Compañía Nacional de Danza

Your first performance as a professional dancer was at Ángel Corella’s Barcelona Ballet. What was that experience like?

Just the best thing. I’d just finished at the conservatory and was like in a bubble. The Barcelona Ballet was a new company then and we all entered as new dancers at the same time. I worked there with dancers from USA and with some dancers who are colleagues of mine now at the CND. It was really exciting to enter a company that had just been born. I had my first professional experiences there: the tours, the stage fright … it was all a constant mix of big thrills and nerves. It felt like I’d chosen my starting point well.

You danced pieces there like Swan Lake and Bayadère, among others. Which was most special to you?

I think it was Bayadère. It was the first purely classical ballet that I danced. While it was tough being part of the corps de ballet, it’s a piece I’m very fond of. At the end of the day, I’ve danced classical all my life and that was a really special moment.

Which piece was the hardest work?

Perhaps Swan Lake. As it’s on the relaxed side of adagio, the choreography is made up of many moments when you are in pose. Corps de ballet dancing in a classical piece is tough as you need to hold the pose for a number of steps.

In 2010, your career path saw you join the Gran Theatre d’Opera de Limoges, where you were able to interpret main roles in different ballets. What was it like for you to dance in that category?

Absolutely thrilling. We’re talking about a very small company in France, made up of few people and therefore offering more opportunities for dancing in higher categories. In a larger company, I would perhaps never have been able to dance a main role.

A year later you joined the SemperOper Ballet Dresden Company where you worked with renowned figures from the world of dance, such as Cynthia Harvey or Tim Couchman. What did they bring to your dance career?

Above all, I have very fond memories of Cynthia Harvey. I remember, when I was little, having a DVD of Don Quijote in which she performed. I watched it everyday until my mother ended up throwing it away. She wasn’t that well known at the time but still asked to dance with the soloist Baryshnikov, on discovering his partner had injured herself. Having her as my teacher, after having seen her so many times in video when I was a little girl, was really special and lovely. She was a very amiable person and easy to get close to. I even got to tell her the story of my DVD.

Would you consider her your main inspiration?

Yes. Watching how her career blossomed from a standard level to what she is today was a great example for me. The way she has about her inspired me. I think that, even when you get to the top, it is important to remain humble; and that is what she transmitted and showed.

In 2014, you joined the Víctor Ullate Company, where you danced the Spanish piece by Falla El amor brujo. What was it like to dance in a different register to your own?

Sure, it was a totally different style to my own; but that’s what made it interesting. Other classical companies don’t include this type of choreography. I just loved dancing El amor brujo because I felt I was interpreting something from my own country; something more bolero or flamenco.

What style do you identify yourself with?

With neoclassical. I just love Forsythe and Balanchine pieces—those choreographies with grand movements. I identify a lot with fast ballets. I feel strong when I dance them, like an empowered woman.

Finally, in 2019 you joined the Compañía Nacional de Danza under the direction of Joaquín De Luz. What did that mean to you?

For me it was a dream come true to end up in the Compañía Nacional de Danza; the national company of my country. Sure, I’ve always held that you should go abroad a few years to learn a bit about each place. But I was also keen to work in Spain before my career ended. My experience here has been just great and so rewarding. Even if I haven’t danced everything I would have liked, due to the pandemic, I feel really grateful for having been able to continue dancing, despite that situation. It feels like the perfect end to a career.

What do you most value about the CND?

The opportunity to be in my home city while training with foreign choreographers. I think the CND has always tried to bring in choreographers from abroad and new choreographers. It’s also made a great effort to go on tour despite the current situation; and thank goodness.

What’s it like to work with Joaquín De Luz?

I’ve loved working with him. As a Spanish director, he has understood me really well. Language is important. What’s more, he also danced under Victor Ullate and the fact we share the same teacher makes me feel a connection. It’s been really lovely learning under him and to work with a person with a career like his. Now, on handing him my notice to leave, he has supported and advised me a lot.

How do you see your future as a dancer? What do you want to devote yourself to when you decide to stop?

Up to now I’ve really enjoyed life as a dancer but now I’d like to take a different path. Even so, I don’t want to move away from the dance world. I’m especially interested in pilates. I’m beginning to study it now and I’m really liking it.

And to finish, a more personal question.  How would your ideal birthday celebration be?

I’d really love to share it with my CND colleagues—with as many as we are allowed. That would be a way to say goodbye, knowing I’ll them all with me. But my birthday falls right in the middle of the holidays, so I’ll try to bring it forward a bit.

ELENA DIÉGUEZ – CORPS DE BALLET CND

Interview: Natalia del Buey