We sat down for an exclusive interview with Olga Balakleets, founder of Ballet Icons Gala which celebrated its 20th Anniversary.
This gala brings together some of the very best dancers in the business. When you curate the programme, what is the non-negotiable idea
I always want the audience to leave with strong emotions—emotions that can only come from true artistry, not just technical excellence, even when performed by the world’s most amazing dancers. Art without emotion is not truly art. I also believe in learning through performance, which is why presenting rare classical ballet repertoire and discovering new, talented choreographers has become a core mission of the Ballet Icons Gala. Carefully selecting high-quality repertoire for each programme—work that moves the audience emotionally while offering something new to learn—is the result I always aim to achieve.
You bring together artists from very different companies, styles and training backgrounds. What are you actively looking for when deciding which dancers to invite each year?
The Ballet Icons Gala has developed strong relationships with many established stars and principals from the world’s major companies, and it is a pleasure to extend repeated invitations to them year after year. When considering new dancers, I look for both technical and artistic excellence, as well as their personal vision of the repertoire. It is also exciting to invite artists from companies we have not worked with before, and showcasing up-and-coming young talent is becoming increasingly important to us.
How do you balance artistic risk with audience expectation? Is there a piece you’ve programmed that felt like a genuine gamble at the time?
There is usually little risk with the much-loved classical masterpieces, which we include in almost every programme. Our audiences expect them and cannot imagine a gala without pieces like the Black Swan pas de deux, the Le Corsaire pas de deux, or the grand pas de deux from Don Quixote. The risks usually come with contemporary repertoire, as it can sometimes be very subjective. However, we work with either well-established choreographers or emerging ones who have already demonstrated their vision and capability, so it is rarely a true gamble. Over the years, there have been pieces where we waited with curiosity to see the audience’s reaction, such as works by Javier de Frutos or Xenia Wiest. It is also a pleasure to give dancers the opportunity to present their own choreography during our galas. On several occasions, our performing stars, like Giuseppe Piccone and Sergio Bernal, have taken the stage at the Ballet Icons Gala to showcase their choreographic vision. While it may have felt experimental at first, witnessing these new creations has always been a deeply fulfilling experience.
Has your definition of a leading ballet dancer changed since the first edition of the gala and if so, how?
Yes, it has definitely changed. Over the past 20 years, having met so many leading ballet
dancers, I would now define a true leading dancer as someone who combines
professionalism, efficiency, and respect for colleagues and teams with flexibility and
adaptability. Galas are very different from full-length ballet productions, and dancers often need to adjust quickly while still delivering the highest technical and artistic standard, regardless of circumstances. Above all, I want to see a kind and thoughtful human being first in every leading dancer or star, with all the other qualities following naturally.
Have you ever deliberately programmed something you knew would divide the audience and what made that risk worth taking?
Taking artistic risks is always worthwhile, as art should explore new, sometimes
groundbreaking and even shocking ideas. These risks are usually found in contemporary repertoire—for example, pieces by Jason Kittelberger, Wayne McGregor, Akram Khan, James Pett, and Travis Klausen-Knight can be provocative and occasionally controversial. Programming such works is always a deliberate decision, as it is essential to stimulate the audience and give them something meaningful to reflect on.
Looking ahead, what is your vision for the gala? Do you see this gala remaining primarily a celebration of established excellence, or evolving into a platform that actively shapes where ballet is heading next?
My vision is to continue celebrating the beauty and excellence of ballet while also evolving the Gala into a platform that actively shapes its future. I want it to support dancers and choreographers in bringing their most daring and innovative concepts to life, helping to define the next direction of the ballet.