Competitors take onstage class at the 2020 Prix de Lausanne

Gregory Batardon, Courtesy Prix de Lausanne

The 2021 Prix de Lausanne Prepares for a Year Like No Other

In an ordinary year, early February marks an exciting time in the ballet world: the return of the prestigious Prix de Lausanne competition. But this is no ordinary year, so this is no ordinary Prix. Due to the pandemic, the 2021 edition will run from January 31 to February 7, completely via video.

Rather than travel to Switzerland to perform in person, the 78 carefully selected candidates (including 11 Americans), who hail from 20 countries, will submit prerecorded videos of classical and contemporary variations and classwork in hopes of winning scholarships or apprentice contracts to top-tier international academies and companies. Their work will be viewed by a panel of nine ballet luminaries, chaired by Basel Ballet director and head choreographer Richard Wherlock.

A female Asian ballet student in a black leotard and white tutu practices her port de bras in front of a mirror backstage.

A competitor from the 2020 Prix de Lausanne practices backstage.

Gregory Batardon, Courtesy Prix de Lausanne

The jury members, who will meet in a hotel ballroom in Lausanne while maintaining social distancing, will watch the performances via video and judge them live. Sticking to the normal Prix de Lausanne schedule, they'll narrow the group down to 20 finalists by the end of the week, and view their variations anew during the finals on February 6. Fans around the world can follow the competition all week through a livestream on Prix de Lausanne's website and on Arte Concert.

"We've been changing our plan since last April," says Prix de Lausanne artistic and executive director Kathryn Bradney. "We were hoping that the situation would get better and candidates could come to Lausanne, but of course that isn't the case." Bradney's team has been working to make sure that this newly fashioned version of the Prix runs as smoothly as possible, since the ultimate goal is to match young talent with partner schools and companies. "We're doing a huge effort to put our partners in contact with the dancers," says Bradney, who worked to develop a private networking app aimed to facilitate connections. "This way the dancers won't miss out on the year, and can get a possible offer starting August or September of 2021."

Kathryn Bradney, a middle-aged white woman with brown, bobbed hair and wearing a black velvet top, offers a small smile to the camera while touching the brown velvet scarf draped around her shoulders.

Prix de Lausanne artistic and executive director Kathryn Bradney

Anne-Laure Lechat and Amélie Blanc, Courtesy Prix de Lausanne

To help place the candidates on equal footing despite the huge variety of circumstances they're currently living and training under, the Prix de Lausanne supplied them each with funds to rent space and film their variations. And in lieu of the full week of on-site classes and coaching the jury usually has access to, the dancers will submit just 10 minutes of classwork. "It's five minutes of barre and five minutes of center," says Bradney. "But they'll use their teachers' exercises, so they're actually comfortable with what they're doing. It shows them at their best." And since December, competitors have also had access to prerecorded Zoom master classes and contemporary coaching sessions, designed to expose them to different teachers and approaches.

In front of a blue backdrop on a brightly lit stage, a large group of teenage male and female dancers in various costumes stand casually facing an unknown speaker and clap their hands with excitement.

Finalists from the 2020 Prix de Lausanne

Rodrigo Buas, Courtesy Prix de Lausanne

Despite all of the changes, the Prix de Lausanne is thriving. This year marks the inaugural Young Creation Award, a choreographic competition open to dancemakers ages 14 to 20. The two winners, chosen from a pool of five preselected finalists, will choreograph solos for the repertoire of contemporary variations available to Prix competitors in 2022. And this year, the Prix de Lausanne saw the highest number of applicants in its 49-year history: 399 dancers from 43 countries. "The level is really high," says Bradney. "I can see the dancers' determination despite the lockdowns. Dancers want to dance anyways, and they've been working from home and keeping in shape. It's been really inspiring."

Watch the Prix de Lausanne live from January 31 to February 6 at and on Arte Concert.

Latest Posts

Maria Kochetkova. Darian Volkova, Courtesy Kochetkova

Maria Kochetkova on How COVID-19 Affected Her Freelance Career, and Her New Home at Finnish National Ballet

When international star Maria Kochetkova embarked on a freelance career three years ago, she never envisioned how a global pandemic would affect it. In 2018, the Russian-born ballerina left the security of San Francisco Ballet, a company she called home for more than a decade, for the globe-trotting life of a guest star. Before the pandemic, Kochetkova managed her own performing schedule and was busier than ever, enjoying artistic freedom and expanding her creative horizons. This all changed in March 2020, when she saw her booming career—and her jet-setting lifestyle—change almost overnight.

After months of uncertainty, Kochetkova landed at Finnish National Ballet, where she is a principal dancer for the 2020–21 season. Pointe spoke with her about her time during the quarantine and what helped her to get through it, her new life in Helsinki, and what keeps her busy and motivated these days.

Keep reading SHOW LESS
DTH's Alexandra Hutchinson and Derek Brockington work out with trainer Lily Overmyer at Studio IX. Photo by Joel Prouty, Courtesy Hutchinson.

Working Out With DTH’s Alexandra Hutchinson

Despite major pandemic shutdowns in New York City, Alexandra Hutchinson has been HIIT-ing her stride. Between company class with Dance Theater of Harlem and projects like the viral video "Dancing Through Harlem"—which she co-directed with roommate and fellow DTH dancer Derek Brockington—Hutchinson has still found time to cross-train. She shares her motivation behind her killer high-intensity interval training at Studio IX on Manhattan's Upper West Side.

Keep reading SHOW LESS
Getty Images

As Ballet Looks Toward Its Future, Let's Talk About Its Troubling Emotional Demands

As a ballet student, I distinctively remember being told that to survive ballet as a profession, one must be exceptionally thick-skinned and resilient. I always assumed it was because of the physically demanding nature of ballet: long rehearsal hours, challenging and stressful performances, and physical pain.

It wasn't until I joined a ballet company that I learned the true meaning behind those words: that the reason one needs thick skin is not because of the physical demands, but because of the unfair and unnecessary emotional demands.

Undoubtedly, emotional and physical strength go hand in hand to some extent. But the kind of emotional demand I am talking about here is different; it is not the strength one finds in oneself in moments of fatigue or unwillingness. It is the strength one must have when being bullied, humiliated, screamed at, manipulated or harassed.

Keep reading SHOW LESS

Editors' Picks