For one week each year, the ballet world narrows its focus to the Beaulieu Theatre. Classes, coaching, rehearsals and performance unfold in quick succession, with dancers observed across every part of the process. The structure is exacting, but it allows something more complete to emerge over time: not just technical ability, but how a dancer responds, adapts and develops under pressure .
For the Australian and New Zealand dancers who took part in the 2026 competition and Partner School Choreographic Project, the week carried both intensity and clarity. While the outcomes remain visible, much of the experience sits elsewhere, in the accumulation of classes, conversations, and moments on stage. Here, they reflect on the Prix de Lausanne in their own words.
Tamison Soppet
Convergence Dance, NZ
"The Prix de Lausanne was honestly one of the most memorable experiences of my life and my journey as a dancer. Going into it, I was nervous and didn’t really know what to expect, but once I was there, everything felt so organised and special. Being surrounded by so many talented dancers from all over the world was both inspiring and motivating. It pushed me to work harder, but it also reminded me why I love dancing so much in the first place.
One of my favourite parts was the classes. Getting to learn from such inspiring teachers was amazing. They each had something different to offer, and I felt like I grew not just technically, but artistically too. They challenged me in the best way and made me think about my dancing differently. I genuinely enjoyed every class, even the hard ones, because I knew how lucky I was to be there.
I also met so many incredible people. Everyone was so passionate and dedicated, and it was really special to connect with others who understand the same hard work, love for ballet and dedication I have. Even though it’s a competition, it didn’t just feel competitive it felt supportive.
Performing my Awakening of Flora variation was super nerve wracking. Stepping onto such a beautiful, big stage was intimidating, and my heart was racing. But as soon as I started, it felt like a dream. I truly lived in the moment, focusing on all my training and corrections, and fully letting my dance come to life.
The whole experience felt like a once in a lifetime opportunity. Im so grateful that I was apart of it and met the people I did. It’s something I’ll always carry with me, and I know it has shaped me not only as a dancer but as a person too."
Nina Penny
CAPA (formerly),
“Prix de Lausanne has been nothing short of inspiring, educational, and eye-opening.
Dancing on a stage where so many incredible artists began their careers is a memory I will cherish forever. I am incredibly grateful to the Prix de Lausanne for opening so many doors and giving us the opportunity to speak with directors from a wide range of schools. In fact, one of the main highlights of my week was having the chance to speak with directors from different schools. Through those conversations, I received valuable guidance, notes for improvement, and an overwhelming amount of support.
I am deeply grateful for everything I have learned and for everyone who has encouraged me along the way. The exposure, guidance, and support we received throughout the week have broadened my perspective and motivated me to continue growing as an artist.”
Jessica Cooper
Classical Coaching Australia
"Prix is something I’ll never forget, an experience that will stay with me for a lifetime. The memories I made and things I learnt not only about ballet but about myself, is something I’ll treasure forever. As well as all the friendships I made over the week.
What a privilege it was to take classes from such incredible teachers, perform in front of the esteemed jury and my favourite part being coached on my variations by the amazing Clairemarie Osta and Henry Lichtmacher.
But there was also some less glamorous parts that come with the Prix. From the early wake up’s, long days and walking up the hills in Lausanne to get to the theatre each day. Too the challenges of being on the other side of the world and sharing a bed with my mum!
One of my favourite parts of the week, were the slightly more chaotic behind the scenes moments that’s people don’t see. Like as soon as class finished we would scramble around, filming and going over all the exercises making sure we new them for the next day. Then going back to hotel and going through them some more while getting ready to go to bed and rest for days ahead.
But all these elements are what makes the Prix so special and unique. I’m so grateful to have had this experience and to have been part of something so inspiring. It’s a week I’ll carry with me for the rest of my life."
Partner School Choreographic Project
Henry Burgess
The Royal Ballet School
“Being asked by The Royal Ballet School to represent them at the Prix de Lausanne’s Partner Schools Project was an absolute dream come true. From attending the Prix at 15 and being offered a place at my dream school, I never imagined that three years later I would return representing them. It was incredible to meet so many young pre-professional dancers and to create memories in just nine days that I know will last a lifetime. Thank you to The Royal Ballet School, especially Iain Mackay, for honouring me with this opportunity.”
Matia Ingrey*
The Australian Ballet School
“Representing The ABS was something I never expected, and knowing that the School trusted me with this experience meant more than I can put into words.
The shift [in me] began even before the project started, just being selected gave me confidence. But I really felt it when I came off stage after the first performance, with that adrenaline and disbelief that I had just danced on a stage I’d admired for so many years.
One of the most surprising parts was how quickly I adapted. Working with Edwaard Liang’s choreography, with its detailed arm pathways and coordination, was challenging at first but I found myself genuinely loving it. Having to adjust constantly in a high-pressure environment pushed me to stay present and open. I realised that adaptability is everything.
What stayed with me most was how universal dance really is. We came from different countries, schools and backgrounds, but something clicked as soon as we moved together. Even with language barriers, there was such a strong sense of connection and willingness to learn from one another.
[It] opened my eyes to the wider world of dance. Working with internationally renowned teachers I had dreamed of learning from, and seeing how deeply dance is valued in Europe, gave me a new perspective on who I am as an artist and who I want to become. It made me feel more ready for travel, independence, and the next steps in my career. It showed me that opportunities can come when you least expect them, and that if you stay open and trust the process, you’ll end up where you’re meant to be.”
Matia's extended interview will be published shortly
Annabel Lowe
New Zealand School of Dance
“It was wonderful to represent the New Zealand School of Dance on a global stage. It is such an awesome opportunity for anyone, but to be from New Zealand dancing in Switzerland at the Prix de Lausanne, that is so special. It was incredible to learn from so many different tutors from around the world. Each day, having a new tutor and having them teach a slightly different style, so having that mouldability and being able to adapt was a great learning opportunity.
Also, getting to meet peers from across the globe who have an interest in classical as well as contemporary styles of dance was lovely, and to now have made those connections for later on in my career is wonderful. And of course, performing on such a renowned and beautiful stage was such a ‘wow’ moment. I loved every minute.”
Zi Sione
Academy of Queensland Ballet
"The Prix de Lausanne Partner School Project was honestly the experience of a lifetime for me. Walking into the studio on the first day and seeing dancers my age from 26 different parts of the world was a little bit surreal. Within minutes we were already moving together, learning each other’s names and accents, and by the end of the week it felt like we had known each other forever. A very special part of the experience was that, out of every single dancer, the one other dancer other than myself going to the PDL PSCP from Australia happened to be a childhood bestfriend of mine I hadn’t seen in 8 years. We even recreated a picture together 8 years apart.
We worked with choreographer Edwaard Liang, director of The Washington Ballet, alongside Giovanni Villalobos on a piece called The Gathering. Watching the choreography come to life in only a few days was incredible. Everyone brought something different into the room – different training styles, cultures and personalities – but somehow it all blended into this really powerful piece. Being surrounded by dancers who were so passionate and hardworking was incredibly inspiring, and it pushed me to give everything I had every single day I was there.
Performing the work on the stage of the Beaulieu Theatre during the Prix de Lausanne Finals is something I will never forget. Standing there with 26 dancers from across the globe, sharing this piece we had created together with such a huge audience, felt really powerful and emotional.
It also meant so much to me to represent the Academy of Queensland Ballet, and I felt incredibly proud and humbled to be the first Pacific Islander dancer to take part in the Prix de Lausanne.
Having my mum travel all the way to Switzerland to be there with me made the whole experience even more meaningful, and I’m so grateful to both my parents for helping me get there and always believing in me.
The whole week felt like a dream, and it’s an experience that will stay with me for the rest of my life."
This article appears in the April issue of Dance Australia, out now.
