INTERNATIONAL SUMMER INTENSIVE BALLET COURSE
(for students in professional training)
Dates: 5–14 August 2026
The aim of the program is to prepare and develop young dancers for professional careers and international ballet competitions through an intensive 10-day training course led by internationally renowned masters.
The course includes: Classical ballet, Classical repertoire, Pas de deux, Progressing Ballet Technique (PBT) Modern technique, Modern repertoire.
The age limit for the ISIBC 2026 Professional Program is 14–24 years.
Participation requirements for the 10-day program:
- A minimum of 4 years of classical ballet training
- For female dancers, a minimum of 3 years of pointe work experience
During the course, BBGP 2026 applicants will have the opportunity to work with internationally acclaimed artists and master teachers in individual coaching sessions.
Participants will also have the opportunity to take part in a live, free pre-selection for the
IV Budapest Ballet Grand Prix (BBGP), taking place 15–19 November 2026.
Results of the pre-selection process will be communicated to participants by the end of the summer course.
Application deadline: June 10. 2026.
We look forward to welcoming you!
ISIBC 2026 masters
Anita Magyari graduated at the State Ballet Institute, Budapest in 1978. She spent a year on scholarship in Moscow. She was a member of the Budapest Opera House between 1979 and 1982. She got married in Italy and has lived there since then. She has been a member of the Scala Ballet Company in Milan and a private dancer since 1985. She has danced many important roles in the classical repertoire such as the royal princess in „The Wooden Prince”, Odette/Odilia in „Swan Lake”, Bianca in „The Taming of the Shrew”. She also acted in Giselle, Romeo and Juliet, Manon by MacMillan or in Cranko-Tchaikovsky-Stolze’s Onegin. Anita Magyari was starring in Dolin’s Pas de Quatre, Hans van Manen’s Adagio Hammerklavier and Balanchine’s Ballet Imperial. She has partnered many world-famous ballet artists during her rich career, including Rudolf Nureyev at la Scala in Milan. Currently, she is managing a private ballet school in Milan.
Esther Protzman trained at the Royal Conservatoire and the Royal Ballet School of Antwerp and continued her studies at the Académie de Danse “Princesse Grace” in Monte Carlo after receiving a scholarship in Lausanne. She danced for nearly 20 years, first with the Royal Ballet of Flanders and later as a soloist with the Dutch National Ballet in Amsterdam. Her repertoire included leading roles in major classical ballets such as Giselle, Swan Lake (Odette/Odile), Romeo and Juliet, and The Sleeping Beauty, as well as works by renowned choreographers including Rudi van Dantzig, Hans van Manen, Toer van Schayk and Jiří Kylián. In 1989, she received the Dansersfonds Prize for her performance as Aurora. After retiring from the stage, she completed intensive teacher training in Vaganova methodology at the Hungarian Ballet Academy in Budapest. She has been a faculty member at the Royal Conservatoire in The Hague since 2001 and has worked as a guest teacher with several international companies and institutions.
Lienz Chang trained at the Cuban National Ballet School under the guidance of Alicia Alonso, graduating with a Gold Medal and receiving the award for Best Partner at the National Ballet Festival in Havana. He became a First Dancer of the National Ballet of Cuba, sharing the stage for six years with Prima Ballerina Alicia Alonso in leading roles of the classical repertoire, including Giselle, Swan Lake, Don Quixote, and Romeo and Juliet. He has performed internationally at prestigious venues such as the Paris Opera, Royal Festival Hall in London, NHK Hall in Tokyo, and the Bolshoi Theatre in Moscow, and has received several international awards, including prizes in Varna and Trujillo. A close collaborator of Roland Petit, Chang performed principal roles in Petit’s major works and later became répétiteur of his choreographies. Alongside his performing career,he developed an extensive artistic leadership profile, working as choreographer, maître de ballet and choreographic assistant at leading European houses including Teatro alla Scala in Milan, Teatro dell’Opera di Roma, Teatro di San Carlo in Naples and Teatro Massimo in Palermo. He has also been active as a professor and guest master at numerous international institutions. As of 2025, he serves as Ballet Master at the Opéra National de Bordeaux.
Britt Juleen spent most of her 20-year performance career in Europe at the Dutch National Ballet in Amsterdam and as a first soloist in Germany’s SemperOper Ballet’s exquisite Opera House. She has taught extensively across the San Francisco Bay Area including the company and schools associated with Alonzo King LINES Ballet, Oakland Ballet Company and ODC Dance Company. Juleen’s approach to teaching and choreography is greatly influenced by alternative studies of experiential anatomy. Somatic approaches to movement exploration allow her to enrich her teaching of traditional ballet technique with a contemporary sense of authentic expression and kinesthetic development.
Endre Schumicky graduated from the Hungarian Dance University in 2013. He began his professional career in Germany, dancing with Staatstheater Mainz, followed by Stadttheater Gießen and Dance Company Nanine Linning. Since 2017, he has been a member of Göteborgs Operans Danskompani (Gothenburg Opera Dance Company), where his artistic development has been strongly influenced by choreographers such as Sharon Eyal, Sidi Larbi Cherkaoui and Hofesh Shechter, as well as by the inspiring collaborations with his fellow dancers.
Carola Sicheri trained at the Accademia del Teatro alla Scala in Milan and later graduated from the Institut del Teatre in Barcelona. After completing her studies, she joined the Dresden Frankfurt Dance Company under the direction of Jacopo Godani. Today, she works internationally as a freelance teacher and private coach for young dancers and professionals. Her teaching focuses on classical and contemporary dance, anatomical awareness, and biomechanical re-education. She also integrates physical and mental coaching into her work and shares her research through her project The Complete Dancer.
as well as faculty members of the Hungarian Dance University.
