Prix de Lausanne 2026 Daily Updates
DAY 2
Emma Sandall and Olivia Weeks recap Day 2
Day two at the Théâtre de Beaulieu was marked by a sharpening of focus and a noticeable shift from the tentative energy of the opening day to a more settled, professional atmosphere. The first day jitters largely evaporated, replaced by a sense of immersion as the candidates became more familiar with the framework of the week.
The distinct change in the atmosphere was also obvious within the Partner School Choreographic Project space. The group has begun to operate like a newly formed company, moving past the individual jitters of day one to work with a collective focus that is truly great to witness. This sense of ensemble was further echoed after their morning classical warm-up, where the dancers fell easily to rehearsing the choreography solo or in small groups. The work promises to be powerful, based on what we saw today, but we will see more in the full rehearsal tomorrow evening.
In the studios, the technical demands reached a new peak with the Girls B class, led by Élisabeth Platel, Director of the Paris Opera Ballet School. While the exercises were notably difficult- and fast, the dancers mostly met them with a growing sense of familiarity and command, particularly given the jury was present. This same professional maturity was evident as the Boys B cohort moved onto the main stage for their contemporary marking. Emma noted that watching them navigate these pieces was a highlight for her, particularly as they began to "rely more on their own musical and spatial choices" while testing how they respond to different teaching styles.
The contemporary coaching sessions across the Male and Female Groups A and B provided a fascinating look into the dancers' developing artistry. Working through a diverse repertoire—ranging from the intricate dynamics of Mauro Bigonzetti’s Rossini Cards to the grounding of the late Louise Deleur’s Touch, Feel, Sense—the candidates were given space to find their own voices. While coaches like Vincenzo Capezzuto and Amelia Waller provided expert artistic guidance, there was a palpable sense of autonomy in the room. The mentors seemed to intentionally allow the dancers the freedom to interpret accents and nuances for themselves, ensuring that each variation remained a personal expression rather than a carbon copy.
This layer of discovery was supported by the constant, subtle presence of the interpreters for many of the selected candidates, acting as a vital bridge not just for corrections, but for the nuances of what they're being told in those high-pressure moments on stage.
Off-stage, this spirit of support translated into a genuine camaraderie, with candidates practicing together in the wings and helping one another navigate the day. It goes without saying that the level of focus of all dancers in phenomenal. These students, from all over the world, are absolutely not going to waste a second of time over here.
The evening concluded with an insightful conversation with the nine-member jury, presided over by Kevin O’Hare. The discussion was a grounding reminder of the human element behind the assessment. The jurors, some of whom are former prize winners themselves, spoke with a deep empathy for the candidates, recalling their own experiences on this very stage. Their collective message was clear: this week is a "snapshot" of a much larger journey. By encouraging the dancers to "play the long game," they emphasised that the true value of the Prix de Lausanne lies in the process, the connections made, and the artistic growth that transcends the marks on a sheet.
DAY 1
Emma Sandall and Olivia Weeks recap Day 1
Day one at Prix de Lausanne marked the first full day of public-facing activity, with audiences now able to observe classes, rehearsals and run-throughs across studios and theatre. While candidates arrived yesterday (February 1st, or “Day 0”) for orientation, today introduced an added layer of focus as dancers began working with observers present throughout the schedule.
The morning opened on stage with the Group A female classical variations. Even at run-through level, and without the jury present, the standard was immediately apparent. There was a particularly pleasant breadth of variation choices on display, offering stylistic contrast alongside substantial technical challenge. Those demands were being met with assurance, musical clarity and a confident command of space, notable this early in the week.
Contemporary class for the male dancers followed, led by Sarawanee Tanatanit. Three interpreters were positioned around the studio, ensuring instruction was fully accessible and allowing the class to progress with momentum and nuance (this is a feature across all classes). Sarawanee’s teaching was notably engaging, grounded in imagery and intention rather than correction alone. One instruction to the boys resonated strongly: “Always be connecting. Be like water, always circulating.” It encapsulated the tone of the class, which prioritised continuity, awareness and flow.
The musical landscape of the class played a significant role. Accompanist Paul Pavey, a multi-instrumentalist musician and composer, provided accompaniment of remarkable depth and responsiveness. His playing elevated the work in the room, shaping phrasing and texture in a way that dancers clearly fed from, adding weight and dimensionality to the movement.
The female Group A contemporary class followed and was likewise excellent. Focused yet fluid, the dancers moved with growing confidence through Sarawanee’s material, demonstrating a strong collective responsiveness to both musical and spatial cues. The continuity between the two groups underscored the clarity of the teaching and the dancers’ ability to absorb and apply it quickly.
From her dual vantage point in the studio and on the livestream, Dance Australia writer and Prix livestream commentator Emma Sandall observed a day defined by listening and adjustment. Having watched parts of the younger men’s ballet class before commentating the Male B contemporary session, she noted how attentively the dancers were absorbing information, testing musical and spatial choices, and beginning to reveal how they respond to different teaching styles. For Emma, day one was less about projection and more about process, with dancers clearly focused on understanding the framework they will work within across the week.
With multiple classes and rehearsals running simultaneously across studios and the theatre, it was impossible to see everything in a single day.
The day concluded in the theatre with run-throughs of the Male B Senior classical variations. The level remained consistently (but expectedly) high, with strong technical command and many moments of exhilarating elevation, particularly in their tours. Even in rehearsal mode, the level of focus and purpose was unmistakable.
Away from the competitive schedule, time was also spent observing the Partner School Choreographic Project at the very start of its development. The shift in atmosphere was obvious. Here, dancers are creating collectively rather than being assessed individually. Led by Edwaard Liang, Artistic Director of The Washington Ballet and a former Prix Prize Winner in 1993, the studio felt open and conversational, with an easy rapport forming quickly between the choreographer and his cohort of international dancers. Framed by impressive Swiss mountain views, it seemed easy for the dancers to be inspired as the work took shape. It was sweet to witness a type of playfulness in this room; dancers not needed in the moment chatted quietly but freely, and a few steps (and tricks) could be seen on the side.
It was also a pleasure to see the Australian and New Zealand candidates throughout the day and to spend time speaking with them between sessions. Thoughtful, focused and generous in how they carry themselves, they are excellent representatives of their own journeys, their training institutions, and of the communities watching from home. Seeing them navigate this first day with both fun and poise was a great representation of the depth of talent coming out of our region.
Throughout the day, there was a strong sense of mutual encouragement among the dancers. New connections and friendships are already forming, some jumping language barriers by the look of it, and that collegial energy sits comfortably alongside the concentration required of the week ahead.
Dance Australia’s 2026 Prix de Lausanne coverage, generously supported by our coverage partner, Bloch Australia.