We sat down for an exclusive interview with Aitor Arrieta to discuss their return to Kenneth MacMillan’s classic fairytale ballet ‘The Sleeping Beauty’.
This show runs from 25th-28th June at the Royal Albert Hall – Tickets here
- The Sleeping Beauty is such a landmark ballet within the classical canon. What does stepping into the role of Prince Désiré mean to you personally at this point in your career?
Stepping back into the role of Prince Désiré is incredibly special for me. I first danced this character back in 2018, so returning to the role at this point in my career feels like a beautiful full-circle moment. It allows me to revisit the choreography with a more mature perspective, bringing new depth and technical refinement to the stage. Also, doing this at the iconic Royal Albert Hall makes the experience even more extraordinary.
- Is there a particular moment within The Sleeping Beauty that you connect with most strongly as a performer?
There are two distinct moments where I feel a profound connection to the performance. The first is the Second Act solo. It is an expressive piece of choreography where I truly feel I can show the character’s emotional depth and my own artistry, rather than just executing technique. The second is the wedding celebration at the end of the ballet.
- What do you think audiences often misunderstand about the emotional labour behind classical ballet?
People often don’t realize that the hardest part of classical ballet is making something difficult look completely effortless. When you are performing a leading role, you are physically exhausted, but you still have to look calm, elegant, and focused on the story. The real work is hiding the effort so the audience can just enjoy the artistry.
- Are there particular performances or moments with ENB that feel especially defining when you reflect on your journey so far?
Honestly, several roles have truly defined me as an artist. Dancing Des Grieux in Manon has been an absolute favourite of mine. Albrecht is another one, both in Mary Skeaping’s traditional version and Akram Khan’s version. Tamara Rojo’s Raymonda also holds a very sacred place in my heart, as it was the production where I was promoted to Principal. Working with William Forsythe also has been amazing. I would say that every single role has shaped the dancer I am today.
- What excites you most about where ballet is heading creatively at the moment?
I think the most interesting part right now is seeing the new ideas coming to the stage. It is a good moment because we are finding a balance between respecting classical traditions and introducing modern perspectives, which keeps the art form moving forward.
- How does it feel to be celebrating 10 years at English National Ballet?
After spending three incredible years at the Compañía Nacional de Danza in Spain, where I began my professional journey, I moved to London. I never could have imagined I would stay here for a decade. Celebrating ten years at English National Ballet is an honour. I have grown immensely from every single experience I have lived through here. I feel incredibly grateful for the inspiring people, colleagues, and artists I have had the privilege of sharing the studio and the stage with over the years.