Stuttgart Ballet’s Elisa Badenes: “You Can Be Yourself and Break the Rules”
Elisa Badenes hails from Valencia, Spain, but she is adored in Germany, where she is a principal dancer with Stuttgart Ballet. In fact, she received the national title of Kammertänzerin, the highest honor that the republic can bestow on a dancer, in December. Below she shares how she tries to humanize her roles, how she overcame her biggest challenge, what it’s like being part of a triplet, and more.
To whom or to what would you contribute your success?
My surroundings, myself, and a bit of destiny, too. My path wasn’t very planned out—I followed my instincts. I’m here because of the people who support me and love me. Growing up in Spain and the fact that I didn’t leave home until I was 16—late for a ballerina who wants to have a career outside of her hometown—means I grew up close to my family and friends.
What would you say is the hallmark of your dancing?
I think Stuttgart has been good about breaking standards and humanizing the ballerina. And I love to do that in all the roles I do. Even if I do a classical tutu ballet, I still want to humanize it and be natural, modern, and spontaneous. I like having my personality shine through.
If you weren’t a dancer, what would you be?
I’m not sure! I’m a triplet—I have two sisters, and we’re all very different—so I always saw them as the nondancer versions of me. They went to university, they have normal jobs. They didn’t dance, but they’re very good musicians. I would probably be working in something social, but I think art would always be around.
Have you ever had a worst nightmare onstage?
Once my partner got injured in the middle of a show and left the stage. I thought, What do I do? So I started improvising—it was like a moment of panic, but in the end it was actually really fun.
In reaching the top, how much is talent and how much is sweat?
Talent is a big part of it. But I think the key to success is having a good head on your shoulders—to be strong, to believe in yourself, to know who you are, to be able to handle criticism—because it’s a hard career.
Did you compete a lot as a young dancer?
A little. Competitions should be a platform to show yourself, but not to compare yourself to others. I came from a very small town, and at the Prix de Lausanne I didn’t even get to the finals. I was so sad. But the next day, I encouraged myself—I think it’s some quality I have—and I took class with all the directors watching and got a scholarship to The Royal Ballet School, which changed my life! That’s what matters: to show yourself, to lift yourself out of bad situations, and to have fun.
What has been a challenge in your career, and how did you deal with it?
Adjusting from student to professional. I had to suddenly move from London to Stuttgart. I didn’t know anybody, I spoke a different language, and I was away from my support system. To get through it I’d look for tiny things to inspire me every day, even if it was just my coffee in the morning.
Of your repertoire, which ballet was the hardest to learn and perform?
Dancing Swan Lake at 19 years old. At that point I didn’t have the experience of carrying a full-length ballet on my shoulders, especially at a place like Stuttgart with a lot of principal dancers. But it’s challenging every time you do a new ballet. I did Tatiana in Onegin when I was 22, and I found that I was really young for the role. When you don’t feel ready yet, you have to do extra work to learn about and become that character, and I think that’s hard.
What is something people may not know about you?
I study psychology online at a university in Spain. I think it’s good because as dancers you have to learn how to deal with stress, stage fright, all these other issues. It’s important to have something outside of ballet that connects you to the real world, because dancers tend to live mostly in a bubble.
What would you take with you to a desert island?
I’m very social. I need to talk, share stories—I would take my friends and family!
What is your favorite indulgence?
On Sunday everything is closed in Stuttgart, which forces me to stay at home, relax, watch TV, and do nothing. Sometimes I feel guilty about it, but I need it.
What do you miss about Spain?
I grew up next to the sea, so I miss the smell of the ocean—the salt, the beach. And the paella. My mom’s paella on Sundays? Wow, so good!
And what is your favorite part about living in Stuttgart?
Stuttgart is like a village: It’s small, it’s cute, you can walk places, it’s very green. You’re in the center of Europe, so you’re close to everything. You can be walking down the street and someone will say, “Hey, I saw the ballet last night!” That neighborhood feeling is the best.
What is the least glamorous part about being a dancer?
When you take off your pointe shoes and see your toes!
What advice would you have for those wanting to become professional dancers?
Believe in yourself. Also, take it easy. There’s a lot of pressure in ballet. Sometimes we put it on ourselves, sometimes it comes from other people, but take a step back and remember that this is something that you love. And have fun, because when it’s not fun anymore, it’s not worth it.
How would you like to be remembered?
I want to be remembered as a ballerina who is approachable and natural, that took every type of ballet and let my character shine through. Ballet doesn’t have to be “ballet”—you can be yourself and break the rules.
