Nearly every four years since 1984, Finland’s capital city has welcomed talented young dancers from across the globe for the Helsinki International Ballet Competition. For some, it’s an opportunity to gain experience performing abroad. For others, it’s a chance at cash prizes, scholarships, acceptance to training programs, or even employment offers. This year, the competition celebrates its 10th anniversary and will run from May 28 through June 5 at the Finnish National Opera and Ballet.
The participants, selected from international video applications, compete in three age divisions: Juniors (ages 15–18), Young Professionals (19–21), and Seniors (22–25). (As announced last year, the competition has removed gender categories for 2026.) Across the week, dancers advance through three rounds, alternating between classical and contemporary repertoire, with eliminations between each round. A gala on June 5 features competition highlights and performances by guest artists, as well as awards announcements. This year’s jury, chaired by Finnish National Ballet artistic director Javier Torres, also includes artistic leaders Nina Ananiashvili, Joan Boada, Oğulcan Borova, Julie Kent, Ana Pavlović, and Mário Radačovský. (Stay tuned for an article announcing the results in June!)
Whether or not they advance to finals, HIBC participants who compete without a partner must prepare a total of six variations—four classical and two contemporary—with different repertoire for each round. (Couples perform one pas de deux in lieu of two variations in the final round.) For Joseph Kirillov, 16, and Jacquelyn Ng, 17, both students at Elite Classical Coaching in Texas, participating in the HIBC has involved rehearsing more variations at once than either of them has done before. Ng has been working on selections from Coppélia, The Awakening of Flora, and Don Quixote, as well as two contemporary solos choreographed by Elite Classical Coaching resident choreographer Justin Padilla. While she says it’s been “a lot of grinding” to prepare it all, she enjoys the challenge and feels comfortable competing. Her classmate Kirillov, who says that he typically dances prince or villager variations, has been preparing repertoire spanning a variety of movement qualities and roles. “It’s been pushing me to expand and work on different characters,” he says, such as the male principal from Flames of Paris.
Both dancers look forward to experiencing ballet culture abroad and hope that competing will offer them exposure. “I’m not a super-tall boy,” says Kirillov, “so I have to push myself to get out there.” Ng feels the same as she approaches the next step in her career, hoping directors will see her and take note for the future.
Oklahoma City Ballet II dancer Isabella Padilla (no relation to Elite Classical Coaching’s Justin Padilla) is excited to return to competing after time in the pre-professional world. “I’ve matured into a different dancer than I was when I was competing [as a student],” says the 21-year-old. Among her repertoire for the HIBC, Padilla has prepared two selections from Don Quixote, including the grand pas de deux with fellow Oklahoma City Ballet II dancer Patricio Perez-Ruiz. While Padilla hopes to one day dance professionally in Europe, her ultimate goal for Helsinki is to learn as much as possible and make the most of the experience. “With everything that we’re gaining from this, you never lose,” she says.
Professional Amélie Freeman, who most recently danced with BalletMet, feels similarly. The 22-year-old, who initially had no plans to apply for the HIBC, made a snap decision the day before the deadline to audition. “You have to take risks to grow as an artist,” she says. She’ll be traveling to Helsinki with BalletMet company members Katelyn Yang and Miguel Wansig-Lorrio, which has helped her feel more grounded.
Freeman decided to choreograph her second contemporary solo, Beyond the Breaks, which pulls inspiration from her first time surfing and advocates for reaching outside the comfort zone. “You go out into the ocean, and you have all these waves pummeling at you,” she explains. “When you get beyond the break, it’s the most peaceful, calming experience. But you can’t stay there forever.” Flexing her choreographic muscle for the HIBC has sparked a new interest for Freeman, and competing feels like a “beyond-the-break” moment in her own life. “It’s been such a growth process these past few months, preparing variations that challenge me and creating a new work,” she says. “I feel like I have already gotten so much out of this process. Whatever happens in Finland will just add to it!”