Inside Prix de Lausanne: Raked Floors and Private Coaching

How does it feel to be a competitor at the Prix de Lausanne? It’s day three of the annual week-long competition in Lausanne, Switzerland, and the more than 70 dancers are managing long yet exhilarating days full of classes and coaching sessions, while being evaluated by a nine-member jury. On top of that, the students from North and South America, Asia and Australia have a major time difference to contend with. “The jet lag was okay at first, but now it’s starting to get to me,” says Nayeli Paez, 17, from Mexico. “It was so hard to get up this morning!”

Candidates for the 2017 Prix de Lausanne in an onstage class. Photo by Rodrigo Buas, Courtesy Prix de Lausanne.

And there’s another challenge: The stage is raked, or sloped towards the audience. On Monday, you could see the candidates struggle through their turns and jumps as they tried to adjust. “It’s really steep,” says 17-year-old Houston Ballet II dancer Caroline Perry. She's performing Giselle’s Act I variation, which includes traveling hops on pointe. At the end, she says, “you’re going downstage, so you want to speed up or fall forward. I have to keep my weight back.” Fellow HBII dancer Andrew Vicseri, 17, learned a trick from his teacher: “If you look slightly up whenever you do turns or tours, it will put you on balance because it will help keep your weight back and project more.”

The competition’s week-long format has helped everyone grow more comfortable in class and onstage. This is especially true for the contemporary portion, which is given equal emphasis. By today, many of the boys were looking more confident for the judges in Didy Veldman’s contemporary class. (At one point, they even had to make crazy facial expressions in slow motion.) Each dancer is also receiving private coaching on both their classical and contemporary variation (a piece from John Neumeier’s repertoire). Paez, who moved to the U.S. to dance with HB II, notes that Hamburg Ballet ballet master Laura Cazzaniga helped give her solo from Nocturnes more artistic context. “She told me that I have to create my own story,” she says. “It’s a variation about dreams and memories, so I’m thinking of my home in Mexico and the memories that I’ve had there.”

Stanislaw Wegryzn being coached by Yohan Stegli in John Neumeier's Vaslaw. Photo by Rodrigo Buas, Courtesy Prix de Lausanne.

Everyone I spoke with said that the best part of the Prix so far has been meeting new people from all over the world. “It’s just so magical, the atmosphere,” says 18-year-old Stanislaw Wegryzn of Poland, who hopes the competition will lead to a job offer. “I think in the future all of us will be dancing professionally, and all of us will be friends.”

Twenty finalists will be chosen on Friday, with finals taking place on Saturday, February 4. Both events will be broadcast via live stream at prixdelausanne.org.

 

For more news on all things ballet, don't miss a single issue.

Latest Posts


Peter Mueller, Courtesy Cincinnati Ballet

2020 Stars of the Corps: 10 Dancers Making Strides In and Out of the Spotlight

The corps de ballet make up the backbone of every company. In our Fall 2020 issue, we highlighted 10 ensemble standouts to keep your eye on. Click on their names to learn more!

Dara Holmes, Joffrey Ballet

A male dancer catches a female dancer in his right arm as she wraps her left arm around his shoulder and executes a high arabesque on pointe. Both wear white costumes and dance in front of a blue backdrop onstage.

Dara Holmes and Edson Barbosa in Myles Thatcher's Body of Your Dreams

Cheryl Mann, Courtesy Joffrey Ballet

Wanyue Qiao, American Ballet Theatre

Wearing a powder blue tutu, cropped light yellow top and feather tiara, Wanyue Qiao does a piqu\u00e9 retir\u00e9 on pointe on her left leg and pulls her right arm in towards her.

Wanyue Qiao as an Odalisque in Konstantin Sergeyev's Le Corsaire

Gene Schiavone, Courtesy ABT

Joshua Guillemot-Rodgerson, Houston Ballet

Three male dancers in tight-fitting, multicolored costumes stand in positions of ascending height from left to right. All extend their right arms out in front of them.

Joshua Guillemot-Rodgerson (far right) with Saul Newport and Austen Acevedo in Oliver Halkowich's Following

Amitava Sarkar, Courtesy Houston Ballet

Leah McFadden, Colorado Ballet

Wearing a white pixie wig and a short light-pink tunic costume, a female ballet dancer poses in attitude front on pointe with her left arm bent across her ribs and her right hand held below her chin.

Leah McFadden as Amour in Colorado Ballet's production of Don Quixote

Mike Watson, Courtesy Colorado Ballet

Maria Coelho, Tulsa Ballet

Maria Coelho and Sasha Chernjavsky in Andy Blankenbuehler's Remember Our Song

Kate Lubar, Courtesy Tulsa Ballet

Alexander Reneff-Olson, San Francisco Ballet

A ballerina in a black feathered tutu stands triumphantly in sous-sus, holding the hand of a male dancer in a dark cloak with feathers underneath who raises his left hand in the air.

Alexander Reneff-Olson (right) as Von Rothbart with San Francisco Ballet principal Yuan Yuan Tan in Swan Lake

Erik Tomasson, Courtesy SFB

India Bradley, New York City Ballet

Wearing a blue dance dress with rhinestone embellishments and a sparkly tiara, India Bradley finishes a move with her arms out to the side and hands slightly flexed.

India Bradley practices backstage before a performance of Balanchine's Tschaikovsky Piano Concerto No. 2.

Erin Baiano, Courtesy NYCB

Bella Ureta, Cincinnati Ballet

Wearing a white dress with pink corset, Bella Ureta does a first arabesque on pointe in front of an onstage stone wall.

Bella Ureta performs the Act I Pas de Trois in Kirk Peterson's Swan Lake

Hiromi Platt, Courtesy Cincinnati Ballet

Alejándro Gonzales, Oklahoma City Ballet

Dressed in a green bell-boy costume and hat, Alejandro Gonz\u00e1lez does a saut\u00e9 with his left leg in retir\u00e9 and his arms in a long diagonal from right to left. Other dancers in late 19-century period costumes watch him around the stage.

Alejandro González in Michael Pink's Dracula at Oklahoma City Ballet.

Kate Luber, Courtesy Oklahoma City Ballet

Nina Fernandes, Miami City Ballet

Wearing a long white tutu and crown, Nina Fernandes does a saut de chat in front of a wintery backdrop as snow falls from the top of the stage.

Nina Fernandes in George Balanchine's The Nutcracker

Alexander Iziliaev, Courtesy Miami City Ballet

Courtesy Carrie Gaerte, modeled by 2020 Butler University graduate Michela Semenza

Concussions Are More Than a Bump on the Head. Here's What Dancers Need to Know

Your partner accidentally drops you during a lift. You collide head-on with another dancer in rehearsal. Or you're hit in the face while you're spotting a turn. Even if you didn't lose consciousness, you may have a concussion, which can occur from a direct blow to the head or rotary force of the brain moving excessively or striking the skull.

As a dancer, your first instinct may be to keep going, but you shouldn't, says physical therapist and athletic trainer Carrie Gaerte, PT, DPT, ATC, who works with Butler University in Indianapolis and at Ascension St. Vincent Sports Performance. "What's really hard for dancers is admitting that maybe something isn't right," she says. "But the big thing about concussions is that your brain is not like your ankle, shoulder or knee. When your brain has an injury, that needs to take precedence over a role or a job."

Keep reading SHOW LESS
Getty Images

Thinking About College Ballet Programs? Here's a Comprehensive Guide to the Application Process

Gone are the days when you had to skip college in order to have a successful ballet career. College ballet programs are better than ever before, providing students with the training, professional connections and performance experience they need to thrive in companies postgraduation. But given the number of elements involved in the application process, choosing the right program can feel daunting. We've broken the college application timeline down step by step to help you best approach each stage along the way.

Keep reading SHOW LESS

Editors' Picks