choreografisch dar – ein aufwühlendes Pas de Deux mit einem jungen Tänzer und knallendem Ledergürtel.

Der Erfolg ist auch weiterhin auf Carlos Acostas Seite. Nachdem er als Principal Dancer 2016 beim Royal Ballet London aufhörte, alle wichtigen Dance Awards gewann, als Choreograf überzeugte, wird er ab 2020 Ballettdirektor des Birmingham Royal Ballet.

Für alle Ballettliebhaber ein sehenswerter Film mit fantastischen Tanzszenen. Etwas verwirrend ist das Filmkonzept. Carlos Acosta schlüpft in verschiedene Rollen (als Vater, als Choreograf, als Romeo in einem Filmausschnitt) und ihm werden drei weitere Schauspieler (als Kind, junger Tänzer, junger Erwachsener) zur Seite gestellt.

Hier mein Post zu Carlos Acosta’s gefeierten Choreografie DON QUIXOTE.


Biography of CARLOS ACOSTA by his website

© Carlos Acosta

Born in 1973, Carlos grew up as the 11th child of an impoverished family in one of Havana’s poorest districts. With the persuasion of his father, Carlos was sent to train at the National Ballet School of Cuba. Here he trained with some of its most influential teachers including Ramona de Saa. From 1989 to 1991 Carlos performed throughout the world, guesting with several leading companies including the Compagnia Teatro Nuovo Di Torino in Italy.

With his natural talent and drive to succeed, 1990 became an important and life changing year for Carlos when he won the prestigious Gold Medal at the Prix De Lausanne. This was followed by the Grand Prix at the 4th Biennial Concours International de Danse de Paris plus several other important awards that helped him on his way to success.

Upon the invitation of Ivan Nagy, Carlos was then invited to dance with the English National Ballet during their 91-92 season, where at the age of 18, he became ENB’s youngest ever principal dancer. After gaining recognition on the London stages, injury sadly forced him to return to Cuba.

Carlos subsequently danced for six months with the National Ballet of Cuba under Alicia Alonso, touring with the company to Spain. During his time with the company, Carlos was visited by Ben Stevenson, then director of the Houston Ballet, and offered a contract as a Principal dancer. Carlos accepted and spent five years with the company between 1993 and 1998. Carlos flourished under Ben’s direction, where he danced all the major roles in the company repertoire, leaving his mark in the American ballet world.

After maturing a great deal in Houston, Carlos felt the need to expand and grow further, choosing to join the Royal Ballet under the direction of Anthony Dowell in 1998. The Royal Ballet soon became his home where he danced in nearly all the major ballets in their repertoire, of which many are filmed, even successfully choreographing his first full length ballet, Don Quixote, for the company.

Carlos was instrumental in touring the company to his homeland of Havana Cuba for the first time in 2009. This was a proud moment and one of the highlights. He also performed Romeo and Juliet in the o2 Arena with Tamara Rojo and the cast of the Royal Ballet to an audience of 13,500 people.

Carlos changed his title to Principal Guest Artist from 2003 and has enjoyed a thriving career as an International Guest Artist with all the leading ballet companies around the world, appearing in the United States, Russia, the Netherlands, Chile, Argentina, Japan, China, Greece, Germany, Italy, France, and Australia. He did several seasons with the American Ballet Theatre in New York, and was twice invited to the Opera Garnier in Paris to dance Nureyev’s Don Quixote and La Bayadere. He won critical acclaim in Moscow and London in 2007 for the role of Spartacus, which he performed with the Bolshoi Ballet. The production was re staged and filmed in January 2008 in the Paris Opera’s Palais Garnier, especially for Carlos. He won the prestigious Benois De La Danse for this role.

In the 2014 New Year’s Honours List Carlos was awarded the CBE, capping the end of a remarkable year which saw him stage his new production of Don Quixote at the Royal Opera House, and choreographing a new production of Guys and Dolls for the West End. In the National Dance Awards 2015, Carlos was awarded the De Valois Award for Lifetime Achievement.

In addition to his work with the Royal Ballet, Carlos also choreographed his semi autobiographical show, Tocororo. It premiered in Havana in 2003 and subsequently broke all box office records at Sadlers Wells Theatre in London. It was nominated for an Olivier award in 2004. He continued to develop his own highly popular and award winning shows in London and throughout Europe including both Classical and contemporary repertoire, and often championing relatively unknown choreographers from his native Cuba. In 2007 he won the coveted ‘Outstanding Achievement in Dance’ at the Laurence Oliver Awards for his production of Carlos Acosta and Friends of the Royal Ballet.

Carlos retired from the Royal Ballet stage in 2015 with his own version of Carmen, choreographed for the company. He then brought the curtain down on his classical career with sell out shows at London’s Royal Albert Hall in 2016. 

Carlos continues to dance contemporary and formed his own company in Havana ‘Acosta Danza’ to critical acclaim. He directs and performs with the company as it tours the world. The culture and vibrancy of his country have always had a big influence on his career and continue to do so as he has also created the Carlos Acosta International Dance Foundation, a project close to his heart, with the dream of giving young dancers and choreographers the opportunities he benefitted from by providing an education platform, free at the point of delivery, where they can come to express talents which might not otherwise be seen or heard whilst receiving world class training in an inspirational setting. The first step in this process was the creation of the Acosta Danza Academy which opened its doors in Havana for the first time in September 2017 to its first intake of aspiring and talented young Cuban students, each embarking on the first of a three-year course and who will be joined by a further intake of Cuban and international students in September 2018.

But Carlos’s remarkable career does not only extend to dance. He wrote his autobiography entitled ‘No Way Home’ which was published by Harper Collins in the UK and Scribner in the US in 2007, becoming Radio 4’s book of the week. Following that he wrote his first work of Fiction ‘Pig’s Foot’ which was published by Bloomsbury in 2013.

Numerous documentaries have been made about him and he has also appeared in several feature films including the Natalie Portman directed segment of ‘New York I love you’, John Robert’s ‘The Day of Flowers’, Susanna White’s ‘Our Kind of Traitor’, and Cynthia Newport’s ‘Dreams of Flight’. A film inspired by his life, entitled ‘Yuli’, has already been shot and will be receiving premieres in the UK in April 2019.

source https://www.carlosacosta.com/biography.php

Beitragsbild: Filmplakat von https://www.fbw-filmbewertung.com/film/yuli

Dancing with a broken foot – is it even possible?

Interview with Valentino Zucchetti, First Soloist in Royal Ballet London

What does a ballet dancer do when he breaks his foot mid-performance? Accept calamity? Or just carry on regardless?

I was lucky to talk to Valentino about his major injury in his debut of Espada on Don Quixote. Hear more about the swaggering Espada in Carlos Acosta’s celebrated production Don Quixote.

Watch Valentino jumping. He is a very talented, beautiful dancer, a great artist and an upcoming choreographer.

Manon 05/10/14, Copyright 2014 ROH. Photographed by Alice Pennefather

More about Don Quixote at the Royal Opera in London.

Read my short review


Biography of Valentino Zucchetti (by website of the Royal Ballet London)

Valentino zucchetti in Scènes de ballet, The Royal ballet ©
ROH/Tristram Kenton, 2014

Italian dancer Valentino Zucchetti is a First Soloist of The Royal Ballet. He trained at The Royal Ballet Upper School and on graduation joined Zürich Ballet. He joined the Company in 2010, promoted to First Artist in 2011, Soloist in 2012 and First Soloist in 2014.

Zucchetti was born in Calcinate and began training locally aged four. Aged 11 he moved to Milan to study at La Scala Ballet School. Aged 16 he was offered a scholarship to study at The Royal Ballet Upper School and while there won the 2006 Genée International Ballet Competition and the 2007 Solo Seal award. In his final year he created a role in Christopher Hampson’s Three Dialogues for the School’s annual matinee. He subsequently joined Zürich Ballet and moved to Norwegian National Ballet in 2009. His repertory in Zürich and Oslo included Gurn (La Sylphide) and Prince (The Nutcracker). Zucchetti’s repertory with The Royal Ballet includes Colas (La Fille mal gardée), Rhapsody, blue boy (Les Patineurs), Lescaut (Manon), Brother Clown (The Winter’s Tale), Gypsy Girl’s Lover (The Two Pigeons), Lensky (Onegin), Espada (Don Quixote), Hilarion (Giselle), Puck (The Dream), Hans-Peter and Prince (The Nutcracker), Mercutio (Romeo and Juliet), Bronze Idol (La Bayadère), Lead Hungarian Officer (Mayerling), Bluebird (The Sleeping Beauty), Fool (The Prince of the Pagodas) and roles in The Vertiginous Thrill of ExactitudeTarantellaJewelsThe Human SeasonsScènes de balletSymphonic VariationsDGV: Danse à grande vitesse and Within the Golden Hour. He has created roles for Carlos Acosta, Kim Brandstrup, David Dawson, Alastair Marriott, Liam Scarlett, Heinz Spoerli and Christopher Wheeldon, among others.

Zucchetti won the School’s Ursula Moreton Choreographic Award in 2005. He choreographed Sonata for Six for the School’s 2013 matinee and regularly creates pieces for The Royal Ballet’s Draft Works. In 2013 he choreographed Orbital Motion for New English Ballet Theatre.

Nijinsky – Genius and Insanity

Marcos Goecke’s Nijinsky Ballet PREMIERE with the Ballet Zurich on 9th March

There was rapturous applause from the audience for this emotional artistic biography of the greatest dancer and choreographer Vaslav Nijinsky.

I was lucky to talk to Jan Casier (Nijinsky), Irmina Kopaczynska (Mother of Nijinsky) and Mélanie Borel (Wife of Nijinsky). Learn more about these characters and dancers in new my youtube-Channel.

My interviews at the After Party
NIJINSKI – Trailer of the Ballet Zurich

Read this summary from the website of Ballet Zurich:

„Only ten glorious years were granted Vaslav Nijinsky at the head of Sergei Diaghilev’s legendary Ballets Russes. He intoxicated audiences – with virtuoso leaps and androgynous charisma – as the Faun and the Golden Slave. His audacious choreographies provoked scandals. He loved a man and married a woman. The dancer fell at the pinnacle of his fame. Before he died in London in 1950, he had spent thirty deranged years in the shadows of mental asylums. Compulsory admission to a psychiatric clinic, dubious diagnoses and experimental therapies drove his soul beyond the reach of others.

Marco Goecke has dedicated a feature-length ballet to this epoch-making dancer and choreographer. The result fascinatingly merges Goecke’s distinctive, nervously trembling, frantic body language with reminiscences of Nijinsky the artist. This also allows for choreographic elements of his career as a dancer to be incorporated. The choreography focuses on Nijinsky the man and his character, transposing emotions into highly aesthetic movement. Although Marco Goecke accompanies the exceptional artist through the stages of his life, the piece extends far beyond a purely biographical study, and focuses on fundamental questions. The magic and value of art takes centre stage – but also the price that it intransigently exacts from all creative people.

After Deer Vision and Petrushka, Marco Goecke will once again be a guest of Ballett Zürich to develop a new, extended version of his Nijinski ballet with the ensemble. The original was premièred at the Theaterhaus Stuttgart’s Gauthier Dance festival to great acclaim.

Together with Claude Debussy’s Prélude à l’après-midi d’un faune, Frédéric Chopin’s two piano concertos – played by the Swiss pianist Adrian Oetiker – will form the musical framework of this moving evening. Pavel Baleff will conduct the Philharmonia Zurich.“ Abstract of website of Ballet Zurich https://www.opernhaus.ch/en/spielplan/calendar/nijinksi/season_50348/


Ballett von Marco Goecke
Musik von Frédéric Chopin und Claude Debussy
Schweizerische Erstaufführung / Zürcher

Neufassung Choreografie Marco Goecke 
Musikalische Leitung Pavel Baleff
Bühnenbild und
Kostüme Michaela Springer 
Lichtgestaltung Udo Haberland 
Dramaturgie Esther Dreesen-Schaback

More performances at Opernhaus Zürich until 6th April 2019!



Carlos Acosta’s Don Quixote

Akane Takada and Alexander Campbell in Don Quixote, photo by Andrej Uspenski / ROH

Totally refreshed, retold and re-orchestraTed

It is a must for all ballet lovers to watch a ballet in the Royal Opera House in London. The Royal Ballet is one of the world’s largest, most famous ballet companies with more than 100 ballet dancers.

Carlos Acosta, the Cuban ballet superstar and former Principal Dancer of the Royal Ballet, made this antiquated story more believable and more human. It is just fun! Highly recommended. Go the the Royal Opera, have a glass of champagne in this beautiful winter garden and enjoy this terrific classical ballet.

„The ballet radiates pure sunshine – with all the dazzling Latin warmth associated with Carlos Acosta, and with the color of Tim Hatley’s vibrant design and the musical arrangement of Minkus’s score by Martin Yates.“ Quote of Kevin O’Hare, Director of the Royal Ballet.

I was very lucky to see Akane Takada and Alexander Campbell in the leading roles, great solo parts and an amazing corps de ballet.

Acosta made some great changes. He added a gypsy campfire dance with live guitarist on stage and the garden of the Dyrads with giant pink flowers – beautiful settings and Spanish style ballet costumes.

This trailer presents Carlos Acosta as Basilio, Marianela Nuñez as Kitri in 2014.

Image on Top Akane Takada and Alexander Campbell in Don Quixote, photo by Andrej Uspenski / ROH

Review http://seenandheard-international.com/2019/02/carlos-acostas-don-quixote-returns-to-the-royal-ballet-and-is-vibrant-and-enthusiastically-danced/

Biography of Carlos Acosta, Principal Guest rèpétiteur (source roh.org.uk)

Carlos Acosta in action.
Carlos Acosta in Don Quixote © ROH/Johan Persson, 2013

Cuban dancer Carlos Acosta was a Principal Guest Artist of The Royal Ballet 2003–16. He has danced with many of the leading ballet companies in the world. He joined The Royal Ballet in 1998 and became a Principal Guest Artist in 2003. His many roles for the Company included Siegfried (Swan Lake), Albrecht (Giselle), The Prince (The Nutcracker), Des Grieux (Manon), Prince Florimund (The Sleeping Beauty), Basilio (Don Quixote) and Apollo. He has staged Don Quixote and created the new work Carmen for the Company. In the 2017/18 Season he returns as Principal Guest Répétiteur for The Royal Ballet.

Acosta was born in Havana and trained at the National Ballet School of Cuba, going on to dance with the English National Ballet, the National Ballet of Cuba and the Houston Ballet. The culture and history of his home country have been important influences throughout his career, and in 2003 his show Tocororo – A Cuban Tale, loosely based on his childhood, broke box office records at Sadler’s Wells Theatre. His 2007 autobiography No Way Home was a UK bestseller, and he published his first novel, Pig’s Foot, in 2013. His film appearances include in Day of the Flowers and Our Kind of Traitor. Since leaving The Royal Ballet he has founded the dance company Acosta Danza in Cuba.

Acosta has received many awards throughout his career, including an Olivier Award for Outstanding Achievement in Dance in 2007, a Prix Benois de la Danse in 2008 and an Outstanding Achievement Award at the 2014 Critics’ Circle National Dance Awards. In 2014 he was appointed a CBE for services to ballet.

More about Carlos Acostahttps://www.carlosacosta.com/

International Ballet Stars at Opera Zürich

Polina Semionova and Friedemann Vogel in Giselle with Ballet Zurich

Don’t miss this very special performance of these stunning international award winning Principal dancers on 30th May 2019 at Opernhaus Zurich. 

Quote of Friedemann Vogel on his website – http://friedemannvogel.com/

„Albrecht was Friedemann’s first ever lead role, and will therefore always hold a special place in his heart. As such, Friedemann is excited to reprise this role in Patrice Bart’s version of Giselle, based on the original choreography by Jean Coralli and Jules Perrot, with the sublime Polina Semionova and Ballett Zürich on 30 May for one performance only.“

Photo on Top © Jack Devant http://www.jackdevant.com/


© polina-semionova.com

Polina Semionova, born in Moscow, studied at the Bolshoi Ballet School and at 17 years old, she joined the Berlin State Opera Ballet as a principal dancer.

In September 2012 Polina joined American Ballet Theatre as a Principal Dancer. She is also a Permanent Guest principal dancer with Michailovskij Theatre and a Guest principal dancer with a Bayerische Staats Oper. 

She has also appeared in works by Nacho Duato, Mauro Bigonzetti, Patrice Bart, Renato Zanella, Uwe Scholz, Alexey Ratmanskij, Twyla Tharp, Anthony Tudor, Christian Spuck…

Polina danced as a guest artist with Teatro alla Scala, American Ballet Theatre, Bayerische State Opera, Mikhailovskiy Theatre, Semper Opera, English National Ballet, Tokyo Ballet, Vienna State Opera BalletZurich Ballet, Mariinsky Theatre, Bolshoi Ballet, Stuttgart Ballet, Opera del Roma …

In 2013 she became a professor of Staatliche Ballett Schule in Berlin, Germany .

Friedemann Vogel was born in Stuttgart (Germany), completed his ballet training at the Princess Grace Academy of Classical Dance in Monte Carlo with the John Gilpin scolarship from Princess Antoniette de Monaco. He showed his outstanding talent by winning several international ballet competition awards.  In 1997 he won the Prix de Lausanne,the Gold medall in the Prix de Louxembourg, Eurocity competion in Italy and 1998 he won the Jackson Competition USA.

© friedemannvogel.com

In September 1998 Friedemann Vogel joined the Stuttgart Ballet and quickly rose through the ranks. In 2002 he was promoted to first soloist, the company’s highest rank. In the same year he also won the much-coveted Erik Bruhn Prizein Toronto Canada. Friedemann Vogel has been elected Dancer of the Year 2010 by the international dance critics survey of the magazine TANZ and recently In June 2012 Friedemann was appointed by the Italian dance magazine Danza&Danza as best male dancer.His repertory includes title roles in the classics, as well as principal roles in pieces by Choreographers ranging from Cranko and Balanchine to Robbins and Kylián ,from Neumeier to Forsythe and McGregor.

Friedemann Vogel was invited to dance as a guest artist by the most prestigious companies like the Mariinsky Theater St.Petersburg, the Bolshoi Ballet Theatre Moscow, Teatro alla Scala Milano, the English National Ballet, the National Ballet of China, the Tokyo Ballet, the Hong Kong Ballet, Ballets de Santiago de Chile, the Finnish National Ballet, Staatsballett Berlin and the Bayerisches Staatsballett, Teatro dell’Opera di Roma, Royal Swedish Ballet, the Vienna State Ballet,the Korean National Ballet and the Béjart Ballet Lausanne. Since September 2014 Friedemann Vogel is a Guest Principal with the Mikhailovsky Theatre in Sankt Petersburg. In September 2015 he was awarded the national title of „Kammertänzer“. In 2016 he received the „Prix MAYA“.

The outstanding career of Misty Copeland

The most famous Prima Ballerina today

Misty Copeland has had a great year. She has not just been an outstanding ballerina, her story made her a role model for young dancers.

After becoming the first African-American Female Principal Dancer with the American Ballet Theater in 2015, she became an advocate for diversifying the field of ballet. She has played many roles:

💃 Serving on the advisory committee for the ABT’s Project Plié, a programme offering training and mentorship to dance teachers in racially diverse communities.

💃 Playing a black ballerina princess in „The Nutcracker and the Four Realms„, her big screen debut in a Disney Movie.

💃 As an author, publishing several books: her memoir „Life in Motion: An Unlikely Ballerina (2014), Firebird (2014) and Ballerina Body (2017)

💃 Serving as a model for a Barbie Doll, released in 2016

© time.com

💃 Acting as a guest judge during the Divisional Final at NBC’s World Of Dance in 2017

Her net worth is estimated at $500.000. As a Prima Ballerina at the top of the range she earns at least $150.000. The larger earnings come from her endorsements such as Estée Lauder, Oikos, Under Armour, Seiko, Boys & Girls Clubs of America and the Disney’s film role.

Her inspiring story continued in 2019, When she stars as a dancer, shot by Albert Watson in the latest Pirelli Calendar 2019.

© A. Watson – http://pirellicalendar.pirelli.com/en/selected-shots

For more information, look on her website


Learn more about her amazing touching life story


Biography of Misty Copeland by Website of American Ballet Theatre

Born in Kansas City, Missouri and raised in San Pedro, California, Misty Copeland began her ballet studies at the age of 13 at the San Pedro City Ballet.  At the age of fifteen she won first place in the Music Center Spotlight Awards.  She then began her studies at the Lauridsen Ballet Center.  Copeland has studied at the San Francisco Ballet School and American Ballet Theatre’s Summer Intensive on full scholarship and was declared ABT’s National Coca-Cola Scholar in 2000.

Copeland joined ABT’s Studio Company in September 2000, then joined American Ballet Theatre as a member of the corps de ballet in April 2001 and was appointed a Soloist in August 2007.  Her roles with the Company include Gamzatti, a Shade and the Lead D’Jampe in La Bayadère, Milkmaid in The Bright Stream, the Fairy Autumn in Frederick Ashton’s Cinderella, Blossom in James Kudelka’s Cinderella, Swanilda and the Mazurka Lady in Coppélia, Gulnare and an Odalisque in Le Corsaire, Kitri, Mercedes, Driad Queen, the lead gypsy and a flower girl in Don QuixoteDuo Concertant, the Masks in Christopher Wheeldon’s VIII, Lise in Las Fille mal gardée, the Firebird in Alexei Ratmansky’s Firebird, Flower Girl in Gaîté Parisienne, GiselleZulma and the peasant pas de deux in Giselle, Queen of Shemakahn in The Golden Cockerel, Lescaut’s Mistress in Manon, Clara the Princess, Columbine and one of The Nutcracker’s Sisters in Alexei Ratmansky’s The Nutcracker, Bianca in Othello, a Gypsy in Petrouchka, the Lead Polovtsian Girl in the Polovtsian Dances from Prince Igor, the Saracen Dancer in Raymonda, Cowgirl in Rodeo, Juliet and a Harlot in Romeo and JulietSinatra Suite, Princess Florine in The Sleeping Beauty, Odette-Odile, the pas de trois, a cygnet and the Hungarian Princess in Swan Lake, the Waltz in Les Sylphides, the Tchaikovsky Pas de Deux, Princess Praline in Whipped Cream, leading roles in Bach PartitaBirthday Offering, Brahms-Haydn Variations, Monotones I, and Thirteen Diversions, and roles in AirsAmazed in Burning DreamsBaker’s DozenBallo della ReginaBlack TuesdayThe Brahms-Haydn VariationsBrief FlingCompany BDésirGongHereafterIn the Upper Room, Overgrown Path, Pretty Good Year, Private LightRaymonda Divertissements,Sechs TänzeSinfoniettaSymphonic Variations, Within You Without You: A Tribute to George Harrison and workwithinwork.

Copeland created the Spanish Dance in Ratmansky’s The Nutcracker, the Fairy Fleur de farine (Wheat flower) in Ratmansky’s The Sleeping Beauty, His Loss in AfterEffect, and roles in AFTERITE, C. to C. (Close to Chuck), DumbartonGlow – StopHer Notes, I Feel The Earth Move, One of Three and With a Chance of Rain.

Copeland received the 2008 Leonore Annenberg Fellowship in the Arts and was named National Youth of the Year Ambassador for the Boys & Girls Clubs of America in 2013.  In 2014, President Obama appointed Copeland to the President’s Council on Fitness, Sports and Nutrition.  She is the recipient of a 2014 Dance Magazine Award and was named to the 2015 TIME 100 by TIME Magazine.  Copeland is the author of the best-selling memoir, Life in Motion, children’s book Firebird and Ballerina Body.

Copeland was appointed a Principal Dancer in August 2015.

3. Video: Tun Spitzenschuhe weh?

Was antwortet Prima Ballerina Katja Wünsche?

Kann man barfuss Spitze tanzen? Wie schützt Katja ihre Zehen? Wie werden die Schuhe gebunden? Wann sind Spitzenschuhe tot?

Erfahrt alles über Spitzenschuhe in meinem Dreiteiler auf meinem neuen youtube Channel.

Jede Ballerina hat ihre eigenen Methoden, ihre Spitzenschuhe einzutanzen und weicher zu machen. Denn neue Spitzenschuhe sind hart und unbequem. Eigentlich bestehen sie nur aus vielen komprimierten Schichten von Stoff, Karton und Leim und einer Ledersohle – weder Stahlkappen, noch Holzeinsätze oder Zehenpolster sind darin zu finden.

Noch mehr zum Thema Spitzenschuhe im meinem Blog balletloversblog.com und auf meinem youtube Channel.


So werden Spitzenschuhe hergestellt:


Biografie von Katja Wünsche, Ballett Zürich

Katja Wünsche stammt aus Dresden und wurde an der Staatlichen Ballett­schule Berlin aus­ge­bildet. Sie war Preisträgerin zahlreicher Ballettwettbewerbe. Von 1999 bis 2012 tanzte sie im Stutt­­garter Ballett, seit 2006 als Erste Solistin. Sie tanzte in Hauptrollen in Choreogra­fien von John Cran­ko (Romeo und Julia, Der Wider­spens­tigen Zähmung, Onegin), John Neu­meier (Endstation Sehnsucht, Die Ka­me­lien­dame), Marcia Haydée (Dorn­rös­chen, La Sylphide, La Fille mal gardée) und Christian Spuck (Lulu, Der Sand­­mann, Leonce und Lena, Das Fräulein von S.) sowie in Balletten von For­sythe, Kylián, León/Lightfoot und Goecke. 2007 wurden ihr der Deutsche Tanzpreis Zukunft und der Deutsche Theaterpreis DER FAUST verliehen. Seit 2012/13 ist Katja Wünsche Solistin beim Ballett Zürich. Hier tanzte sie u. a. die Julia in Spucks Romeo und Julia, Lena in Leonce und Lena, Marie in Woyzeck, Anna Karenina und Kitty in Anna Karenina sowie Clara in Der Sandmann. Ausserdem trat sie in Zürich in Choreografien von Sol León/Paul Lightfoot, Douglas Lee, Martin Schläpfer, Wayne McGregor und Marco Goecke auf. 2014 wurde sie mit dem «Tanzpreis der Freun­de des Balletts Zürich» ausgezeichnet.