Against All Odds. 30 Years of Art on Ice.

August 5, 2026
By Reut Golinsky
Photo © Reut Golinsky

The 2026 edition of "Art on Ice" took us back to where it all began: the iconic "Splendid Bar" in Zurich. It was here, back in 1995, that two young dreamers, Reto Caviezel and Oliver Höner, came up with a bold yet simple idea: to combine live music with figure skating. Despite the challenges and doubts, they pushed forward - and "Art on Ice" was born. No one could have predicted how far this concept would go. Through financial crises, a global pandemic and an ever-changing world, "Art on Ice" has not only survived but grown into one of the world's most beloved live shows.

"What if it does work?"

Every skater in this year's cast embodied the show's spirit of overcoming the odds, but one who truly stands out is Deanna Stellato-Dudek. After retiring from singles at the age of 17 in 2001, she made an inspiring comeback 16 years later, this time as a pairs skater. Alongside Maxime Deschamps, she fought her way to the top and, at 40, became the oldest woman ever to win a World Championship title in figure skating. Her journey perfectly captures the show's message: it's never too late to dream big and go after it.

Take Romero Britto, for example. Growing up in the favelas, he painted on scraps of cardboard and newspapers, and his bright, cheerful art was often dismissed as "too simple" or "too commercial." Today, Britto is an internationally acclaimed pop artist who has collaborated with global brands such as Disney, Coca-Cola and Bentley, while also creating artwork for major events including the FIFA World Cup and the Olympic Games. For Art on Ice's anniversary, Britto designed the logo and created an exclusive artwork that became a central part of the show's visual identity. Adam Siao Him Fa even chose to feature Britto's art on his free skate costume (replacing Michelangelo's "The Creation of Adam" which was there during the season).

The show's musical guests also reflected on the challenges that shaped their careers. Jess Glynne, James Bay and Stress spoke about battling anxiety and finding their authentic voices. Stefanie Heinzmann, who won over "Art on Ice" fans with her powerful performances already in 2019, shared how she stayed true to herself despite setbacks. Noah Veraguth talked about starting over after leaving his longtime band Pegasus to pursue a solo career. Their stories unfolded in the show's "virtual bar", a creative on-screen space where the artists reflected on defining moments, difficult decisions and the choices that shaped who they are today.

The title of the show, "Against All Odds", perfectly captured what Art on Ice 2026 was all about. It shone a spotlight on the difficult journey artists often face in making a name for themselves. It celebrated the courage to trust your inner voice, to defy resistance, and to ask yourself one simple but powerful question: "What if it does work?"

This year's production was both a celebration of Art on Ice's own remarkable journey and a tribute to all those who are brave enough to be different. To all the dreamers who dare to try something new, challenge themselves, and inspire others. To all those who, against all odds, risk everything to turn their convictions into art. They succeeded not despite being different, but because they were different.

Sarah van Berkel: "People come for the whole show"

From selling programs at Hallenstadion as a child to becoming one of Art on Ice's leading performers and now working behind the scenes throughout the year, Sarah van Berkel (née Meier) has seen the show from almost every possible perspective. Before this year's performance, she shared some of her favourite memories on the ice and spoke about helping the next generation through the Young Talents program.

What is your first "Art on Ice" memory?

I don't remember which year it was exactly but as a kid I sold the programs [at the venue]. They always invited kids from the local club for this. There was no online program back then, these were printed programs listing all the skaters who were performing. And so we would sell them here, in Hallenstadion, and then we could watch the show. So one of my first memories would be watching the show from all the way up and it was always a really nice experience.

In the 15 years that you performed, what were your most memorable programs?

There are many, of course. My last performance, with James Morrison (to "I Won't Let You Go"), was very special because he's my favorite singer. And I also really loved to skate to Mick Hucknall from "Simply Red" (program to "Stars"). Then there was the program to Ronan Keating's "When You Say Nothing At All", in which I performed together with the dancer. I mean, I listened to those songs growing up, and then the opportunity to skate to them. It's so hard to pick! I skated to the music of so many great singers... Tom Odell, Lovebugs, many other Swiss acts, then, of course, Robin Gibb from the "Bee Gees". Yeah, it's very hard to pick one favorite, but I think maybe the last one, with James Morrison, was my favorite.

Why do you think this show is so successful? And it celebrates 30 years, incredible!

Yes, it's crazy! You know, the production team, they never stop working or thinking about new ideas. And also I think what we have as the storyline of this year's show, they have the courage to try something new. Many people would say: "Oh no, you cannot do this, you shouldn't do this, that's too direct, that's too much, that's too this, too that". And they just go for it! Always trying to push the boundaries, to take the next step. One of those steps was putting together live music and figure skating. And, of course, another one was inviting Denise Biellmann, who was and still is very famous in Switzerland, and so I think her name helped in bringing attention to this project.And then Stéphane, of course, people came from all over the world to see him - from Japan, from Russia, from everywhere. And now people come for Ilia (Malinin), or for Lukas (Britschgi). But I think in general people come for the whole show, not just for one person, because they know there will be two-and-a-half to three hours to forget all the problems in the world, and to just enjoy and get inspired.

So your last performance was in Art on Ice 2017, with James Morrison. Then you left, worked as a journalist, and now you're back again but in a different role?

Yes. And actually, I think it was good to have this little break, to do something else. And also it was the time when I got my kids, and then also COVID happened... Then Lukas and Kimmy (Repond) had their breakthrough season at the Europeans, and we also had many promising young skaters coming through. After COVID, when things started getting back to normal, Oliver and Reto wanted to expand the team again, including finding someone to take over the Young Talents project and help manage Lukas, for example. So I think it was just a nice coincidence that I was ready to become more involved in skating again, Swiss figure skating was in a really good place, and, with everything happening at Art on Ice, it was the right moment for me to come back and take responsibility for some of these projects.

So what does your work with the Young Talents Team consist of? They participate in the tour, of course, but I understand that you work with them throughout the whole season.

Of course, for them, "Art on Ice" is the most important "prize" that they get from us, but we want to help them with other things as well. We help them with some of the financial aspects and it would be great to find a sponsor for them, we help with contacts to those as well. And, for example, they receive "vouchers" for free lessons with Sophia Sforza to work on choreography and expression for their competition programs, or spin lessons with Denise, or other specialists who teach them acting, breathing, and various off-ice training. We try to have a more individual approach which is not the same for everyone, we check what their strengths are and where they need more help. Some, like Stéphane's students, already have a big team and have things more organized. So, of course, the teams of the skaters and also the federation do most of the work, we just add a little bit and I definitely don't want to take credit for everything. But those who would like additional support can reach out to us, and we will try to find a good off-ice coach or advise them on management, contracts and such.

How many skaters do you have enrolled in this program right now?

We have a selection process for skaters from the Novice and Junior Swiss National Teams. This year we had nine, and four of them you will see in the show. And because of the scheduling conflict with Junior Worlds some of them couldn't participate. We also try to find more opportunities for them to perform like corporate events or, for example, they were part of the opening ceremony of the Spengler Cup, the hockey tournament in Davos. Every year the project is a little bit different, depending also on the dates of Swiss Nationals, "Art on Ice", Junior Worlds, and other events we have.

Stéphane Lambiel: "The moment I chose that song, I made my decision"

Seven years after his sudden departure from Art on Ice, we finally had the opportunity to ask Stéphane what happened back in 2019 and why he decided to leave the show. The very show that had always been such an important creative outlet for him, his home show, where year after year the entire Hallenstadion rose to its feet to welcome him. His departure came so unexpectedly, and with so little explanation at the time, that we weren't even sure whether it was a comfortable subject to bring up.
As it turned out, it was quite the opposite. Stéphane began our conversation with heartfelt congratulations on Art on Ice's 30th anniversary, generous praise for the people behind the production, and sincere gratitude for everything the show had given him throughout the years.

First of all, I want to wish them a happy anniversary. I think thirty years is really, really impressive. I saw this show as a kid when they started, not in 1996 for the first show, but a few years later Peter (Grütter) brought me to Zurich to watch it. I don't know exactly which year, maybe a year or two before I skated there. I remember being so amazed by it! So it was a big honor for me to participate in this show in 2002, just a few years later.

At that time Oliver had created the Talent Team. Sarah Meier, Kimena Brog-Meier and I, we were the first generation in it and that's how we were invited to become part of "Art on Ice". They also supported us financially, but inviting us to skate in the show was just as important because it allowed us to understand how to perform, how to be part of something so big and skate alongside the biggest champions. It was a huge inspiration! So now, thirty years later, I want to congratulate them for inspiring not only me, but so many people.

And of course, "Art on Ice" has become such a huge production. I'm amazed - and quite proud - to know that the biggest skating show in the world is happening in Switzerland!

What do you think is their secret? How did they succeed in becoming the best in the world?

I think there were many factors, really. To start with, Oliver had so much passion for figure skating. He was surrounded by people who were able to follow his vision, and Salome (Brunner) was one of them. He was also a visionary: music is essential in figure skating and to have live music makes a huge difference to the performance, allowing us to experience our sport in a new way. It's like when you go to the ballet: performing to the live orchestra is very different from when they have the recorded version.

What makes a difference for me personally between the recorded music and having musicians there is that you don't know what's going to happen, so you need to be more conscious, you need to connect all your senses. So this was a very big plus.

And then, the loyalty of the audience, I think. Once the show was successful, it became a tradition for people to come back every year. That really happened only in Switzerland even though the show went to many other countries, the loyalty of the Swiss audience was very impressive, because even thirty years later, they are coming.

So, I think the passion, the vision of adding live music and the audience having this tradition to come to the show every year were the keys to its success.

If I'd ask you to name your favourite "Art on Ice" programs, first ones that come to your mind.

Ok, my top three. Or maybe I have the top four. There are more programs that come to my mind actually. Some time ago I came across one of the Art on Ice videos on YouTube, and you know how it then randomly gives you more options. And so I was looking at those videos, and I was like: "Wow, that really happened!" I completely forgot about it! So that's why now, I'll start with three, and then I have four, five to name.

I think I want to name the one I skated with Khatia Buniatishvili (Grieg, Piano Concerto in A minor, Op. 16). Meeting her was one of the biggest inspirations of my career. Every night I skated to "Sence" with Tom Odell was very, very, very, very special. I loved his musicality and his sense of interpretation, so it was very enjoyable to feel what he was doing.

I enjoyed [skating with] Donna Summer a lot (program to "Last Dance"). And I loved Anastasia's personality. One of those random YouTube videos was "In Your Eyes," and when I watched it again I thought: "Oh my God, it was so pure." She was such a pure spirit, she had that pure energy, so that was very nice.

And one program that I really enjoyed working on and choreographing with Salome was "The Water" with "Hurts". That was also a very special moment. But I mean, I loved "My body as a cage"... With Salome every year we put so much effort, and I actually appreciated that process a lot. When we met in September with Oliver and we talked about the artist and the concept and the lights and the costume and the choreo and the music choice. And that was really something that I looked forward to each year. And then from September until January or February when the show was happening I loved those months leading up to it, they were very exciting. I loved creating the numbers for the show really, really much, so I can name many, many more.

One of the "Art on Ice" programs I loved and unfortunately you never skated again was "Paint It Black".

I think the thing is that the version that they were singing in the show was so different from any other version. And the problem is if we recorded it we had all the sound of the rink and everything, so I could not really use the version of the show, but I could not find any other version that suited, I was too connected to that one which was performed live. For example, when I did "Slave to the music" live with James Morrison, afterwards we moved to the album version that worked really well. So when I was able to transfer, I did keep the programs. But when it was so different, it was too weird to use the live recording.

"Art on Ice" 2019 was quite a shock for us, you decided to stop so abruptly, and you didn't even mention this decision until the last evening of the tour. What happened back then?

I think it was just the time for me to move on. The Skating School was becoming my priority. And, like I mentioned, from September it was always a huge amount of work for me to prepare. And you know how I'm always one hundred percent into things. I didn't want to have to sacrifice something to make it look just good enough. I felt I had done everything exactly the way I wanted, and I wanted that feeling to remain. It was a very personal feeling and decision. And, plus, I like signs, sometimes they help me to make decisions.

When in September I knew that James Blunt will be the invited singer and that I need to choose between "You're Beautiful", the song I already skated to, and "Goodbye My Lover" - and I loved "Goodbye My Lover" - then it was stuck in my mind: "Oh, maybe that's a sign". I told Oliver that I really wanted that song. And the moment I chose it, I made my decision that that was going to be my final performance with the show.

And it was intentional not to tell people...

Yes, I didn't want people to cry about it, I didn't want to celebrate that, I just wanted to make as much as possible out of that experience. And I have such a great, great memory of the last show in Basel. If I want to dream about my final performance, if I want to imagine how I would want something to end, I would want it to be like that - simple, honest, spontaneous. Just "let's share that moment of farewell and move on".

And so nobody knew?

Only Salome. The night before my final performance with "Art on Ice" I told Oliver. And I also told him that I only have good memories of the show, and I want that to remain. I told him that I was very thankful for all those great opportunities and memories. He understood. I don't know if he agreed, but he understood.

The day after the tour ends, tickets for the following year's shows already go on sale. Even before the theme or the performers are announced, the audience trusts the creative team to deliver another world-class production, and the team, in turn, trusts its audience to remain loyal. In many ways, Art on Ice embodies the qualities we admire most about Switzerland: beauty, quality and respect for tradition.