Anyone who watches a ballet performance is often left spellbound.
It is like looking through a window into another world. A world in
which feelings become visible and entire stories are told through
dance alone. The way in which the dancers move is art – and audiences
inevitably ask themselves: How do they make their bodies do
that? How much sweat and tears does it take? And also, how are the
ballerinas’ feet feeling?
Ida Praetorius laughs when she hears these questions. The Danish ballerina is a principal dancer with the Hamburg Ballet. “So many people ask me that. My feet are fine,” she says, reassuringly. For Marc Cain’s Charismatic Woman edition, we photograph her in the Ballettzentrum Hamburg – John Neumeier. It is currently the summer break and Ida returned from Copenhagen a few days ago. She arrives in a good mood for the interview. She makes herself comfortable on a chair and smiles cheerfully as she begins to tell her story.
Ida Praetorius laughs when she hears these questions. The Danish ballerina is a principal dancer with the Hamburg Ballet. “So many people ask me that. My feet are fine,” she says, reassuringly. For Marc Cain’s Charismatic Woman edition, we photograph her in the Ballettzentrum Hamburg – John Neumeier. It is currently the summer break and Ida returned from Copenhagen a few days ago. She arrives in a good mood for the interview. She makes herself comfortable on a chair and smiles cheerfully as she begins to tell her story.
INSPIRING
Hardly any form of dance is as expressive as classical ballet. Ida Praetorius masters it with impressive precision and grace.
INSPIRING
Hardly any form of dance is as expressive as classical ballet. Ida Praetorius masters it with impressive precision and grace.
Anyone who watches a ballet performance is often left spellbound.
It is like looking through a window into another world. A world in
which feelings become visible and entire stories are told through
dance alone. The way in which the dancers move is art – and audiences
inevitably ask themselves: How do they make their bodies do
that? How much sweat and tears does it take? And also, how are the
ballerinas’ feet feeling?
Ida Praetorius laughs when she hears these questions. The Danish ballerina is a principal dancer with the Hamburg Ballet. “So many people ask me that. My feet are fine,” she says, reassuringly. For Marc Cain’s Charismatic Woman edition, we photograph her in the Ballettzentrum Hamburg – John Neumeier. It is currently the summer break and Ida returned from Copenhagen a few days ago. She arrives in a good mood for the interview. She makes herself comfortable on a chair and smiles cheerfully as she begins to tell her story.
Ida Praetorius laughs when she hears these questions. The Danish ballerina is a principal dancer with the Hamburg Ballet. “So many people ask me that. My feet are fine,” she says, reassuringly. For Marc Cain’s Charismatic Woman edition, we photograph her in the Ballettzentrum Hamburg – John Neumeier. It is currently the summer break and Ida returned from Copenhagen a few days ago. She arrives in a good mood for the interview. She makes herself comfortable on a chair and smiles cheerfully as she begins to tell her story.
Ida and ballet – the two are inextricably linked. She has been
in love with dance ever since her parents took her to a performance
when she was a little girl. She recalls how spellbound she was back
then. Aged three, she began to take lessons; at eight, she auditioned
for the Royal Danish Ballet in Copenhagen and was accepted. It was
a dream come true. “The atmosphere, the costumes, the music – for
me, it was like Hogwarts in Harry Potter,” she says. She soon took
to the stage for her first major performance. “I was an angel and just
had to sit quietly on the stage. The light fell on me. I can still remember
how important that moment felt. It was as if the show
couldn’t go on without me,” she says, laughing. At home, ballet was
the main topic of conversation at the dinner table. Ida’s mother used
to dance with the Hamburg Ballet and her two younger brothers
are dancers. There was only one rule: no one was allowed to get up
and dance during mealtimes.
Ida and ballet – the two are inextricably linked. She has been
in love with dance ever since her parents took her to a performance
when she was a little girl. She recalls how spellbound she was back
then. Aged three, she began to take lessons; at eight, she auditioned
for the Royal Danish Ballet in Copenhagen and was accepted. It was
a dream come true. “The atmosphere, the costumes, the music – for
me, it was like Hogwarts in Harry Potter,” she says. She soon took
to the stage for her first major performance. “I was an angel and just
had to sit quietly on the stage. The light fell on me. I can still remember
how important that moment felt. It was as if the show
couldn’t go on without me,” she says, laughing. At home, ballet was
the main topic of conversation at the dinner table. Ida’s mother used
to dance with the Hamburg Ballet and her two younger brothers
are dancers. There was only one rule: no one was allowed to get up
and dance during mealtimes.
“That moment was extremely important for me.”
It is this dedication that Ida Praetorius believes proved crucial
for her career, even more than talent. “I really wanted it so
much,” she says. And the training was easy for her because it felt
like a game. The artistic director of the Royal Danish Ballet at the
time, Nikolaj Hübbe, immediately spotted her potential, her enthusiasm
and her bodily awareness.
Her journey seems to have been effortless from then on. A child’s joy of dancing was accompanied by ambition as a teenager. She trained diligently and stood out – also because of her elegance. Ida was 19 years old when John Neumeier cast her in the leading role of Romeo and Juliet – her breakthrough. She embodied the role perfectly, dancing instinctively. At 22, she became the prima ballerina at the Royal Ballet; at 26, she was invited to Hamburg. “It was a no-brainer,” she says. “Nobody would turn that down. Working with John Neumeier as choreographer was the chance of a lifetime, and I’m grateful to have been part of his era.”
Her journey seems to have been effortless from then on. A child’s joy of dancing was accompanied by ambition as a teenager. She trained diligently and stood out – also because of her elegance. Ida was 19 years old when John Neumeier cast her in the leading role of Romeo and Juliet – her breakthrough. She embodied the role perfectly, dancing instinctively. At 22, she became the prima ballerina at the Royal Ballet; at 26, she was invited to Hamburg. “It was a no-brainer,” she says. “Nobody would turn that down. Working with John Neumeier as choreographer was the chance of a lifetime, and I’m grateful to have been part of his era.”
It is this dedication that Ida Praetorius believes proved crucial
for her career, even more than talent. “I really wanted it so
much,” she says. And the training was easy for her because it felt
like a game. The artistic director of the Royal Danish Ballet at the
time, Nikolaj Hübbe, immediately spotted her potential, her enthusiasm
and her bodily awareness.
Her journey seems to have been effortless from then on. A child’s joy of dancing was accompanied by ambition as a teenager. She trained diligently and stood out – also because of her elegance. Ida was 19 years old when John Neumeier cast her in the leading role of Romeo and Juliet – her breakthrough. She embodied the role perfectly, dancing instinctively. At 22, she became the prima ballerina at the Royal Ballet; at 26, she was invited to Hamburg. “It was a no-brainer,” she says. “Nobody would turn that down. Working with John Neumeier as choreographer was the chance of a lifetime, and I’m grateful to have been part of his era.”
Her journey seems to have been effortless from then on. A child’s joy of dancing was accompanied by ambition as a teenager. She trained diligently and stood out – also because of her elegance. Ida was 19 years old when John Neumeier cast her in the leading role of Romeo and Juliet – her breakthrough. She embodied the role perfectly, dancing instinctively. At 22, she became the prima ballerina at the Royal Ballet; at 26, she was invited to Hamburg. “It was a no-brainer,” she says. “Nobody would turn that down. Working with John Neumeier as choreographer was the chance of a lifetime, and I’m grateful to have been part of his era.”
FOCUSED
Ida trains every day. “This builds and stretches muscles.Not only is that important for my performance, it also minimises the risk of injury.”
FOCUSED
Ida trains every day. “This builds and stretches muscles.Not only is that important for my performance, it also minimises the risk of injury.”
Ida Praetorius has been with the Hamburg Ballet
for three years now. The 31-year-old is an exceptional
talent, appearing in 80 to 100 performances a year. She
is also a star in Denmark. Former Queen Margrethe II
even made her the youngest knight in the country. “I’ve
talked with her several times over dinner. She’s very
warm and friendly and knows an incredible amount
about ballet,” says Ida. You can hear the respect in Ida’s
voice – and yet you might think she’s talking about a
neighbour, not the queen herself. Ida does not brag or
put on airs and graces. She is delightfully modest, warm
and very professional.
We talk about Neumeier’s Lady of the Camellias, one of her favourite ballets. She danced it for the first time at the age of 21. It has been different every time since then, she says. “I start at a different point, I’m getting older, growing as a person and interpreting the role accordingly.” She is not one to stand still. On the contrary, Ida Praetorius has been full of curiosity and enthusiasm ever since she was a child. She works hard for her success, training six times a week. “We start with morning class for about ninety minutes. First with gentle exercises at the bar, and then turns and jumps. That’s followed by five hours of rehearsals in the ballet hall or on the stage.”
We talk about Neumeier’s Lady of the Camellias, one of her favourite ballets. She danced it for the first time at the age of 21. It has been different every time since then, she says. “I start at a different point, I’m getting older, growing as a person and interpreting the role accordingly.” She is not one to stand still. On the contrary, Ida Praetorius has been full of curiosity and enthusiasm ever since she was a child. She works hard for her success, training six times a week. “We start with morning class for about ninety minutes. First with gentle exercises at the bar, and then turns and jumps. That’s followed by five hours of rehearsals in the ballet hall or on the stage.”
Ida Praetorius has been with the Hamburg Ballet
for three years now. The 31-year-old is an exceptional
talent, appearing in 80 to 100 performances a year. She
is also a star in Denmark. Former Queen Margrethe II
even made her the youngest knight in the country. “I’ve
talked with her several times over dinner. She’s very
warm and friendly and knows an incredible amount
about ballet,” says Ida. You can hear the respect in Ida’s
voice – and yet you might think she’s talking about a
neighbour, not the queen herself. Ida does not brag or
put on airs and graces. She is delightfully modest, warm
and very professional.
We talk about Neumeier’s Lady of the Camellias, one of her favourite ballets. She danced it for the first time at the age of 21. It has been different every time since then, she says. “I start at a different point, I’m getting older, growing as a person and interpreting the role accordingly.” She is not one to stand still. On the contrary, Ida Praetorius has been full of curiosity and enthusiasm ever since she was a child. She works hard for her success, training six times a week. “We start with morning class for about ninety minutes. First with gentle exercises at the bar, and then turns and jumps. That’s followed by five hours of rehearsals in the ballet hall or on the stage.”
We talk about Neumeier’s Lady of the Camellias, one of her favourite ballets. She danced it for the first time at the age of 21. It has been different every time since then, she says. “I start at a different point, I’m getting older, growing as a person and interpreting the role accordingly.” She is not one to stand still. On the contrary, Ida Praetorius has been full of curiosity and enthusiasm ever since she was a child. She works hard for her success, training six times a week. “We start with morning class for about ninety minutes. First with gentle exercises at the bar, and then turns and jumps. That’s followed by five hours of rehearsals in the ballet hall or on the stage.”
Ida goes to exhibitions and concerts whenever
possible. “I’m an art junkie,” she admits. And Hamburg
is the right city for that. She has built up a group of
friends here and she also keeps in touch with her school
friends in Copenhagen and – of course – with her family.
“I miss them a lot. I grew up young and wasn’t always
able to go out with friends when I was a teenager.
But if I miss a family celebration nowadays because of a
performance, it affects me much more than it did when
I was 20,” she says. That’s why she likes to spend holidays
in her homeland.
Meanwhile, the season is in full swing once again. Ida Praetorius can be seen in Nijinsky and in A Streetcar Named Desire by John Neumeier, among other things. For her, every performance is special. “I love being up on the stage. All the butterflies beforehand are forgotten. I feel the audience’s presence, but I can only see silhouettes because of the light. I’m completely at one with myself and absorbed in the dance,” is how she describes the feeling.
What is the nicest thing about her job? Being able to share the experiences with others. That’s why she also likes the pas de deux, the dance duet, she says, and praises the friendly atmosphere at the ballet centre. “It doesn’t matter if you’re in Germany, New York or Japan. We dancers speak different languages and yet we can still communicate with each other. That’s the great thing about ballet.”
Meanwhile, the season is in full swing once again. Ida Praetorius can be seen in Nijinsky and in A Streetcar Named Desire by John Neumeier, among other things. For her, every performance is special. “I love being up on the stage. All the butterflies beforehand are forgotten. I feel the audience’s presence, but I can only see silhouettes because of the light. I’m completely at one with myself and absorbed in the dance,” is how she describes the feeling.
What is the nicest thing about her job? Being able to share the experiences with others. That’s why she also likes the pas de deux, the dance duet, she says, and praises the friendly atmosphere at the ballet centre. “It doesn’t matter if you’re in Germany, New York or Japan. We dancers speak different languages and yet we can still communicate with each other. That’s the great thing about ballet.”
Ida goes to exhibitions and concerts whenever
possible. “I’m an art junkie,” she admits. And Hamburg
is the right city for that. She has built up a group of
friends here and she also keeps in touch with her school
friends in Copenhagen and – of course – with her family.
“I miss them a lot. I grew up young and wasn’t always
able to go out with friends when I was a teenager.
But if I miss a family celebration nowadays because of a
performance, it affects me much more than it did when
I was 20,” she says. That’s why she likes to spend holidays
in her homeland.
Meanwhile, the season is in full swing once again. Ida Praetorius can be seen in Nijinsky and in A Streetcar Named Desire by John Neumeier, among other things. For her, every performance is special. “I love being up on the stage. All the butterflies beforehand are forgotten. I feel the audience’s presence, but I can only see silhouettes because of the light. I’m completely at one with myself and absorbed in the dance,” is how she describes the feeling.
What is the nicest thing about her job? Being able to share the experiences with others. That’s why she also likes the pas de deux, the dance duet, she says, and praises the friendly atmosphere at the ballet centre. “It doesn’t matter if you’re in Germany, New York or Japan. We dancers speak different languages and yet we can still communicate with each other. That’s the great thing about ballet.”
Meanwhile, the season is in full swing once again. Ida Praetorius can be seen in Nijinsky and in A Streetcar Named Desire by John Neumeier, among other things. For her, every performance is special. “I love being up on the stage. All the butterflies beforehand are forgotten. I feel the audience’s presence, but I can only see silhouettes because of the light. I’m completely at one with myself and absorbed in the dance,” is how she describes the feeling.
What is the nicest thing about her job? Being able to share the experiences with others. That’s why she also likes the pas de deux, the dance duet, she says, and praises the friendly atmosphere at the ballet centre. “It doesn’t matter if you’re in Germany, New York or Japan. We dancers speak different languages and yet we can still communicate with each other. That’s the great thing about ballet.”
DEDICATED
On stage she is in her own world: “I forget everything around me and immerse myself in the story.”
DEDICATED
On stage she is in her own world: “I forget everything around me and immerse myself in the story.”
CREDITS
Photography: Charlotte Schreiber, Production: Judith Gerstbrein, Vanessa Zeeh, Styling: Judith Gerstbrein, Photography assistance: Leyla Rodriguez-Costa, Hair & Make-up: Jeannette Johansson, photo assistance: Tim Maschlanka, Text: Katrin Rave
Photography: Charlotte Schreiber, Production: Judith Gerstbrein, Vanessa Zeeh, Styling: Judith Gerstbrein, Photography assistance: Leyla Rodriguez-Costa, Hair & Make-up: Jeannette Johansson, photo assistance: Tim Maschlanka, Text: Katrin Rave
