Skip to content

Marijn Rademaker Posts

Injury, recovery and what to think about it….

“Being injured is part of our job, it happens, we will get back stronger!” That’s what we say when we try to sweet talk ourselves and make it ok. But it always hurts.

Maurice Béjart's Gaîté parisienne with Marijn Rademaker - photo by Stuttgarter Ballet
Maurice Béjart’s Gaîté parisienne with Marijn Rademaker – photo by Stuttgarter Ballet

Being injured means dealing with letting go what you love. Its sounds really dramatic, I know… but it is. Of course, one time can be more dramatic than another time. Maybe one time you can’t enjoy the summer holidays fully because you ripped the ligaments in your ankle and have to walk on crutches. That’s not too bad. You will have to use your free summer time not being free to make your ankle stronger. But at least you can dance again after the summer.

To let go what you really love, dancing, is the hardest. At least, for me. Dealing with cancelling performances, both at home and guesting abroad, that you were really looking forward to. And that comes with disappointing people. Your director, your colleagues, all who will have to jump in all of a sudden; gala organisers who have to find a replacement. And dancers hate to disappoint. That’s in our blood. And then you just miss the dancing, the physicality of it. Watching class being injured and see the guys jump is the worst. ‘But hey, I’ll be back in no time!’ But still this injured feeling is there.

I have spoken to many dancers about being injured over the years. It is an interest of mine, because I’ve been injured quite a bit myself. And many dancers feel guilty and have the feeling they are disappointing people around them. There are some who just say, ‘I don’t give a shit, I did my job, I got injured and I have to get back’. I wish I could have that mind-set. I used to be more like that.

Marijn Rademaker Antwerp 1998
Marijn Rademaker Antwerp 1998

Marijn Rademaker Antwerp 1998 When I had just started at the Stuttgart Ballet I was very eager to work hard. I came from a school where they had no boys in my class or above me to look up to. So when I came to the Stuttgart Ballet, I suddenly saw all these guys and they were all amazing. I was like, ok, I really have to put my shit together and work my ass off. Which I did.

But I can see now – like one always realises things in retrospect – that I pushed myself the wrong way. Also, I had just the wrong ballet technique and wasn’t strong enough. One day in the centre I did a double tour from 5th and in the preparation plié there was an extremely loud bang. Even friends standing in the back against the barre heard it.

Ripped meniscus was the diagnosis after an MRI. I went to ‘one of the best’ clinics in Germany. They always say one of the best. That doctor advised me to sew my meniscus together because I was 19 and still so young and I would still need it a lot in my career to protect the cartilage. I understood what he meant it and sounded like it was the best option for me. It meant not dancing for 6 months. A meniscus is tissue that has basically no blood circulation so it takes a very long time to grow together again. Or not at all… which happened to mine. It didn’t grow together. The thread was loose and floating around in my knee and there was a constant clicking sound. I went back and they decided to cut a part of the meniscus out… Op n°2. This was my right knee. 

Leave a Comment

Äffi experience in Hamburg

My first time setting Äffi. A piece that means a lot to me. Made by Marco on me in 2005. I asked him if he would make something for me because I had a benefit gala in Arnhem, the city I went to school at. He said yes and it was the first time we worked together again after his first Noverre piece ‘Chicks’ in Stuttgart.

IMG_3619Setting this in Hamburg is special to me. I have immense respect for this company and these dancers. The heritage they have, the way they work and dance. John of course. He brought that with him from Stuttgart and developed it. His troupe radiates a great power on and off stage. Of course I also learned a great deal in Stuttgart and now in Amsterdam and its a great feeling giving this on to young dancers. I am working with 4 dancers from the Bundesjungendballett, amazingly guided by Kevin Haigen and Yohan Stegli and 2 guys from the Hamburg Ballet School. All very talented but very different. For me very interesting. I had no idea how it would be to set this piece I know everything about. For instance, I never thought about the music. I had to make a frame and write it down to teach them. Most of it I set on text. The steps are very very detailed. They are so in my body that I sometimes have difficulty showing them slow. But its good for me, next time I will perform Äffi more precise:) The boys are incredibly fast. On the 5th day, we did a run through all together. So all the steps were tought. Chapeaux to them. Its a complex 11 minute piece. Long for a solo. Of course not perfect, but with lots of potential. On the saturday after I started cleaning. First of all the steps, the structure, but for me most interesting is, the karakter of the step, of the piece or the different sections in the piece. What it means to me, what they think of it and of course I try to tell them what Marco thought or said. Its a piece with many feelings. One will find them in the music, but also in the ‘story’ of the piece. Vulgarity, aggression, love, childhood, longing, decision and others.

How do you get major aggression or regret, sorrow and pain out of a 19 year old school boy? I don’t know yet… By showing them, talking to them, stimulating them with sounds, movement and words. One boy is very very talented, but still very young. He has problems keeping his face under control when he gets stressed about the steps (cause there are many) or when he gets tired. Then I connected a feeling or atmosphere to the steps and his face changed instantly. It was involved, as was the rest of his body. When the emotion is there, truly there, the step becomes right. Some dancers do this instinctively. Some you have to help to get this out of them. I am seeing now that I love to do that.

A person that is very important to me in this sense is Georgette Tsinguirides. Choreologist with the Stuttgart Ballet and a Stuttgart Ballet wonder herself. She is connected to the Stuttgart Ballet even before it became Stuttgart Ballet, before Cranko was even there. She worked with me on many different roles that were close to me, like Lenski and Romeo, but also roles that stood far away from me. Like Onegin and Pertruccio in Taming of the Shrew. She tough me how important it is to look at the role/part itself. What it should be like, what it should say, and how it should be done. Because no role is like the other. One should see her walk as Pertruccio. Amazing. Or see how she looks at the cover of Tatiana’s book as Onegin. She has a gift to convey the essence of a part. And that is what is the most important. The essence. Then it is up to the dancer to make it his own. Within the frame of the choreography. She also told me I shouldn’t try to dance for instance Pertruccio like Richard Cragun. First of all cause I can’t, but also because I am a totally different dancer, and person. Every dancers has to dance a role different. I am also trying to tell that to ‘my’ Äffi guys now. I have to tell myself too sometimes, let them do it their way. And that’s how the piece starts living for them. And for me. And that’s beautiful to see and be a part of.

Leave a Comment

Dance4life collects €423.000 for their battle against AIDS/HIV

Dance4life's Funky Fundraiser 2015 inloop
Pom Zwart, Doutzen Kroes en Marijn Rademaker

dance4life’s funky fundraiser, die op 26 juli 2015 plaatsvond in Amsterdam, heeft ruim vier ton opgeleverd. De opbrengst van het diner en de veiling komt ten goede aan de voorlichtingsprojecten van dance4life. Marijn Rademaker, eerste solist bij Het Nationale Ballet, werd op de rode loper als nieuwe ambassadeur verwelkomd door mede-ambassadeur Doutzen Kroes. 

Verschillende kunstenaars en bekende Nederlanders ontwierpen speciaal voor dance4life een Mister Chi-scooter. Tijdens een diner voor 500 prominenten werden de scooters van Bas Kosters, De Jeugd van Tegenwoordig, Doutzen Kroes, Hardwell, Jan Taminiau en Selwyn Senatori geveild. Naast de scooters werden verschillende once-in-a-lifetime experiences en never-for-sale items geveild: van een dag op Circuit Zandvoort met Max Verstappen en een unieke overnachting in de A’DAM Toren, tot een privéfeest met Girls Love DJ’s in de Amsterdamse ABE Club & Lounge en meerijden in de Tour de France met Alberto Contador. Dit resulteerde in een totaalbedrag van 423.000 euro voor het goede doel.

Leave a Comment

Marijn Rademaker new ambassador dance4life

Het Nationale Ballet, Xander de Buisonjé en Doutzen Kroes slaan handen ineen tijdens dance4life’s funky fundraiser

Eerste solist Het Nationale Ballet ambassadeur dance4life

Amsterdam, 26 juni 2015 – Marijn Rademaker, eerste solist bij Het Nationale Ballet, is met ingang van vandaag ambassadeur van dance4life. Dat maakt de organisatie bekend op de dag voorafgaand aan dance4life’s funky fundraiser. Tijdens deze fundraise-avond van dance4life die morgenavond plaatsvindt in de Kromhouthal in Amsterdam worden uiteenlopende items geveild voor het goede doel.

rl-dancee29db9life-banner1Marijn Rademaker kijkt er naar uit om als ambassadeur van dance4life aan de slag te gaan: “Als balletdanser zie ik wat dans los kan maken in mensen. Daarom geloof ik ook zo in de aanpak van dance4life. Met muziek en dans kun je mensen meenemen in je verhaal en een belangrijke boodschap overbrengen. Ik vind het dan ook te gek dat ik dat vandaag als ambassadeur mag gaan doen op het podium van dance4life’s funky fundraiser!”

Vanaf begin 2015 is Marijn Rademaker eerste solist bij Het Nationale Ballet. Marijn Rademaker, voorheen eerste solist bij het Duitse Stuttgarter Ballett, wordt beschouwd als de beste Nederlandse balletdanser ter wereld van dit moment. Marijn danste hoofdrollen in vrijwel alle grote klassiek-romantische balletten en werkte samen met een groot aantal choreografen. Als ambassadeur van dance4life bevindt Marijn Rademaker zich in het gezelschap van mede-ambassadeurs als Doutzen Kroes en Hardwell.

Onvergetelijke show

Met optredens van onder andere DI-RECT, Krystl, Cesar Zuiderwijk, Vincent Bijlo en Het Nationale Ballet worden de aanwezigen voorafgaand aan de veiling getrakteerd op een onvergetelijke show. De presentatie van de avond is in handen van Xander de Buisonjé. Aansluitend wordtdoorgefeest met dj’s Jay Hardway, Kill The Buzz, Mightyfools, Wildstylez en een nog geheime headliner.

Leave a Comment

Marijn Rademaker bij Radio 4 – Opium op 4

Marijn Rademaker praat over zijn favoriete muziek die hij heeft meegenomen, zijn wissel naar Het Nationale Ballet, respect voor choreografen, het nieuwe seizoen, La Dame aux Camelias en veel meer!

Luister hier terug:

Radio 4 - Opium op 4

Leave a Comment

Final performance with The Stuttgart Ballet




Marijn will give his farewell performance with The Stuttgart Ballet on the 31st of December 2014 at the New Year’s Eve Gala.

Lady of the Camellias with Sue Jin Kang (John Neumeier)He will dance two of his signature pieces, Marco Goeckes Äffi and the black pas de deux from John Neumeiers Lady of the Camellias with Sue Jin Kang. He will also dance Javier de Frutos piece 3 with D. This piece was world premiered in London at the Sadlers Wells theatre in Ivan Putrovs show Men in Motion. It’s a pas de deux with the Royal Ballet star, Edward Watson.

The program will include a Itzik Galili world premiere with Friedemann Vogel and Jason Reilly,  Manon with Alina Cojucaru, Hans van Manens Variations for two couples and more  the full program can be viewed here.


Leave a Comment

Marijn Rademaker in Tokyo

Marijn Rademaker is currently rehearsing The Nutcracker with The Tokyo Ballet in Japan. His partner will be Evgenia Obraztsova of the Bolshoi Ballet in Moscow. Their show will be December 19th and 21st in the Bunka Kaikan theatre in Ueno, Tokyo.

Here is a video and some photos of them rehearsing with the Tokyo Ballet.




Leave a Comment

Interview with Marijn Rademaker in SWR2 Radio

Marijn Rademaker wechselt vom Stuttgarter Ballett zum Niederländischen Nationalballett

Source: SWR2

Er gehört zu den Stars des Stuttgarter Balletts, der Erste Solist Marijn Rademaker. Umso schmerzhafter war die Nachricht, dass der Tänzer zum Jahresende die Stuttgarter Compagny verlassen wird und nach Amsterdam wechselt, zum Niederländischen Nationalballett. Heute, 02.12.2014, wird Marijn Rademaker in seiner letzten Neueinstudierung auf der Stuttgarter Bühne stehen, bei einem Ballettabend mit Choreographien von Kenneth Mac Millan. Martina Klein traf Marijn Rademaker hinter den Kulissen.


Photo: Sebastien Galtier  Source: SWR2 Interview: Kultur Regional am 2.12.2014 von Martina Klein
Photo: Sebastien Galtier
Source: SWR2 Interview: Kultur Regional am 2.12.2014 von Martina Klein

Anstelle eines Rückgrates scheint er eine Sprungfeder zu haben, schrieb einst Kritiker Legende Horst Kögler über Marijn Rademaker, als er begann, die Stuttgarter Ballettbühne zu erobern. 15 Jahre ist das her und viele große Rollen.

“Also da gibt es Favoriten, die man sich denken kann, wie “Kameliendame” oder das erste Mal ein klassisches Ballett wie “Dornröschen” oder “Schwanensee”. Aber unterschwellig oder was das Publikum nicht sieht, sind die schönen Ereignisse für mich sind “Jago” oder “Zähmung” oder “Onegin” jetzt, weil das sind Rollen, die mir nicht wirklich vom Charakter her liegen und weil ich richtig gucken musste, wie ich sie gestalte und da bin ich sehr gefordert worden und das habe ich sehr geliebt, das zu machen. Aber die haben mir ja auch die Chance gegeben, die haben immer an mich geglaubt und Reid hat mich da auch immer gefördert. Also da bin ich auch ziemlich dankbar dafür.” Marijn Rademaker

Schon mit dem Blick zurück auf ein für ihn abgeschlossenes Kapitel, das Kapitel Stuttgart. Es begann für den heute 33-jährigen mit dem Wechsel als Eleve der Königlichen Tanzakademie in Den Haag nach Stuttgart. 2006 dann die Ernennung zum Ersten Solisten. Seitdem gehörte Marijn Rademaker zu den Stars der Compagny. Rademakers besonderes Plus: Er ist die Idealbesetzung des Prinzen von “Romeo” über “Dornröschen” bis “Schwanensee” und gleichzeitig ein begnadeter Interpret moderner Choreographien. Mauro Bigonzetti kreierte die Hauptrolle in “I fratelli – Die Brüder” für ihn. Und für das Solo “Äffi” von Marco Goecke wurde Rademaker 2005 von der Zeitschrift “Ballettanz”“ ausgezeichnet. Ein Jahr später folgte der Deutsche Tanzpreis.

Leave a Comment