Staatsballett Berlin's Iana Salenko on guestings, salsa music and her knack for design.
What are you most proud of in your career?
I'm a tiny dancer, so to dance roles for tall ballerinas I would never have dreamed about, like Swan Lake—I'm very proud that I managed to get them.
What's the hardest thing about guesting with other companies, like The Royal Ballet?
Photos by Kyle Froman for Pointe
As Hong Kong Ballet corps member Xia Jun rehearses his solo from Krzysztof Pastor's In Light and Shadow, a distinct Eastern flavor of movement exudes from the suppleness of his port de bras and the articulation of his à la seconde extension. The ballet master calls out corrections in Mandarin, and Swedish-born artistic director Madeleine Onne offers critiques in English.
The company, just hours away from its March debut at The Joyce Theater in New York City, is a reflection of the international diversity found in the cosmopolitan city of Hong Kong. In addition to full-length classical ballets, Onne—who was the artistic director of the Royal Swedish Ballet prior to heading Hong Kong Ballet—has brought in more Balanchine repertoire and contemporary works from Europe, as well as new commissions by Chinese choreographers. From its repertoire to its roster, Hong Kong Ballet is a mix of East and West. “The majority of the company is Chinese," says Onne, “but I like to spice it up with Western dancers, too."