Iñaki Urlezaga occupies a definitive place in the history of Argentine dance, standing firmly within an elite cohort of the country’s most celebrated ballet dancers alongside figures such as Julio Bocca, Maximiliano Guerra, and Hernán Cornejo. Now, three decades after ascending to international prominence as a principal dancer with the prestigious Royal Ballet in London, Urlezaga has returned to the footlights. He is back not just as a performer, but as the creative force behind “El aplauso final” (The Final Applause), a deeply personal ballet for which he wrote the script, directed the staging, and choreographed every movement.
A poetic and emotionally resonant creation, the piece delves into the complex inner world of an artist facing a final farewell. It is a theme that Urlezaga understands with intimate clarity, having retired from professional stage performance seven years ago at the age of 42. The production explores the profound connection between the performer, embodied by Julieta Paul, and her mentor, choreographer, and director—roles seamlessly inhabited and reflected by Urlezaga himself. The narrative unfolds as a touching story shaped by enduring love, total devotion, and the haunting, beautiful memories that linger long after the curtain falls.
The performance weaves together fragments of classical mastery, incorporating exquisite excerpts from timeless masterpieces such as “Romeo and Juliet,” “La Traviata,” and “Sylvia.” These classical elements are counterbalanced by dramatic, highly theatrical scenes set to the stirring, romantic music of Sergei Rachmaninoff’s “Piano Concerto No. 2.” Together, these musical and movement choices establish an atmosphere of introspection and grandeur.
Reflecting on the tour, Urlezaga shares insights into how the production has evolved across different cities. “The world premiere was last month in Rosario, and then we performed in Montevideo, La Plata, and Mar del Plata,” Urlezaga tells the Herald. He describes the process of bringing the work to life using a comforting culinary metaphor, comparing the play to a cake fresh out of the oven that needs to be left overnight to cool down and settle into its final form.
“Theater has that quality: it gradually comes together, you experience it, you build it,” he explains, emphasizing the organic nature of live performance. Following its regional tour, “El aplauso final” is set to conclude its current run this weekend in Buenos Aires at the historic Teatro Opera, a storied venue situated along the iconic Avenida Corrientes.
Always a choreographer
Urlezaga’s transition into choreography is not a recent post-retirement pivot, but rather the continuation of a lifelong vocation. He notes that he has essentially been a choreographer his entire life, tracing his origins back to childhood games “since I was eight years old, in school playgrounds.”
“I simply started doing this professionally a few years ago, when I stepped down and continued doing the same thing without being on stage myself,” he reflects.
Born into an artistic household where classical music served as a constant backdrop and visiting dancers frequently passed through their home, a career in ballet felt almost inevitable. His formative years were shaped by several monumental milestones, including the unforgettable moment he witnessed legendary Argentine dancer Jorge Donn performing Maurice Ravel’s “Bolero” in Claude Lelouch’s celebrated cinematic masterpiece, “Les Uns et Les Autres.” That visual and emotional impact cemented his ambition to pursue the art form at the highest level.
The subsequent step in his development involved rigorous academic training at the Teatro Colón in Buenos Aires, an institution renowned for its strict discipline and high standards. “It transformed me and gave me the tools I needed to dance,” he recalls, acknowledging the foundation that enabled his subsequent international success.
The move to Europe marked another massive qualitative leap in his professional trajectory. After successfully applying for an audition, he traveled to England, immersing himself in the rigorous environment of the Royal Ballet. It was there that he gained a comprehensive understanding of how a ballet is meticulously conceived and what structural integrity its core framework requires to captivate an audience.
Among his most cherished memories from those formative days in London is his interaction with Diana, Princess of Wales. During a time when she was already divorced, Princess Diana would frequently visit the Royal Ballet on days when there were no public performances. Moving almost incognito, she would make unexpected appearances in the Royal Box. Beyond her personal appreciation for the art, she served as a dedicated patron, actively sponsoring numerous productions and encouraging major corporations and financial institutions to contribute funds to support major dance companies.
“She had a different kind of humanity, always helping the person behind the dancer,” Urlezaga says of the late princess. “She connected with people in a sensitive and charismatic manner. It wasn’t some lukewarm or superficial gesture.”
Retiring at 42
Urlezaga’s tenure as an active dancer came to a definitive close following a knee injury that ultimately developed into osteoarthritis over the years. The physical toll proved insurmountable. “There came a point when I simply couldn’t do it anymore,” he admits candidly.
While he has crafted numerous choreographies since hanging up his professional ballet shoes, “El aplauso final” holds a uniquely cherished place in his body of work. Although many spectators mistakenly assume the piece is strictly autobiographical, the initial spark actually emerged from a deeply moving conversation with Julieta Paul, when she shared her own impending decision to retire from the stage—a revelation that resonated powerfully with Urlezaga’s own lived experience.
“It comes from everything I’ve absorbed, lived through, and experienced, from the hard parts to the most beautiful parts,” he explains. “It’s a work that doesn’t resemble anything else, because the dramaturgy is quite unusual for ballet. It’s a very theatrical piece. It’s a ballet, but it enters areas that might be unexpected, and it’s also a great tribute to everyone who works in a theater.”
When discussing his creative process, Urlezaga points to two primary wellsprings of inspiration that continually fuel his imagination: leisure and literature. These elements act as vital portals to the broader world. Whenever he embarks on travels, he invariably packs a stack of books to accompany him. He notes that he recently finished reading “Poet in New York” by Federico García Lorca, and expresses a profound admiration for Octavio Paz, whom he describes as one of the noblest souls in Latin American literature. “Culture is a wonderful thing,” he reflects.
Looking ahead beyond the intensity of the upcoming weekend performances in Buenos Aires, Urlezaga plans to step back and take an extended break, potentially treating himself to an early vacation. He intends to pause, reflect upon what has been accomplished, and allow ample breathing room before embarking on any new creative ventures.
“I’d like to stop for a while, review what we’ve done, and give myself some time before moving on to another production,” he concludes. “Then, after a year or six months, I can return to this piece with the distance that allows me to detach myself from the work.”
