When two of Korea’s brightest ballet stars take the stage for La Bayadère at the Seoul Arts Center this Oct., it will mark more than just a performance—it will be a long-awaited reunion. Paris Opera Ballet étoile Park Sae-eun and Mariinsky Ballet principal dancer Kim Ki-min, both winners of the prestigious Benois de la Danse, return to their home country for the first time in over a decade to perform together. Tickets for the event sold out in just three minutes, a testament to the excitement surrounding these world-class dancers’ homecoming.
Park Sae-eun, 35, and Kim Ki-min, 32, are set to lead the production of La Bayadère at the Seoul Arts Center’s Opera House from Oct. 29 to Nov. 3. The pair, both alums of Korea National University of Arts, first performed this ballet together in 2010, just before Park joined the Paris Opera Ballet. Speaking with The Chosun Ilbo on Oct. 22, Park reflected, “While I’ve danced in gala performances here, this is my first full-length ballet in Korea in 14 years.”
Their journey with La Bayadère has been intertwined, albeit with missed moments. In 2015, Park performed La Bayadère as Nikiya at the Mariinsky Theatre in St. Petersburg, where Kim watched from the audience. Later that year, Kim danced the role of Solor at the Paris Opera, with Park in attendance. Park recalls, “When I was unsure of how to adapt to the Mariinsky’s style, Ki-min’s advice was invaluable. He told me, ‘Don’t worry about whether it’s Russian or French—just dance in your own style.’” Over the years, the two have supported each other closely, whether by bringing Korean food to rehearsals or sharing insights on performances. Park joked, “We’ve spent hours on the phone debating the nuances of La Bayadère, even hanging up on each other at times. But I still learn so much from him—Kim Ki-min is the textbook for this role.”
One of the most iconic scenes of the ballet is the opening of the third act, The Kingdom of the Shades, where ballerinas dressed in white tutus appear to float ethereally across the stage. Park reminisced, “As a child, watching the ballerinas painted white from head to toe felt like witnessing real magic. While today’s performances, like those at Paris Opera Ballet, embrace diversity by allowing dancers to perform in their natural skin tones, this production will stay true to the imagery I remember so vividly.”
For Park, the role of Nikiya feels particularly personal. “It’s a role where I don’t have to embellish or pretend—I can be myself,” she said. This upcoming performance will be her fourth time dancing the role, following performances in Seoul (2010), St. Petersburg (2015), and Paris (2022). “Unlike Kitri from Don Quixote, who requires a playful and coquettish interpretation, Nikiya is pure, humble, and yet carries a quiet dignity and inner strength.”
She also urged audiences not to focus solely on her portrayal of Nikiya but to look forward to her chemistry with Kim Ki-min as Solor. “Both Ki-min and I prioritize storytelling and interpreting the work. If we can achieve harmony through our combined understanding and performance, I think we might even move ourselves to tears.”
Returning to the Korean National Ballet has been a nostalgic experience for Park. Reflecting on the company’s facilities from 14 years ago, she remarked, “Back then, the rehearsal rooms on the fifth floor of the Seoul Arts Center Opera House were small and the conditions were less than ideal. Now, everything is spacious—the training rooms, massage rooms, and there’s even a ramen machine for the dancers! It’s a huge upgrade.” Park added with a smile, “The students I gave one-point lessons to at Korea National University of Arts and Sejong University are now dancing with the company. It feels like coming home.”
This time, Park has brought her 21-month-old daughter Ji-an with her to Korea. “In France, I juggle work with taking care of my child, but here, my parents are helping, and it’s such a relief. Last Sunday, they were resting with Ji-an near the fountain outside the Seoul Arts Center, and she saw a poster of La Bayadère. She pointed to it and said, ‘Mommy!’ My parents told her, ‘Mommy’s gone to ballet,’ and she didn’t even fuss. I’m so proud of her.”
For Park, ballet remains the most humbling art form. “The biggest danger is thinking, ‘I’m good’ or ‘I’m a star.’ It’s a constant battle to find where you’re lacking and push yourself further.” She also added, “Both Ki-min and I hope to honor the traditions we’ve inherited, while adding our own unique colors to them.”
One of her role models is Noëlla Pontois, the legendary Paris Opera Ballet étoile who danced alongside Rudolf Nureyev. “Pontois is a dancer who exudes pure emotion and grace—qualities I treasure. Her performances always conveyed purity, nobility, and deep emotion, and I hope to bring those same qualities to my own dancing, while adding my own touch.”
Following her performances in Seoul, Park Sae-eun will also star in the Paris Opera Ballet’s Swan Lake film, set for global IMAX release on Nov. 8. Korean audiences will get an exclusive first look at the world premiere in Seoul on Nov. 4, where Park will make a special appearance to greet the audience.
