Pascal Molat: From Paris Opera to San Francisco Ballet School, A Journey of Excellence Between France and the U.S.

As part of the month of Francophonie, we had the honor to interview Pascal Molat, Associate Director of the Trainee Program at San Francisco Ballet School and a prominent figure in the world of dance. From the Paris Opera to the San Francisco Ballet School, his journey reflects an unwavering pursuit of excellence and artistic diversity. On the occasion of the Night of Ideas, a global cultural event, Pascal Molat will lead a giant barre in San Francisco, open to the public and bringing together enthusiasts and amateurs around the universal beauty of dance. Let’s dive into his world, where French tradition and American modernity intertwine to shape the future of classical dance.

MerciSF – Your journey has taken you from the Paris Opera to the San Francisco Ballet, and now to the head of the Pre-Professional Program at the San Francisco Ballet School. Tell us about the main stages of your journey.

Pascal Molat- My journey began in Montpellier, at EPSE Danse, under the direction of Anne-Marie Porras. She propelled me onto the stage after seeing me sketch the choreography of Thriller and experiment with breakdance. This first stage experience was a real turning point for me. A few months later, at my mother’s urging, I auditioned to join the Paris Opera Ballet School, where I completed my training.

After my years at the Paris Opera, an injury forced me to take a break. I then returned to Montpellier to work under Rudy Bryans, regain my skills, and prepare for my first professional contract. This is how I joined the Royal Ballet of Wallonia, where I became a soloist in my first year. The following year, I joined the Royal Ballet of Flanders under the direction of Robert Denvers, where I stayed for four years and was promoted to first soloist.

During my fourth year in Antwerp, Jean-Christophe Maillot, director and choreographer of the Monte-Carlo Ballets, attended one of our performances and invited me to the Dance Nights festival in Monaco to perform the title role in Romeo and Juliet. This experience marked a turning point: captivated by this new adventure, I decided to stay in the Principality as a principal dancer for four years. After enriching my classical repertoire in Antwerp, I immersed myself in contemporary dance in Monte-Carlo.

From then on, my ambition was to combine classical and contemporary dance within the same company. My choice fell on the San Francisco Ballet of Helgi Tomasson, whose unique and versatile repertoire particularly attracted me. After a successful audition, I began a career there that lasted fourteen years as a principal dancer, until my retirement in 2016.

At that time, the San Francisco Ballet School was directed by Patrick Armand, who first invited me to teach at the summer intensive before offering me a position on the faculty. After a year of teaching, he appointed me assistant to the Pre-Professional Program (Trainee Program), which he oversaw, before I became Deputy Director of this program.

MerciSF – On March 15, 2025, you participated in the 25th anniversary of the French American Cultural Society here in San Francisco. How do you otherwise maintain your connection with France, especially as a Frenchman at the head of the Pre-Professional Program of an American school?

Pascal Molat- Thanks to my training at the Paris Opera Ballet School and my nine years spent between Belgium and Monaco, I had the opportunity to work with many French/Francophone dancers, choreographers, and directors (Claude Bessy, Robert Denvers, Jean-Christophe Maillot, Maurice Béjart, Rudy Bryans…) and I maintain these relationships despite the distance. As the head of the Trainee Program, one of my essential missions is to identify promising young dancers at prestigious competitions such as the Youth America Grand Prix or the Prix de Lausanne, in order to invite them to join our school. Through these events, I also have the opportunity to collaborate with several French school directors who present their students.

I also take advantage of my personal time each summer in France to create new connections. This summer, for example, I will teach at the Rosella Hightower School under the direction of Paola Cantalupo and will be part of the jury for the exams of the Paris Opera Ballet School, at the invitation of Élisabeth Platel.

MerciSF – How has your training in France shaped your approach to teaching?
Pascal Molat- Having been trained at the Paris Opera Ballet School, the French curriculum is deeply ingrained in me and significantly influences the structure of my classes. My exercises naturally fit into this tradition, with a distinctly French style. This heritage, known here as the French Touch, is an integral part of my teaching. However, it is also enriched by the diversity of experiences I have accumulated throughout my career, alongside directors, choreographers, and dancers from various backgrounds.

The French influence in the world of ballet is undeniable, as all dance step terminology is in French. I am also a staunch defender of this heritage, especially since, despite my 23 years in San Francisco, my French accent remains quite recognizable!!

The Trainees Program at SFB is a bridge to the professional world. At the school, we develop our students’ qualities so that they are ready to face the challenges and obstacles that will mark their professional journey. And these challenges are numerous.

Fifty years ago, it was possible to have an entire career dancing only classical ballet. Those days are gone. Today, versatility is essential to hope to break into the world of ballet. The training I received at the Paris Opera Ballet School already followed this approach, integrating contemporary dance, character dance, folklore, and mime courses, in addition to the classical curriculum.

Our mission is therefore to provide them with all the tools necessary to excel, both physically and mentally. We help them develop their critical thinking and their own artistic path so that they can fully flourish in their careers and become powerful performers.

MerciSF –You have embodied many character roles. How do you convey to students the importance of interpretation and artistic expression beyond pure technique?

Pascal Molat- Interpretation and artistic expression are at the heart of our art, but to fully achieve them, one must first free oneself from technical constraints. Technique is the first tool to master: it provides the freedom necessary to bring interpretation to life.

Artistry is revealed through musicality and phrasing, as well as one’s own personality and story. I often remind my students that 50% of their dance is the music. Therefore, total listening is essential to play with the music and refine their interpretation. Learning to listen to the music, to understand its nuances, its phrasing, and to be imbued with it. This is what will give depth and authenticity to their interpretation.

I like to make them understand that the rhythm in the theatrical action through movement, as well as the intonations and intentions, are essential because they bring different textures and nuances to their movement, allowing them to tell a story like an actor would.

Developing their creativity and imagination is fundamental so that they can fully embrace their artistic choices and thus be completely confident on stage to deliver their best and touch the audience.

MerciSF –As Deputy Director, how do you collaborate with the teaching team to instill the “spirit” of the San Francisco Ballet while valuing the diversity of cultural influences?

Pascal Molat- As Deputy Director, my mission is to reconcile excellence and tradition within a company deeply rooted in history. As the oldest American company, while being resolutely forward-looking, the San Francisco Ballet embodies this balance. Similarly, the San Francisco Ballet School embraces the richness of cultural influences that shape contemporary dance.

Within the school, we have teachers from French, Russian, and American traditions. This diversity of styles brings richness to our students. I work closely with the teaching team to ensure rigorous training, rooted in the heritage of classical ballet, but open to contemporary developments. This involves a pedagogical approach that encourages versatility, integrating styles and methods from different schools and choreographic traditions.

Working with teachers and choreographers from diverse backgrounds enriches this dynamic and allows dancers in training to develop a unique artistic identity, in harmony with the vision of the San Francisco Ballet.

SF Ballet School Director Grace Holmes and Associate Director Pascal Molat with San Francisco Ballet School Trainees // © San Francisco Ballet, Lindsey Rallo

MerciSF – The world of dance is constantly evolving. What advice would you give to young dancers to prepare for a career that combines technical excellence and artistic adaptability?

Pascal Molat- Today’s ballet is inspired by multiple artistic forms; it is important to be curious, to see a variety of shows; to be interested in art in all its forms is essential (painting, cinema, photography, literature…). This will enrich their artistic sensitivity and nourish their dance. The technique of classical dance pushes the body to its limits, and it is important to listen to your body, to pay attention to recovery, nutrition, and injury prevention. Working on mental resilience is also very important because a dancer’s career is full of ups and downs.

MerciSF – The transition from principal dancer to teacher can be challenging. What aspect of teaching brings you the most satisfaction today?

Pascal Molat- The transition from principal dancer to teacher is a real journey, with its challenges but also its invaluable rewards. What brings me the most satisfaction today is seeing the evolution of the students, both technically and artistically.

Passing on my experience, helping dancers refine their own body language, and seeing them gain confidence on stage is a source of great pride. I particularly enjoy the moment when a student overcomes an obstacle, whether physical or mental, and realizes that they are capable of much more than they imagined. I like to remind them never to set limits for themselves, as the power of positive thinking and visualization is their greatest asset. Teaching is truly the most beautiful profession in the world and also allows me to have a broader impact on the new generation, preparing them for the demands of the profession while nurturing their creativity.

MerciSF – If you had to choose one piece or role that symbolizes your journey as a dancer and your artistic legacy, what would it be and why?

Pascal Molat-It is difficult for me to choose a single ballet that symbolizes my career, having had the privilege of dancing more than 150 works across different companies. Each one brought me something unique, nourishing both my artistic evolution and my technical mastery, with their respective challenges.

That said, the role of Mercutio holds a special place in my heart. I had the opportunity to interpret it in four different versions, within four distinct companies (Royal Ballet of Wallonia, Royal Ballet of Flanders, Monte-Carlo Ballets, San Francisco Ballet), and it remains one of my favorite roles. Its tragicomic character, its range of contrasting emotions, as well as the subtle blend of lightness of action and depth of soul, make it a role that is both demanding and enriching to embody on stage.

I could also mention the ballets I danced or created alongside renowned contemporary choreographers such as Jiri Kylian, William Forsythe, Yuri Possokhov, Sir Wayne McGregor, Hans Van Manen, or Alexei Ratmansky, among others. Each of them offered me unique challenges and enriching artistic specificities. It is therefore difficult for me to single out one in particular, as these collaborations have contributed to shaping my journey and my vision of dance.

_______

The next San Francisco Ballet School events

Don’t miss the San Francisco Ballet School Spring Festival: this year the San Francisco Ballet School students will take the stage at the War Memorial Opera House for the annual San Francisco Ballet School Spring Festival. This will not only be the first time many of these talented young dancers will appear on this stage, but it will also be the first time that the Grammy Award-winning San Francisco Ballet Orchestra will perform at the Spring Festival alongside the students. A fundraiser gala dinner will follow the late matinée performance of May 10. Proceeds from this event will support the $1.5 million in scholarships and financial aid the School distributes annually to deserving students, as well as SF Ballet’s education and outreach programs that server over 40,000 children, families, and community members throughout San Francisco each year.