Roxane Stojanov and Antonio Conforti (Photo: Chanel)
Sitting in a suite in Kuala Lumpur’s Dewan Filharmonik Petronas, dancers Roxane Stojanov and Antonio Conforti are poise personified, in contrast to the muffled rush just outside the door in preparation for a class session.
While pressed for time, they appear composed and even laid-back, no doubt because of their extensive experience — they had definitely been in the same situation countless times before.
Being part of a historic institution such as the Paris Opera Ballet is a feat in itself, especially for those aspiring to establish themselves in the realm of dance. To join the elite company, one must go through numerous competitions. For most, getting accepted is not the end goal, as the stakes become higher after gaining entry.
Having joined the company in the mid-2000s, Stojanov and Conforti have since been promoted several times — achievements that reflect the sacrifices they have made.
Just last year, Stojanov was crowned the ninth danseuse étoile. Étoile — which means “star” — is the highest rank in the Paris Opera Ballet achieved through nomination, equivalent to being the principal dancer. The artiste takes on lead roles and represents the troupe on the international stage.
Conversely, in 2023, Conforti was promoted to sujet — or subject — a soloist position that sits between coryphée (lead dancer) and premier danseur (principle male dancer).
A precise and technical art, ballet is known for its rigorous training. Achieving excellence demands patience, endurance and both physical and mental strength. The Paris Opera Ballet, while not using harsher methods than other schools, has its own style — one that is distinctly French.
“This is an institution that respects tradition. Being taught these values at a very young age, we experience maturity earlier than common people. We have to work close to perfection, so it has become a discipline for us, as both an artist and a person,” explains Stojanov. “We have to embody different styles that require us to be agile, flexible and adapt all the time. That is a quality we must have in our career.”
1200x680.jpg
Both dancers left their homes at a very young age — Stojanov from North Macedonia and Conforti from Italy. On top of the demands of their professors, they had to assimilate into a new culture, language and lifestyle.
Despite the difficult journey, both have no regrets. “I made this personal choice early on in my life; I had to leave my family. But this has allowed me to dedicate myself to this career. It has given me a new outlook — I view my dance and work differently now, and I feel this sense of responsibility to represent French dance,” says Conforti.
In a profession such as ballet, sacrifices are necessary, considering the short career lifespan. Most practitioners retire at age 42; as such, they want to achieve whatever they can, as early as possible.
Cultural patrons such as Chanel are crucial players in this ecosystem, as their support allows dancers to realise projects and travel, with improved working conditions. “We are treated like celebrities,” laughs Stojanov.
As the two storied establishments come together to merge creativity and couture, the relationship symbolises a fundamental grounding principle. “It is important for the new generation to keep a connection with the past while launching itself into the future, especially with the varied art forms going into new horizons,” Conforti believes.
A peek below the suite shows the class taking place on a smooth, black material with built-in rails — Chanel had shipped the covering and barres from Paris. As opposed to a rehearsal, lessons entail warm up exercises and drills.
For this exclusive showcase, Stojanov and Conforti were to perform alongside the Junior Ballet dancers. Their chosen piece, À la manière de… , is a blend of classical and contemporary movements. The pas de deux (duet) was originally created by Jean-Guillaume Bart for himself and Emilie Cozette, who was then 18 and is now an étoile. The piece is close to the hearts of Stojanov and Conforti, so much so that they personally asked Bart whether he would entrust it to them.
490693221_30161616383425423_388877957298371599_n.jpg
“We really wanted to interpret a piece from our own maison and from a living étoile.Many classical ballet dances were created by choreographers who are no longer alive. We wanted to show the intergenerational transmission of the art, while highlighting the étoile and the choreographer,” explains Stojanov.
Since its creation 20 years ago, the production has not seen the stage until now. “It can be said that it belongs to us,” says Conforti. “We adopt our own steps just for the two of us. Each time we practise, we want to go further in terms of the meaning of the piece itself. Since the first rendition, things have evolved, and we are always going back to it and discovering new things. We are proud of it.”
More than just movement, the challenge lies in expressing their individuality and emotions. The dancers share a smile. “What we want to aim towards is to produce a liberating atmosphere while respecting the codes given to us, especially the intelligence and accuracy of the movements,” Stojanov says.
“To do all that but also give the impression that it is effortless — it has to make the audience feel [that it is] so natural and instinctive, and this is heightened by a really strong connection with the music,” Conforti adds.
Being the cream of the crop attracts constant attention, even outside the theatre. Often, what people see is only the limelight, but the two emphasise that there are important insights to pass on to younger performers, the most vital being to be humble and sincere.
“We want to share our dance with the world, but it is more than retaining the technical and aesthetic aspects. In our formation, we experience a great deal of doubts. A lot of times, we have to go back to zero because we realise there are certain things we are not doing well enough, but there is beauty in relearning,” Stojanov says.
Ending on a philosophical note, Conforti says: “Having to meet so many expectations can be hard, but we need to have a clear purpose. It is important to cherish this work, how you approach it, stay open to all that can influence you, while staying faithful to who you really are.”
Rhythms of grace
chanel_paris-opera-junior-ballet_-chanel-3-1-hd.jpg
As the bell chimed across the foyer, concert-goers clad in tweeds, tuxes and gowns headed into the orchestra hall. Excitement could be felt within the walls, knowing they were about to enjoy an exclusive performance.
The repertoire for the night consisted of five pieces by the Paris Opera Ballet, two of which were performed by senior dancers while the rest by juniors.
The evening began with Allegro Brillante, a piece choreographed by George Balanchine. It was as if the music itself had transformed into motion. In tune with the quick tempo of Tchaikovsky’s music, the sharp and synchronised steps seemed even cleaner. This first impression showed that the dancers, despite their young age, were incredibly strong.
The high-energy performance was followed by the first pas de deux of the night. À la manière de… showcased danseuse étoile Roxane Stojanov and sujet Antonio Conforti in their element. The composition was fluid, beginning with large and dramatic gestures bursting with musicality that were prominent against the simple costumes.
The dancers exuded raw honesty and vulnerability, making the audience feel they were listening in to a private conversation. Solo segments allowed each of them to shine individually, before reuniting at the end of the segment.
photo_1_credit_julien_benhamou_onp.jpg
Julian Nicosia’s Eternal Rift was next, with the junior dancers donning black Chanel unitards embellished with gold accents. It was the most abstract of the acts, and the crowd was left in silent awe as deep, irregular beats created tension. Lights played a role in setting the tone — flashing rays bounced off the costumes while silhouettes contorted into different forms. Coupled with complex moves and unusual props, the routine left viewers with the sensation of being stripped apart and put together again — reflecting the name of the act.
Post-intermission, danseuse étoile Sae Eun Park and premier danseur Francesco Mura presented their interpretation of the pas de deux from Act II of Giselle. If the first duo was breathtaking, watching this pair left attendees afraid to exhale in fear of shattering the serene scene before them. In white tulle, Park embodied the essence of the story, about the ghost of a peasant girl who is betrayed by her lover. The presentation had an ethereal, haunting effect.
Concluding the night, Mi Favorita by José Martinez saw 18 junior artistes battling it out on stage. Sassy and flirtatious, the cheeky arrangement drew giggles from the hall as each dancer showed off his or her movements and costumes. Like burgundy peacocks packed with personality, the ballerinas and ballerinos displayed a youthful charisma as they playfully fought for each other’s attention. The sequence was a fun way to conclude the programme, which brought the audience through the crests and troughs of emotion.
The dancers moved as if they were suspended in the air, but even the untutored eye could appreciate the strength required to hold each pose. The night affirmed the importance of different elements in creating a piece of work that can convey a message in its clearest form, from music to fashion.
This article first appeared on Dec 8, 2025 in The Edge Malaysia.
