News

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.