How a Ballerina from Kazakhstan Built a Career in German Ballet

When Gulzira Zhantemir arrived in Kiel, Germany, in 2017, she spoke virtually no German or English. Behind her were eight years at a ballet school in Almaty and three seasons at Astana Opera; ahead lay an unfamiliar country and theater system in which she would have to prove herself all over again. Nine years later, Zhantemir is completing this chapter as an established member of Ballett Kiel, with a repertoire encompassing classical and contemporary work. In 2023, the Gesellschaft der Freunde des Theaters in Kiel awarded her its Förderpreis in recognition of her work with the company. For Zhantemir, the path to this European career began much earlier, in Kazakhstan, and almost by chance. At the age of four, her mother enrolled her in a dance group at the local Palace of Schoolchildren, a type of extracurricular education center common across the former Soviet Union. Her first classes were not in ballet. Everything changed in the fourth grade, when teachers from the Alexander Seleznev Almaty Choreographic School came to her school looking for children suited to professional training. Her mother enjoyed watching ballet on television and encouraged her to try. At 10, Zhantemir entered the school and began eight years of professional ballet training, with daily classes and rehearsals alongside rigorous academic preparation. She graduated with honors in 2014 and won a gold medal at the Orleu International Ballet Competition that same year. After graduating, Zhantemir joined Astana Opera, the State Opera and Ballet Theatre in Kazakhstan’s capital. She had long wanted to move to Europe. Doing so meant leaving behind an established professional life and starting again with an audition. In 2017, Zhantemir successfully auditioned for Ballett Kiel, part of Theater Kiel, the municipal theater in this northern German city. The move also required her to adapt to a different way of working. “At Astana Opera, there was more time for rehearsals for each production and more space. Theater Kiel is much more compact, and we have one main stage, so we have to plan our time very precisely,” Zhantemir said. Even with those constraints, Kiel offered the professional variety Zhantemir had sought in Europe. “Working abroad gives you an incredible opportunity to train with guest choreographers and teachers from around the world and learn different contemporary and classical techniques,” she said. Outside the theater, other dancers from Kazakhstan and Ukrainian choreographer Yaroslav Ivanenko, who led Ballett Kiel for many years, helped her settle in while she learned German. Gradually, her list of roles grew beyond the classical repertoire. Zhantemir danced both central female roles in Giselle, Giselle herself and Myrtha, Queen of the Wilis. Her repertoire came to include Odette in Swan Lake and Hermia in A Midsummer Night’s Dream. She also appeared in West Side Story and contemporary productions. Her Kiel roles included Swanilda in Coppélia and Cinderella. With another company, she performed Kitri in Don Quixote. For a ballet dancer, the differences between these roles are significant. Kitri requires virtuosity and temperament, while Giselle calls for...

From Kazakhstan to International Ballet: Meirambek Nazargozhayev’s Rise

Meirambek Nazargozhayev’s journey is a remarkable story of talent, determination, and transformation. Hailing from the small village of Karaoy in Kazakhstan’s Almaty region, he grew up like many boys in the countryside, playing football and the dombra, with little connection to the world of classical ballet. Today, however, he is a principal soloist at the Royal Danish Theatre, one of Europe’s most prestigious cultural institutions. Ballet was not part of Nazargozhayev’s childhood dreams. His path changed thanks to his aunt Farida, a choreographic instructor in Almaty, who noticed his potential early on and encouraged him to pursue dance. At the age of ten, he entered professional training, marking the beginning of an unexpected but extraordinary career. Creativity had always been part of his life. He recalls being drawn to music and performance from an early age, playing instruments, exploring artistic interests, and taking part in local cultural activities. In 2006, he was admitted to a choreographic school in Almaty, where he trained intensively. Watching dancers glide and leap across the stage left a lasting impression, turning his initial curiosity into a deep passion for ballet. [caption id="attachment_48150" align="aligncenter" width="300"] From a personal photo archive[/caption] With consistent effort and discipline, Nazargozhayev soon began gaining international recognition and winning awards. His artistic path echoes the words of Rabindranath Tagore, who described art as an expression of the inner self. While many of his classmates aimed to join local theaters in Astana or Almaty, Nazargozhayev aspired to build a career abroad. He first moved to Moscow, where he spent eight months working at a major theater, performing key roles and refining his skills. Eager to broaden his horizons, he then turned to Europe, known for its rich ballet traditions and high professional standards. His European career began in Kiel, Germany, where his distinctive style and talent quickly earned him a contract. He flourished there, particularly in contemporary dance, a genre he continues to value deeply. During his time in Germany, he heard a great deal about the Royal Danish Theatre, which soon became his ultimate goal. An offer from a major theater in Madrid followed, promising strong prospects. Shortly afterward, however, he received an invitation from the Royal Danish Theatre, the very stage he had long dreamed of joining. [caption id="attachment_48151" align="aligncenter" width="300"] From a personal photo archive[/caption] “I was in disbelief,” he admits. “I had applied, but I never imagined I would actually be accepted.” After joining the company, Nazargozhayev made an immediate impact by performing a solo role in Jiří Kylián’s ballet 27’52”, an opportunity rarely given to new members. His performance captivated both audiences and colleagues, establishing him as a standout artist. Over the past eight years, he has continued to grow professionally, appearing on major stages across Europe, China, North America, and at the Kremlin Palace. In recognition of his excellence and dedication, the Royal Danish Theatre granted him a lifelong soloist contract, an honor reserved for only the most distinguished performers. He has also performed before the Danish...