Iván Gil-Ortega

Published in Print May 2025 order now!
words Helena Gjone
image Karine Grace

On the afternoon of Thursday, March 6, I called Iván Gil-Ortega, who recently relocated from Switzerland to take on the role of Artistic Director at Queensland Ballet.

Despite the looming threat of Cyclone Alfred approaching Brisbane, Gil-Ortega’s spirits were high. Having already weathered a cyclone while working in Cuba, he even cracked a joke about the sudden shortage of toilet paper in supermarkets. “You know, Helena, I don’t understand about the toilet paper,” he laughed over the phone. “I don’t get it. How many times do you need to go to the bathroom?”

Something about his voice put me at ease. After a turbulent period at Queensland Ballet—marked by budget deficits and the abrupt departure of Leanne Benjamin just five months into her role—Gil-Ortega’s calm and resilient demeanour felt like exactly what the company needs.

Born in Spain, Ivan Gil-Ortega began dancing as a young child in Barcelona. At just 14, he moved to Madrid to train with Carmen Roche, whom he describes as a “very strong teacher.” In 1994, he became a finalist in the Prix de Lausanne, and just a year later, at 17, he started his professional career with Germany’s Stuttgart Ballet. Known for his compelling character portrayals, elegance, and exceptional partnering skills, he was promoted to soloist in 1996 and principal artist in 2001.

One of the many things he loved about being a dancer was the intensity of performing; how stepping onstage in front of an audience forces you to be fully present. “It’s all about the moment,” he told me. “If you actually enjoy that moment while you’re doing it, it’s just great.”

Throughout his career, Gil-Ortega’s extensive repertoire spanned both classical and contemporary works, including leading roles in iconic ballets like John Cranko’s Onegin and Romeo and Juliet. He also collaborated with many renowned choreographers, including Marcia Haydée, Hans van Manen, John Neumeier, Jiří Kylián, William Forsythe, Christian Spuck, and Douglas Lee.

When I asked about career highlights, he hesitated, as if unsure where to start. “There are so many. I feel very lucky. And I say lucky with a very small mouth because I don’t really believe in luck. Unless you put in the work, it doesn’t happen. But you must be in the right place at the right time. I’ve been lucky to develop my career everywhere I wanted to be. I achieved most of my childhood dreams.” He paused, reflecting. “Thought at the end of the day, it doesn’t matter where you are if you’re doing what you love.”

Hungry for new challenges, Gil-Ortega went on to perform as a principal with Dutch National Ballet for one season, and guested with companies across the globe, including the Bayerisches Staatsballett of Munich, the National Ballet of Finland, the National Ballet of Croatia, the West Australian Ballet, the Teatro San Carlo di Napoli, the Nuremberg Staatsballett, the National Ballet of Korea, the National Ballet of Slovenia, and many more.

After retiring from his performance career, Gil-Ortega transitioned into a range of artistic leadership roles, including working as an assistant director, artistic consultant, freelance rehearsal director, stager, and coach. Notably, he collaborated with Carlos Acosta to launch the world premiere of Carmen at the Royal Opera House in 2015 and served as Rehearsal Director and Stager for the Bolshoi Ballet’s world premiere of Orlando in 2021. Since 2019, he has also served as Vice President of the Prix de Lausanne.

Gil-Ortega’s international experiences have deepened his appreciation for the universality of dance. “I think ballet is a worldwide language,” he said. “That’s what brings us together. I’ve been in many places, and at the end of the day, the language I use when I’m teaching or setting a ballet is the same. Even though there are different cultures, different languages, and everything else, I get into the studio, do what I do, and everybody gets it. And I think that’s the beauty and the magic of it.”

Given his extensive experience, Gil-Ortega is in high demand worldwide. So, why did he choose Queensland Ballet?

He explained that when he first stepped inside Brisbane’s red-brick Thomas Dixon studios in 2016 to work on Strictly Gershwin, he felt instantly at home. In particular, he was struck by the dancers’ energy and positivity. “Strictly Gershwin is such a great production, and the dancers took it so well. They were so welcoming, and despite it not being a typical classical ballet, they got involved so well, they were so giving. And that was something that I really cherish because it’s really nice. Not everywhere is the same, and that was great. And when I came back in 2023 [to work on the second season of Strictly Gershwin], it was the same feeling.”

Coming from Europe, Gil-Ortega’s biggest challenge will be adapting to the financial pressures plaguing Queensland Ballet. In most countries where he’s previously worked, ballet companies benefit from substantial government support and long-term financial security. In contrast, Queensland Ballet receives limited funding—even less than its counterparts in other Australian states—and is therefore heavily reliant on donations from generous private donors and corporate partners.

Is he daunted by this? Not really. “You just have to be clever enough to understand the system,” he told me. “If you know what you want to do and have a clear plan, you’ll find a way. Because where there’s a will, there’s a way. Sometimes it’s not easy—well, most of the time it’s not easy—but we’re not here to have an easy ride.”

With the 2025 season already set in stone, Gil-Ortega is beginning to shape his vision for 2026. Though he’s not ready to share specifics just yet, his overall goals include bringing fresh and exciting experiences to audiences, nurturing the next generation of dancers, and fostering deeper community engagement.

“I’m so excited to see what you do with Queensland Ballet,” I said.

“Me too!” He replied with a smile in his voice.