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Hyo-Jung Kang (Korean: 강효정) is a South Korean ballet dancer, currently a Principal, First Soloist with the Vienna State Ballet. Known for her ethereal grace, technical precision, and expressive artistry, Kang has captivated audiences worldwide through her performances in both classical and contemporary repertoires.
Early Life and Training
editHyo-Jung Kang was born in Seoul, South Korea, where she began her ballet training at Sunwha Art Middle School. Recognising her natural talent, she continued her education at the Kirov Ballet Academy in Washington, D.C., from 1998 to 2002, under the guidance of the renowned teacher Alla Sizova. In 2002, she participated in the prestigious Prix de Lausanne, which led her to further her training at the John Cranko School in Stuttgart, Germany.[1]
Career
editKang joined the Stuttgart Ballet in 2003 as an élève and quickly rose through the ranks due to her extraordinary talent. By 2011, she was appointed Principal Dancer following her critically acclaimed performance as Juliet in John Cranko's Romeo and Juliet. During her tenure at Stuttgart Ballet, she performed a broad range of roles, including Tatyana and Olga in Onegin, Odette/Odile in Swan Lake, and Catherine in The Taming of the Shrew. She also portrayed Giselle in Giselle (Coralli, Perrot & Petipa), Sylphide in La Sylphide (Peter Schaufuss after Bournonville), Princess Aurora in The Sleeping Beauty (Marcia Haydée), Kitri in Don Quixote (Maximiliano Guerra), and Manon Lescaut in The Lady of the Camellias (John Neumeier), among other notable roles.[1][2]
In the 2021/22 season, Kang transitioned to the Vienna State Ballet as a First Soloist. Her Viennese repertoire has included Tatjana in John Cranko’s Onegin, the title role in Elena Tchernichova’s Giselle, the Queen of the Dryads in Rudolf Nureyev’s Don Quixote, and major parts in Symphony in Three Movements, Symphony in C, and Brahms-Schoenberg Quartet by George Balanchine, Other Dances by Jerome Robbins, Four Schumann Pieces by Hans van Manen, Goldberg Variations by Heinz Spoerli, and In the Middle, Somewhat Elevated by William Forsythe.[1]
Notable Roles
editKang's versatility is evident in her portrayal of various roles across both classical and contemporary ballet, including:
- Tatyana and Olga in Onegin
- Odette/Odile in Swan Lake
- Juliet in Romeo and Juliet
- Catherine in The Taming of the Shrew
- Giselle in Giselle
- Sylphide in La Sylphide
- Princess Aurora in The Sleeping Beauty
- Kitri in Don Quixote
- Manon Lescaut in The Lady of the Camellias
- The Dying Swan (after Mikhail Fokine)
- Tatjana in John Cranko’s Onegin
- Queen of the Dryads in Rudolf Nureyev’s Don Quixote
- Maria de Medici in Christian Spuck’s ..., la peau blanche, ...
- Travelling Dancer in Kevin O'Day’s Hamlet[1]
Creations and Collaborations
editKang has inspired new creations by numerous renowned choreographers. Martin Schläpfer created the leading role for her in his Stuttgart premiere Taiyō to Tsuki, and she has danced in world premieres by choreographers such as Mauro Bigonzetti, Bridget Breiner, Edward Clug, Andreas Heise, Katarzyna Kozielska, Douglas Lee, Christian Spuck, Louis Stiens, and Demis Volpi.[1]
Critical Acclaim
editKang has been widely praised for her exquisite technique, expressive power, and captivating stage presence. Her portrayal of Giselle has been particularly noted for its emotional depth and technical mastery, with critics highlighting the contrast she brings between the innocence of Act I and the ethereal, otherworldly quality of Act II.[3]
She was nominated for "Dancer of the Year" by tanz magazine in both 2022 and 2023, underscoring her status as one of the leading ballet dancers of her generation.[1]
Awards and Recognition
editKang has received several accolades throughout her career, including multiple nominations and awards that recognize her as one of the foremost dancers in the global ballet community.[1]
Media and Documentary
editKang's journey as a ballerina has been featured in various media, including a Korean television documentary that offered insights into her rigorous training, career milestones, and personal reflections on her life in ballet. The documentary highlights her dedication, discipline, and the passion that drives her.[2]
Personal Life
editKang maintains strong ties to her native South Korea, often returning to perform and visit her family. Despite the demands of her international career, she remains deeply connected to her roots and frequently reflects on the influence of her culture on her artistry.[2]
References
edit- ^ a b c d e f g "Hyo-Jung Kang". Wiener Staatsoper.
- ^ a b c "Ballerina Hyo-Jung Kang". Seoul Journal.
- ^ "Ballet Review: Wiener Staatsballett's Giselle". Patrice DuMonde.