HUGO MARCHAND

I’m Not Playing That Game

The principal dancer of the Paris Opera Ballet avoids the diva image embraced by some of his predecessors, refusing to pay the price of being less approachable and lonelier. From the roles that have impacted him most to his memoir and cultural initiatives, Marchand reflects on how his generation is reshaping the artistic landscape beyond the spotlight and transforming the dance world, one step at a time.

                                                                                                         By Alessandro BIZZOTTO

As we meet on a chilly December afternoon, Hugo Marchand presents a mixture of politeness, curiosity, and reserve.

Born in Nantes in 1993, he began his ballet training at the Conservatoire National de Nantes before joining the Paris Opera Ballet School. He became a member of the Paris Opera Ballet in 2011, and, following a performance in La Sylphide during the company’s 2017 tour to Japan, was named a principal dancer.

Our conversation begins with a brief, informal exchange before we delve into the more substantive questions. While the atmosphere is amiable, it is clear that there is a boundary he is careful not to cross – a reluctance to discuss areas he feels are best left unexplored, or issues that might make him uneasy. There is a sense of a quest for honesty and openness, with a hint of the slightly tormented artist, rather than a simple eagerness to share his life and work.

After all, Marchand has always positioned himself as an engaged artist. Beyond his stage career in Paris, he published a memoir, Danser, in 2021, offering a personal reflection on his experiences in the world of ballet. He also founded an association dedicated to providing accessible, high-quality ballet performances, transforming iconic local heritage sites into cultural spaces.

Where does the surname Marchand come from? What is the origin of your family?

Mayerling, Ch. Kenneth MacMillan © ONP/Maria-Helena Buckley

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