Shoko Nakamura’s new life in Japan



Ballet dancer Shoko Nakamura, who had a successful career in Europe, has moved her base of activities to Japan — mainly to dance for the K-Ballet Company in Tokyo.

To mark her return to Japan, Nakamura performed the title role in “Carmen” at Bunkamura Orchard Hall earlier this month in Shibuya, Tokyo. The production was choreographed by K-Ballet Artistic Director Tetsuya Kumakawa.

Nakamura is rather tall for a female ballet dancer at 173 centimeters. She is known for her delicate expressiveness and a physique comparable to those of Western dancers. After working for the Vienna State Ballet and the Berlin State Ballet, she moved to the Hungarian National Ballet in 2013.

“The troupe has many classical programs in its repertoire, such as ‘Onegin’ and ‘Manon’ — programs any ballet dancer would love to dance at least once. I thought I would regret it if I didn’t take on the challenge,” Nakamura said.

She decided to move to Budapest with her son and leave behind her husband Wieslaw Dudek, who was her colleague at the Berlin State Ballet in Germany.

Ballet is popular in Budapest. “The seats were full all the time,” Nakamura recalled, so she was always practicing two or three programs at once.

“I found myself having different feelings day to day, sometimes in love and other times full of sorrow,” she said. “There were so many things you would never know unless you danced it. I was tempered that way.”

She gradually came to wish to take on another challenge — dancing predominantly in Japan.

“I’ve been overseas since 16, so I’d lived outside of Japan [for a long time] although I’m Japanese,” the dancer said. “I thought I’d be able to have new encounters and experiences in Japan. I was also worried that my prime would be over if the timing was delayed.”

When she talked to Kumakawa about her intention, he was willing to have her dance in his troupe, which she had worked with many times before. She then moved to Japan with her family.

“I can now be with K-Ballet dancers for a long time and talk to them a lot from now on. I don’t want them to hesitate if they have any questions,” Nakamura said. “It’s difficult creating good productions unless we closely work as colleagues. If there’s a line between us, that would show on the stage.”

Nakamura made meticulous preparations to build the character of Carmen, known as a femme fatale.

“She’s a woman who would completely fascinate any man at a glance, but she has never really been in love with anyone. I suppose she is intoxicated by her own charm,” Nakamura said, adding with a laugh, “We have nothing in common.”

She carefully built up the character by exposing her shoulders from the dress, putting on thick makeup and wearing showy earrings.

“I tried to change myself in a way other people would think was too much,” Nakamura said. “But during rehearsals, I would gradually get rid of them and build a woman with femininity just like Carmen.”

Nakamura is expected to be an inspiration for Kumakawa when he choreographs new works.

“I’m looking forward to that,” Nakamura said. “If he produces works with me in mind, I’d be able to express myself and might also discover something new.”

Nakamura will perform in “Swan Lake” with K-Ballet Company on Oct. 31 and Nov. 1 at Orchard Hall, and on Nov. 5 and 8 at Tokyo Bunka Kaikan in Ueno Park, Tokyo.

Shoko Nakamura from the Staatsballett Berlin at the Masse rehearsals



Premiere, World premiere
Saturday, 04.05.2013
20.00 h
27 – 42 €

Further Events:
04 | 07 | 08 | 09 | 10 | 14 | 16 | 18 | 22 | 24 | 25 May 2013

Chorography: Nadja Saidakova
Xenia Wiest
Tim Plegge
Music: Henrik Schwarz, Marcel Dettmann & Frank Wiedemann und DIN (Efdemin & Marcel Fengler)
Set Design: Norbert Bisky
Costume Design: Julia Mottl

Koproduktion: Staatsballett Berlin – Club Berghain

Ballets Russes – A moderated ballet concert


The Russian group of artists of the Ballets Russes toured in the early 20th Century Western art capitals in order to impress an entire generation and set the art world on its head. Around the impresario Serge Diaghilev gathered not only dancers and innovative theater people, but also visual artists and composers. For tours of the Ballets Russes created works – have found their way into the concert repertoire – mostly intended for a dance implementation. In Concert Film Orchestra Babelsberg some of the most famous compositions are on the program. Vladimir Malakhov is master of ceremonies and presents soloists and corps de ballet of the Berlin State Ballet, which convert some of the works of dance. Ticket sales available at the cash register at the Konzerthaus Berlin. [Source]

Berlin Konzerthaus

Tuesday, February 19, 2013 – 20:00.
Thursday, February, 21, 2013 – 20:00.


Musik von Igor Strawinsky, Auszug
Choreographie in der Tradition von Michail Fokin
Vladimir Malakhov

“Le Spectre de la rose”
Musik von Carl Maria von Weber, “Aufforderung zum Tanz” (orchestriert von Hector Berlioz)
Choreographie in der Tradition von Michail Fokin
Iana Salenko – Dinu Tamazlacaru

“L’Après-midi d’un faune”
Musik von Claude Debussy
Choreographie in der Tradiotion von Waslaw Nijinsky
Nadja Saidakova – Vladislav Marinov

“Les Sylphides”
Musik von Frédéric Chopin, Walzer op. 64 Nr. 2(orchestriert von Alexander Glasunow)
Choreographie in der Tradition von Michail Fokin
Shoko Nakamura – Mikhail Kaniskin

Musik von Nikolai Rimski-Korsakow op. 35, Auszüge
Choreographie in der Tradition von Michail Fokin
Elisa Carrillo Cabrera – Ibrahim Önal

“Der sterbende Schwan”
Musik von Camille Saint-Saëns
Choreographie in der Tradition von Michail Fokin
Beatrice Knop

La Péri – Ballet in two acts


Vladimir Malakhov has drawn inspiration from historic lithographs to create a new staging of the romantic ballet LA PÉRI for the Staatsballett Berlin. Like the sylphids, the wilis and all the other unattainable fairy and elfin beings that populated the 19th century ballet stage in great numbers and in many new interpretations, the péris are oriental heavenly creatures that embody Prince Achmed’s yearning for another form of existence. A beautiful péri appears to him with her retinue and promises him redemption: she promises that the barrier between Heaven and Earth can be overcome by the power of love. The ballet LA PÉRI was first performed in 1843 at the Paris Opéra. Friedrich Burgmüller composed the music, and Théophile Gautier’s libretto was translated into dance by the choreographer Jean Coralli. Vladimir Malakhov’s interpretation of the ballet is expressed in a refined and delicate dance style, which was characteristic of the romantic era and follows naturally from the music. The stage and costume designer, Jordi Roig, has lovingly created an opulent, historic setting in which the atmosphere of the exotic scene is brought to life and the ballet can work its unique magic. [Source]