Hamburg Ballet Star in Vienna

First, I researched the story, read the novel by Alexandre Dumas the Younger and watched various film adaptations. That helped me to get a general idea of the character. But the actual work took place in the studio. I was incredibly lucky to have Kevin Haigen as my coach. When John Neumeier reworked The Lady of the Camellias for the Hamburg Ballet in 1981, he rehearsed all three pas de deux with Kevin Haigen and shaped the character as we know it today. The most important part of my preparation was, of course, working directly with John Neumeier. His advice was invaluable. He helped me shape my interpretation of the character and gave insights that only he could give. The special thing is that he always personalizes these roles for each couple he works with. John has an incredible talent for bringing emotions out of a dancer, emotions you didn't even know you had.

It's a process. The first performance is a beginning and each time you have the chance to explore the role anew, you understand it better and experience it fresh, rather than repeating what you did last time. The Lady of the Camellias is forever a gift to me. I have been dancing this role for many years in different theaters and there is always something new to discover. The character of Armand Duval is so incredibly structured by John that it takes you on a journey from the beginning to the end of the ballet. There are no moments of thinking about the position of your arms or trying to find the perfect position; it's all about being present and embodying the character with every fiber of your being. Dancing Armand Duval is one of those rare opportunities to not look at yourself from the outside and think about what a pose should look like, but to just be. Of course, this only happens after you have spent hours in the studio working on the precision of the choreography and the steps.

It is a privilege to dance in this historic opera house, where so many legendary artists have performed. Working with Olga Esina is an absolute pleasure. She is a wonderful artist who wants to understand the character of Marguerite with an honesty and grasp every situation in the ballet and its meaning for Marguerite. The interesting thing about rehearsing this ballet with a new partner is that you're not just repeating what you've done with someone else before, but that you can explore a new "relationship" together in the studio. Each partnership has its own unique dynamic, and this exploration brings a new layer to each performance. I am very happy and excited to bring this new "relationship" with Olga to the stage at the Vienna State Opera.