How was it to move from Japan to Stuttgart?
"It was not to easy and not too difficult, says Kentaro diplomatically. I had many Japanese friends at the school so I really enjoyed it and it was not so lonely for me."
What did you miss most then, besides your family?
"I missed the Japanese food. I couldn’t cook by myself at that time so I ate at a canteen. After a while I stopped bringing noodles with me from Japan when I returned from home."
Unfortunately, Kentaro injured him when he was in the last year of the school, so he had to go back to Japan for a surgery. After six months he could return to the John Cranko Schule. He spent then one year extra with them before he could make the exam.
March 2017, he attended an audition at the Royal Opera, at the time when Johannes Öhman was the Ballet director. The same year Kentaro started as a dancer with the Royal Swedish Ballet.
Are there any coachers here in the Opera house you want to mention has been developing for you?
"Yes, I would like to mention two of them. Definitely has Nicolas Le Riche helped me a lot. When I was casted as corps in the Swan Lake, he gave me a lot of tips how to do the partnering etc, so I felt me confident when I was on stage. Clairemarie Osta coached us with the Swan Lake, she came back for Manon. She had so many aspects when coaching us, I really loved her way to work with us. When Manon came back in September, I felt me so secure what I was doing on stage."
Which partners have you been dancing with?
"Recently I worked with Sarah Erin Keaveney in Manon. In Swan Lake and Theme and variations I danced with Luiza Lopes and Madeleine Woo."
How do you prepare you more for a new roll, more than training here.
"It depends on which production we are doing, if it is a lot of lifts and heavy work, you have hardly any power to go the gym when we are finished.
For Manon we were told to train specially our shoulders, because it’s a lot of lifts. The physio team at the Opera had a discussion with us how to build our bodies for Manon.
In the beginning of the year, we did a ballet gala and I did In the middle somewhat elevated. At the same time, we had Swan Lake and it was really hard to switch. Classical is rather square but in Forsyth’s piece is a lot of extensions like go as much as you can or lower your body down to the floor. It’s really difficult but I love it so much."