Prima Ballerinas 400

## Aurélie Dupont: A Life in Dance Aurélie Dupont. The name itself conjures up images of effortless grace, razor-sharp precision, and a captivating stage presence. It's a name synonymous with the pinnacle of ballet, with the hallowed halls of the Paris Opera Ballet. As I sit here, pen poised above paper, a million memories flood back. The feel of the worn-out leather of my dance shoes, the sweat stinging my eyes during endless rehearsals, the nervous excitement of a debut. It's a life I wouldn't trade for the world. My journey started in 1973 in the small, charming town of Brive-la-Gaillarde, nestled in the heart of France. My mother, a devoted and nurturing soul, always dreamed of a ballet career, though life took a different path. Perhaps she saw in me the passion for dance that she held so dear, for at the tender age of seven, I found myself captivated by the rhythmic movements and fluid expressions of the ballet studio. There was an inexplicable magnetism that drew me in. The magic of ballet – the artistry of storytelling through movement, the exquisite control of the body, the ability to communicate without uttering a single word – was an intoxicating combination. I embarked on my ballet training under the tutelage of Yvonne Guerin, who became my guiding light, instilling within me the foundational principles of discipline, technique, and artistry. Every lesson, every step, every rehearsal honed my talent, nurturing it into a formidable force. I absorbed every nuance of her teaching, diligently practising and striving for excellence, knowing deep within that I was destined for a stage. My childhood wasn't without challenges. It was a constant struggle balancing my passion for ballet with the demands of school. Yet, fuelled by an unyielding determination, I persevered. In 1986, I ventured to the legendary École de Danse de l'Opéra de Paris. This marked a pivotal point in my life. It was a dream realised, a chance to step onto the sacred grounds where ballet history had been written and where I was now entrusted with its legacy. The air buzzed with energy, echoing with the rhythmic steps of countless dancers who had walked before me. My days at the École were demanding, demanding beyond imagination. Every muscle screamed in protest during grueling sessions. I endured rigorous training, pushing myself beyond limits I believed possible. The relentless pursuit of perfection was a constant companion. The demanding routines sculpted me both physically and mentally, shaping my character and instilling within me an unyielding strength. A key influence during my training was Claude Bessy, then director of the École. Her stern gaze and meticulous standards challenged me to delve deeper, to explore the subtleties of my artistry. It wasn’t always easy; the criticism could be piercing, but it was always with the purpose of driving me towards greatness. Under her tutelage, I developed my artistry, my expressiveness, my ability to communicate emotions through movement. Finally, the long-awaited day arrived - my entrance into the prestigious corps de ballet of the Paris Opera Ballet in 1989. The moment I stepped onto that iconic stage, it felt like coming home. This was my world. Each performance, from the swirling formations of the corps de ballet to the exhilarating solo work, was an opportunity to lose myself in the art form I adored. Every pirouette, every jeté, every arabesque felt like a love letter to dance, a testament to the countless hours of dedicated practice and the sacrifices made. It was here, amidst the gilded chandeliers and opulent theatre of the Palais Garnier, that I first encountered Rudolf Nureyev. The aura of this legend filled the space, inspiring awe and a desire to emulate his genius. I remember vividly my audition for his production of ‘La Bayadère’, my heart pounding, my limbs trembling with the enormity of the moment. To be granted a place in his company was a privilege I cherished. The 1990s became a period of remarkable growth. In 1990, I ascended to the prestigious rank of “coryphée,” showcasing my increasing artistry and mastery of technique. Every year brought new opportunities, each performance pushing me to discover new levels of excellence. Then came 1992, and my promotion to “première danseuse” (principal dancer) of the Paris Opera Ballet. This was the ultimate honour. To be acknowledged as one of the top dancers in the world was a dream come true. The next years saw a whirlwind of exhilarating performances, working alongside legendary dancers, from Sylvie Guillem to Manuel Legris, and collaborating with eminent choreographers such as Roland Petit, Maurice Béjart, and William Forsythe. Every performance held its own magic, whether I was gracing the stage as the ethereal Giselle, the captivating Swan Queen in ‘Swan Lake’, or the enigmatic Juliet in ‘Romeo and Juliet’. Every role allowed me to delve into the complexities of human emotion, expressing joy, despair, love, and heartbreak through the poetry of movement. It wasn't just dancing; it was becoming the character, immersing myself in their world, and sharing their story with the audience. But the path wasn’t without its share of physical challenges. Injuries, sadly, became a familiar part of the ballerina's life. As a young dancer, I recall my anxiety about an ankle injury, fearing it would impede my progress. With each injury, I had to find the strength within to rehabilitate, to rediscover my resilience. Another pivotal moment arrived in 2001, a moment that not only impacted my career but the landscape of French ballet itself: I was appointed as the first female étoile (prima ballerina) of the Paris Opera Ballet. This historic moment represented a significant leap forward for gender equality within the ballet world, shattering the traditional glass ceiling. Being an étoile meant more than just the glittering title. It was a responsibility to guide, to mentor, to inspire. I felt a deep sense of obligation to nurture young talent, to share the knowledge and experience gained throughout my career. My role extended beyond the stage. It was about shaping the future of ballet, advocating for the artistic development of dancers, and fostering a sense of unity within the ballet community. It was around this time that the opportunity to teach ballet began to call to me. Initially, I was apprehensive, questioning my ability to convey my knowledge to others. But with the encouragement of those I admired, I took a leap of faith, stepping outside of my comfort zone and into a new realm. I relished the experience, drawing satisfaction from seeing young dancers blossom, and sharing my own insights on the technical intricacies of ballet, as well as the nuanced artistry of expression. However, despite my immense love for dancing, my body began to signal the need for a change of pace. With much deliberation, I bid farewell to the stage, giving my final performance in the autumn of 2015, at the Paris Opera House. As I embarked on this new chapter of my life, I realized how deeply rooted I was within the ballet world. My desire to contribute to its growth, its future, and its evolution only grew stronger. In 2016, I joined the illustrious ranks of the Paris Opera Ballet’s esteemed directors as the Director of the School of Dance, where I continue to champion the training of young dancers. It is a role I embrace wholeheartedly. I relish the challenge of shaping future generations, equipping them with the essential skills and knowledge to excel. But my dedication to the art form doesn't end there. Since retiring from performing, I’ve actively explored other avenues of creative expression. A collaboration with artist Nicolas de Staël's grandson, Marc de Staël, saw me take on a new role: I co-created "Aurélie Dupont en danse", a captivating art exhibition showcasing my passion for both ballet and painting. The exhibition explored the intersection between the dynamism of ballet and the stillness of visual art, offering a unique perspective on the ephemeral beauty of dance. It’s a testament to the extraordinary artistry of Aurélie Dupont – one that transcends the limitations of traditional ballet performance. I believe it was only the beginning. There is still so much more I want to explore, more ways to express the essence of ballet through diverse media. These days, when I walk down the cobblestone streets of Paris, my mind is always alive with ideas, dreaming up new projects. The passion for ballet burns brightly, guiding me through each new chapter, whether it’s mentoring, teaching, or exploring fresh artistic endeavors. Looking back on my life, I feel a deep sense of gratitude for every twist and turn. I wouldn’t trade it for anything in the world. The stage has gifted me invaluable lessons – resilience, discipline, dedication, and a profound sense of artistry. The life of a dancer has been a journey filled with unparalleled highs, daunting lows, and countless sacrifices. Yet, it has shaped me, moulded me, and helped me to discover who I truly am. My heart remains with the magical world of ballet, an eternal inspiration for those of us who dedicate our lives to the art form. And I know, as long as there are dreams and stories waiting to be told through movement, ballet will continue to ignite our imagination and fill the world with beauty.