We interviewed Azul Ardizzone, the 16-year-old Argentine dancer who captivated the world as the youngest interpreter in history to embody the role of Juliet. From her beginnings in San Jerónimo Norte, Santa Fe, to her brilliant performance on the international stage, Azul tells us about the challenges and emotions of being selected by the renowned director and choreographer of the Hamburg Ballett, John Neumeier.

By Carolina Lázzaro / Luz Lassalle for MCBA / Tr. by Virginia Chacon Dorr

Tell us where you’re from and how you got into dance.

I’m from a small town in Santa Fe, San Jerónimo Norte. I started ballet there as a recreational activity, and at the age of ten, I traveled to Buenos Aires, where I met Silvina Vaccarelli, my first classical teacher, and she prepared me to enter the Superior Institute of Art of the Teatro Colón. I entered when I was eleven.

Did you have any family or acquaintances in Buenos Aires?

No. My whole family made a huge sacrifice. My mom stayed with me for fifteen days, and then she alternated with my grandmother for the other fifteen days. Sometimes after Saturday class, I would travel, spend Sunday with my family, and spend the entire night on the bus to be in class by seven o’clock on Monday morning.

How did you obtain the Scholarship for the Hamburg Ballet School?

I competed in a contest, GPAL (Note: Gran Premio América Latina), the most important one in Latin America. I won first prize, and they gave me three international scholarships: for Miami, Houston, and Hamburg. At the same time, I took the exam for the Royal Ballet. Out of those four opportunities, I chose this one because I really liked the director and his way of working. I was selected by Carolina Borrajo, who later became my teacher.

The competition usually takes place in Córdoba, at the Luxor Theater, but since we were in a pandemic, I did it from my town. Thanks to that video, I’m here.

What did you present?

I presented the 3rd act of Swanilda. And a contemporary variation called My Way. My teachers Silvina and Anabella Tuliano prepared me via Zoom. My room became a ballet studio.

So, after being selected, you had to travel.

Yes. And I traveled alone! Because of the pandemic. It wasn’t so difficult to convince my parents; they always gave me freedom. Here I only knew Matías Oberlin, who is now a principal dancer at the Hamburg Ballett, and he’s from my town. That gave my mother more peace of mind. He’s like my big brother.

How old were you?

Just turned fourteen. And I didn’t speak any language, only Spanish! I made the whole trip alone, and they welcomed me at the airport here.

How did they propose you for the role of Juliet?

It was super shocking. I was at school working, studying, and out of nowhere, one day they told me, “Tomorrow you’re going to work in another class, and then you’ll have a test with the director.” They didn’t use the word “audition,” perhaps not to worry me.

Did you already know the director personally?

Yes, because I had the opportunity to do small roles in the company. He had seen that I gave my all, and I think that’s why he chose me.

How was the selection process?

We started by learning choreographies, and they watched. I noticed some people leaving. Everyone changed partners, but I was always paired with the same Romeo, Luis Musin. And that’s how it happened! It was just us left.

How was the premiere?

We had a dress rehearsal before the premiere, which they told me would have few people… Well, turns out it didn’t. It was like a regular performance. There were people from the Royal, from Canada, the most important figures in dance were there.

Do you consider yourself a dancer who excels more in technique or in interpretation?

In both. I already have the interpretation. I love embodying characters, feeling the role. With Juliet, I was given the opportunity to create my Juliet. The director would say to me, “Be yourself.” But I’m also very demanding when it comes to technique.

When you feel it, the technique comes, because we work on it every day in class: it’s already ingrained in the body.

Who are your favorite Argentine dancers?

I greatly admire Luciana Paris, Marianela Núñez, Ludmila Pagliero; they have been my inspiration since I was very young.

What’s your daily work routine like?

We have a lot of subjects. We start at 8:30 a.m. and depending on the day, we finish at 8 p.m. We have classical training every day, pointe work, classical and contemporary variations, pas de deux, Pilates, injury prevention, modern and contemporary classes, music, history. We practically live here!

Do you miss anything from Argentina?

My family. And classes with my teachers there. I’ve been back to Argentina for the past two summers, and they’ve come to visit me. My mom came to see “Romeo and Juliet”. In the first act, when Juliet is super happy, my mom was already crying (laughs).

 

In Argentina, many girls dream of pursuing an international career. For you, at what age is it appropriate to consider traveling abroad to train?

It depends on the individual, on when they feel ready. It also depends on the family’s support. Some parents don’t want to let their children go at a very young age. I came here when I was fourteen, and for me, it was a good age. It was a beautiful experience. I’m a bit of a daredevil, so I said, “I’ll go alone.” I think when you’re younger, you have more opportunities.

What do you think of the training provided at the Colón, and in Argentina in general?

The theater helped me a lot, it gave me a foundation. My teacher, the first time she saw me, said I was like a diamond that needed polishing. I’m still polishing myself every day.

When does this scholarship end?

They’ve given me a renewal for next year, and then I’ll have to audition for the company. In class, we’re already starting to audition for various places, and we’ll see how it goes.

And which company would you like to join?

I would love to stay here, in this company, because I also feel it’s like my home. I still have one more year. I’ll let life surprise me and see which doors open for me.

What is your dream?

To become a principal dancer. That’s why I keep working every day.