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During her time there, she not only performed works by George Balanchine, Kenneth McMillan, Glen Tetley, Hans van Manen, and Jiří Kylián, but also mastered many major leading roles in classical ballets. She danced Giselle, La Sylphide, an impressive Bournonville repertoire, the major roles in Peter Schaufuss’ versions of Sleeping Beauty, Swan Lake, and The Nutcracker, as well as Valery Panov’s Cinderella, Tatjana in John Cranko’s Onegin, Beatrice in John Neumeier’s Undine, and works by Maurice Béjart such as Le Sacre du printemps, L’Oiseau de feu, and Ring um den Ring, in addition to pieces by Heinz Spoerli. Contemporary choreographers she collaborated with included Uwe Scholz, Christopher Bruce, Ronald Hynd, Karol Armitage, Molissa Fenley, and William Forsythe. Finally, ballet director Ray Barra choreographed the title role in his ballet The Snow Queen specifically for her. Her portrayals of Juliet in Youri Vamos’ Romeo and Juliet and Aurora/Anastasia in his version of Sleeping Beauty—the last tsar’s daughter—remain unforgettable for many.

In 2004, Christine bid farewell to the stage and began working with the dancers of the Staatsballett Berlin, not only in daily classes but primarily in rehearsals. This allowed her to draw from her training in the French style, which she mastered and consistently demonstrated.

There was hardly a production that Christine Camillo was not involved in preparing, and probably no performance she did not observe from the ballet master’s box. She was always focused on her protégés: there was almost no soloist dancer who did not work on roles with her sooner or later. No one could escape her passionate motivation and unwavering dedication to addressing questions of dance and performance. With a keen eye for detail on one hand and an understanding of the overall impact on the other, she shared her knowledge through a cascade of loving corrections.

For her, passing on this knowledge was not just a professional obligation, but far more—a personal passion. We thank you from the bottom of our hearts, Christine!

The accolades state:
«The dancer, born in Poland, is sensational as Emma Bovary; the production breathes with her. Frodyma manages to vividly portray the development of the unhappy heroine: from the naive provincial beauty who escapes into clichéd romantic fantasies to the unfaithful wife driven by boredom. Throughout, she unfolds the entire emotional spectrum: yearning and longing, romantic exaltation, the intoxication of desire – and finally, disillusionment, a descent into melancholy and despair.»
Sandra Luzina in the "Jahrbuch 2024» of the magazine tanz

«Trimming a dramaturgy to make it contemporary isn't difficult. But recognizing when to demand classical elements from an ensemble and when to challenge them with modernity is a great art. Spuck can ask a lot from his dancers, not only from the stars but also from the corps de ballet. One must take off one's hat to what this ensemble can do and how multifaceted, diverse, and curious it is, despite all its technical brilliance.»
Falk Schreiber in the "Jahrbuch 2024» of the magazine tanz

We are grateful for these awards and would like to extend our heartfelt thanks! 

Ksenia Ovsyanick looks back on fulfilling years: 

«I'm very grateful for the wonderful and fruitful time I had at Staatsballett Berlin. Thank you to the beautiful collective of dancers and everyone who brings things together backstage and behind the scenes.I always felt the warmth and support.  And special thank you to berlin audience for always such a warm welcome.»

Throughout her time in Berlin, she portrayed leading roles in the most significant classical productions such as Sleeping Beauty, Giselle, La Bayadère, The Nutcracker, and Don Quixote. She danced choreographies by prestigious choreographers such as George Balanchine, John Cranko, Anton Dolin, Marco Goecke and Jiří Kylián. In personal collaboration, she was able to contribute her interpretation into works by Patrice Bart, Víctor Ullate, Marcia Haydée, Christian Spuck and was involved in creations by David Dawson, Nacho Duato, Alexander Ekman, Alexei Ratmansky, and Richard Siegal.
The Berlin audience remembers her particularly for her versatility, her openness to artistic experiments, and her profound role interpretations.

Ksenia Ovsyanick was born in Belarus and trained at the Belarussian State Ballet College and the English National Ballet School. From 2008 to 2016, she danced with the English National Ballet and has been engaged as a Principal Dancer with the State Ballet Berlin since 2016. She has received various awards, most recently the Premio Eccelenza della Danza in 2023 and the Dance Open Award in St. Petersburg in 2018, and has performed internationally in China, England, France, Italy, Oman, and Russia. In addition to her career as a dancer, she also completed a Bachelor's degree in Business Administration.

Throughout her career, she portrayed numerous solo roles in works by the most significant choreographers such as Frederick Ashton, George Balanchine, August Bournonville, John Cranko, Mikhail Fokin, Marius Petipa, Jerome Robbins, Peter Schaufuss, and Uwe Scholz. She brought her experiences at the Stuttgart Ballet with John Cranko's pieces into her interpretations of roles such as Juliet in Romeo and Juliet or Tatiana in Onegin. During her time at the Staatsballett Berlin, she danced the role of Myrtha in Patrice Bart'sGiselle and the Lilac Fairy in all three productions of Sleeping Beauty. In personal collaboration, she studied choreographies with Patrice Bart, Nacho Duato, Mats Ek, Marcia Haydée, Vladimir Malakhov, Hans van Manen, Angelin Preljocaj, Heinz Spoerli, and Víctor Ullate. She was especially involved in creations with choreographers such as Mauro Bigonzetti, David Dawson, Alexander Ekman, Marco Goecke, Douglas Lee, Wayne McGregor, John Neumeier, Alexei Ratmansky, Richard Siegal, and Christian Spuck.

The exceptional artist is the first Latin American dancer to have won the three most important ballet awards in the world: the Prix Benois de la Danse, the Soul of Dance Award, and the Award of the International Ballet Festival "Dance Open" in St. Petersburg.

Elisa Carrillo Cabrera is looking forward to a new chapter in her career: 

«After 25 years in fixed ensembles – for which I am very grateful to the Stuttgart Ballet and the Staatsballett Berlin – I am now very excited to not only continue to guest internationally in the coming years but also to focus on projects that are very close to my heart: introducing dance to as wide a population as possible, promoting young talent, and strengthening cultural exchange through dance.»

Elisa Carrillo Cabrera was born in Texcoco, Mexico, and received her training at the National School of Classical Dance in Mexico and as a scholarship student at the National English Ballet School in London. She began dancing with the Stuttgart Ballet in 1999 and transferred as a Demi-Soloist to the Staatsballett Berlin in 2007. Here, she became a Soloist in 2009 and was promoted to Principal Dancer in 2011 after her title role in Snow White by Angelin Preljocaj. Since then, she has performed a wide repertoire from classical to contemporary and has guested internationally in countries such as France, Japan, China, the USA, Korea, Italy, Cairo, Switzerland, Singapore, Bangkok, Hong Kong, and Luxembourg.

The Mexican is a star not only on stage. For her contributions to the promotion of the arts in Mexico, she was awarded the country's highest artistic honor, the Medal of Fine Arts. She is the artistic co-director of the national dance company and a member of the UNESCO International Dance Council. A scholarship program named after her enables ballet students to spend a year studying at renowned schools abroad. Since 2012, she has been hosting the gala "Elisa and Friends" and presenting a program with international ballet stars. In March of this year, she led a ballet class for more than 5,000 participants in the central square Zócalo in Mexico City as part of International Women's Day. In 2024, Forbes Magazine counts her among the 100 most influential women in Mexico.

Claus Schulz wurde in Rostock geboren und besuchte die Ballettschule, die dem Schweriner Staatstheater angegliedert war. Seinen Werdegang auf der Bühne begann er 1949 als Balletteleve auf der Bühne des Schweriner Theaters, wo er auf die Tanzpädagogin Grita Krätke traf, die seine Entwicklung beförderte. Alsbald wurde er von Walter Felsenstein als Gruppentänzer an die Komische Oper engagiert, wo er von Gustav Blank, Tatjana Gsovsky, Sabine Ress und weiterhin von Grita Krätke – allesamt Schlüsselfiguren der Berliner Tanzgeschichte – unterrichtet wurde, bis er schließlich die Bühnenreifeprüfung ablegte und 1952 als Solotänzer an der Komischen Oper Berlin unter Vertrag genommen wurde. Ein Angebot der Deutschen Staatsoper Berlin nahm er 1955 an, da sich ihm an diesem Hause weitere Möglichkeiten der tänzerischen Gestaltung und persönlichen Entfaltung eröffneten. Er tanzte ein umfangreiches Repertoire der großen lyrischen Rollen, umso mehr aber auch im anspruchsvollen Charakterfach, weil seine schauspielerische Ausdruckskraft sich mit den Fähigkeiten eines großen Komödianten verband. Er wurde zum Meistertänzer ernannt, und bereiste mit dem Ensemble der Deutschen Staatsoper vielen Länder für zahlreiche Gastauftritte, auch wurde er 1966 nach Chile und 1971 nach Schweden als Gastdozent eingeladen. 1969 wurde er wegen einer Erkrankung der Chefchoreographin und Ballettdirektorin Lilo Gruber zum kommissarischen Ballettdirektor der Staatsoper berufen, um 1970 die Verantwortung als Ballettdirektor und Erster Choreograph vollständig zu übernehmen. Er wurde mit dem Nationalpreis der DDR ausgezeichnet.

1972 kehrte Claus Schulz von einem Gastspiel der Staatsoper in Paris nicht mehr in die DDR zurück. Daraufhin wurde er aus der Deutschen Akademie der Künste ausgeschlossen, zu deren ordentlichem Mitglied er 1969 berufen worden war. Dieser Ausschluss wurde 1990 wieder rückgängig gemacht. Neben seinen Bühnenauftritten im Tanz- und Ballett-Theater wurde Claus Schulz auch für nationale sowie internationale Filmprojekte engagiert, wo er hauptsächlich Rollen als Tänzer übernahm, und einem großen Publikum weithin bekannt wurde.

Dem Staatsballett Berlin hat er bis zuletzt die Ehre erwiesen, wenn er bei seinen regelmäßigen Vorstellungsbesuchen sein immer neues und erfrischendes Interesse an Tanz und Ballett trotz seines hohen Alters stillte. Seine Lebensfreude und sein Optimismus waren ansteckend, mit seiner Neugierde und seiner positiven Energie hat er zeitlebens die Menschen, denen er innerhalb und außerhalb des Theaters begegnete, motiviert, wenn nicht gar zum Lachen gebracht. Claus Schulz wird fehlen. Das Staatsballett Berlin wird ihn, wie viele Menschen, denen er auf seinen Wegen begegnet ist, in herzlicher Erinnerung behalten und ist dankbar, dass er mit seiner Persönlichkeit deutliche Spuren in der Ballettgeschichte hinterlassen hat, und das nicht nur in Berlin.

Staatsballett Berlin
Die Intendanz

In his second season, Artistic Director Christian Spuck will present four premieres including one world premiere. The evening Minus 16 (October 25, 2024, Deutsche Oper Berlin) brings together works by Sharon Eyal and Ohad Naharin. Choreographer Edward Clug is creating A Midsummer Night's Dream after William Shakespeare (February 21, 2025, Deutsche Oper Berlin), a full-length creation set to commissioned music by Milko Lazar. The ballet Winterreise, set to Franz Schubert's song cycle of the same name in the musical arrangement by Hans Zender (May 11, 2025, Staatsoper Unter den Linden), will be reworked by Christian Spuck with the ensemble. In the final premiere, Gods and Dogs (June 28, 2025, Staatsoper Unter den Linden), Jiří Kylián explores the madness of the individual, while Crystal Pite uses the dancing bodies to symbolize human transience and vitality. 

The Nederlands Dans Theater, one of the most prestigious dance companies worldwide, will be a guest at the Staatsballett Berlin (July 2025, Deutsche Oper Berlin) presenting the trilogy Figures in Extinction, a four-year project by choreographer Crystal Pite and theater maker Simon McBurney on the theme of climate change. At the end of the season, the Ballet Week will offer eight days of full programming with three productions from the repertoire, two gala evenings, two education formats, and two panel discussions.

 Returning to the repertoire is Swan Lake by Patrice Bart at the Staatsoper Unter den Linden. Also remaining there is Giselle by Patrice Bart, another major classical narrative ballet, as well as 2 Chapters Love with works by Sol León and Sharon Eyal. At the Deutsche Oper Berlin, Bovary by Christian Spuck and the triple bill evening William Forsythe will also be performed.

In the ensemble, nine dancers were promoted this season: Weronika Frodyma, Martin ten Kortenaar, and Haruka Sassa will become Principal Dancers from the upcoming season, while Danielle Muir and Kalle Wigle will become Soloists. Marina Duarte, Gregor Glocke, Leroy Mokgatle, and Clotide Tran will be promoted from the corps de ballet to Demi-Soloists.

Structural changes will take place for Tanz ist KLASSE!, the education programme of the Staatsballett, which will become its own department of the Staatsballett after 17 years as an association. A wide range of workshops for families, schools, daycares, as well as dance classes and holiday courses for various age groups and populations will continue to be offered. New offerings include 3D classes for teenagers, STEPahead, a training series for educators, and (K)nie zu spät, an event offering for seniors.

The behind-the-scenes look is further facilitated by the programme of premiere talks and training sessions for spectators. Opportunities for exchange are offered through ballet talks, where ensemble members and artists invite the audience for more personal discussions. Or at the Forum, where social issues related to dance on stage are discussed.

The upcoming season will be visually characterized by the photographic work of Caroline Mackintosh. The Berlin-based artist embarked on a colorful exploration of the Deutsche Oper Berlin with nine dancers for this project.

Artistic director Christian Spuck is setting accents with the programme: 

“Ballet, as well as dance as a living art form, creates spaces that reflect our present in a very special way, offer a look into the past, but also capture our current experiences in a deeply turbulent and torn world. The Staatsballett Berlin is for me a place of creative creation, networking, and mutual exchange that explores and enables these spaces.”

Regular ticket sales begin on June 10, 2024, with members of the Friends Circle and holders of the Danceticket being able to purchase tickets in advance starting on June 3, 2024.

Already purchased tickets are not valid for replacement performances and will be refunded. Bookings made within the last 6 months via PayPal or credit card will be automatically refunded.

If your tickets were paid for with a voucher or by bank transfer, or were purchased at one of the box offices of the Staatsoper Unter den Linden, the Deutsche Oper Berlin, or the Komische Oper Berlin, or if the booking was made more than 6 months ago, please contact our ticket service for a refund via bank transfer, credit card, or voucher. Please understand that the processing of the cancellation will take some time.

You can reach our ticket service by email at tickets@staatsballett-berlin.de and by phone at 030 - 20 60 92 630 from Monday to Friday from 10:00 am to 6:00 pm, and Saturday, Sunday, and public holidays from 12:00 pm to 4:00 pm.

«On behalf of the Berlin Senate, as well as personally, I would like to thank Iana Salenko for the many wonderful and magnificent ballet evenings she has provided for her audience. I thank her for her connection to our city and her commitment on so many levels. Since the beginning of the Russian attack on her homeland, Ukraine, Iana Salenko, who was born in Berlin's partner city of Kyiv, has been extraordinarily dedicated to the needs of war victims and artists in Ukraine. With her ballet gala 'Ballet for Live', she supports needy children in Ukraine. My gratitude is combined with recognition and respect for the achievements of this exceptional artist.»

Iana Salenko herself is delighted with the recognition, which she now shares with her husband Marian Walter, who has also received this award.

«I feel very honored to receive this German honorary title. And I am proud that my husband Marian and I are currently the only chamber dancer couple. The award inspires me to reach new heights in my career. I am looking forward to more exciting dance moments.»

The exceptional artist impresses with outstanding technique at the highest international level, complemented by a great joy of playing. Throughout her career, she embodied leading roles in the most important classical productions such as Swan Lake, Sleeping Beauty, Don Quixote, La Bayadère, The Nutcracker, Romeo and Juliet, Onegin, Giselle, La Esmeralda, La Péri and Cinderella. She dances choreographies by renowned choreographers such as Frederick Ashton, George Balanchine, Auguste Bournonville, John Cranko, Pierre Lacotte, Marius Petipa and Anton Dolin. In personal collaborations, she was able to bring her interpretation to works by Patrice Bart, Yuri Burlaka/Vasily Medvedev, Nacho Duato, Boris Eifman, Marcia Haydée, Giorgio Madia, Vladimir Malakhov, Alexei Ratmansky, Peter Schaufuss, Heinz Spoerli, Christian Spuck and Víctor Ullate.

Iana Salenko completed her ballet training at the Pisarev Ballet School in Donetsk, where she also received her first engagement. In 2002, she became a First Soloist at the Ukrainian National Opera in Kiev. After meeting her husband Marian Walter, she joined the State Ballet Berlin as a Demi-Soloist, where she was promoted to Soloist in 2006 and First Soloist in 2007. Since then, she has danced leading roles especially in classical productions and received invitations for guest appearances in over 20 companies worldwide. From 2013 to 2017, she was a Principal Guest at the Royal Ballet in London. Since 2022, she has been committed to her home country, Ukraine, by founding the annual charity gala Ballet for Life by Iana Salenko.

The title «Berliner Kammertänzer*in» has been awarded only to Oliver Matz (1995), Raffaela Renzi (1995), Gregor Seyffert (1999), Vladmimir Malakhov (2014), Michael Banzhaf (2017), Polina Semionova (2017) and Marian Walter (2018). The rare honorary title is awarded by the Berlin Senate for outstanding artistic achievements and a minimum of five years of uninterrupted affiliation with a theater.

Gert Reinholm, born in Chemnitz in 1923, received his ballet training at the Ballet School of the Berlin State Opera and at the Studio Walter in Paris. He had engagements as a solo dancer at the State Opera Berlin (1942–51), Teatro Colón in Buenos Aires (1952–53), and the Städtische Oper Berlin (1956–62). From 1961 to 1966, he served as the First Solo Dancer, and from 1962 to 1990, he was the ballet director at the newly built opera house on Bismarckstraße. In addition, Gert Reinholm taught for several years at the State University of Music and Performing Arts Berlin. He had a lifelong artistic partnership with the former chief choreographer of the State Opera Ballet, Tatjana Gsovsky. For over 20 years, Gert Reinholm was not only her influential soloist but also co-directed the Berlin Dance Academy with her.

Gert Reinholm danced many major roles in classical ballets, such as Sleeping Beauty, Romeo and Juliet (German premiere of the Prokofiev score), Hamlet, La Dame aux Camélias, Daphnis and Chloé, Prometheus, Othello, and Orphée. He also choreographed works including Romeo and Juliet and Tannhäuser. For his contributions, the «dancing gentleman» (as critic Klaus Geitel called him) was honored with numerous awards, including the Critic's Prize of the City of Berlin (1958), the Berlin Art Prize, the Prize of the Theaters of Nations Paris (1962), and the Diaghilev Prize (1964) – at that time, among the most prestigious awards. In 1987, Gert Reinholm was awarded the Federal Cross of Merit, and in the same year, he became a member of the Academy of Arts Berlin.

In his honor, one of the three ballet studios at the Staatsballett Berlin has been named after him. In this way, not a day goes by without remembering him and his wise and life-affirming personality, which could inspire generations of artists for a common cause. Without a doubt, ballet in Berlin would have a different face today without him.

What is it that captivates us during a ballet evening? Is it the current political references, the unique language of movement, the virtuosity of the dancers, encounters with (dance) histories? These and other questions are at the heart of the presentations, which will take place 45 minutes before the start of each performance at the venue.

Under the direction of the Staatsballett dramaturg Katja Wiegand and dance scholar Lucia Ruprecht from the Freie Universität Berlin, dance scholars from the Master's programme in Critical Dance Studies will present introductions to the performances, not only providing insights into the academic study of dance, but also sharing their personal enthusiasm for choreographic details, fascinating forms of movement and the social relevance of dance as an art form with the audience.