- 1 - presents GRAEME MURPHY’S
2008 season
Melbourne 14 – 26 March the Arts Centre, State Theatre with Orchestra Victoria
Sydney 4 – 24 April Opera Theatre, Sydney Opera House with Australian Opera and Ballet Orchestra
Cover: Amber Scott as Odette and Adam Bull as Prince Siegfried. This page: Lucinda Dunn as Baroness von Rothbart, Robert Curran as Prince Siegfried and Amber Scott as Odette Photography – Liz Ham
Production Sponsor Media Sponsor
- 2 - - 3 -
STSSP0016_FPC_SL.indd 1 30/1/08 4:10:08 PM Y8\y }8Zy|
1PJTF&MFHBODF%SBNB Note from the "OETPNFCFBVUJGVMMZTDVMQUFECPEJFT Artistic Director .FSDFEFT#FO[JTQSPVEUPCFBMFBETQPOTPSPG5IF"VTUSBMJBO#BMMFUBOEQSPEVDUJPOTQPOTPSPG4XBO-BLF F }{}|}Ez}F{ Fy
I remember thinking as a child that the dancer could hope to play. They allow year would never end, that Christmas each dancer the scope to interpret the always seemed like it was so far away and lives of these complex characters in a the summer holidays would last forever. totally unique and personal way. Over Now as an adult, the pace of life feels the past six years there have been many more like a Formula 1 race. It seems like benchmark performances, none more so only yesterday that I sat as a fresh Artistic than Steven Heathcote, who created the Director nervously watching the world role of the Prince. Steven is now sharing premiere of Graeme Murphy’s Swan Lake. his knowledge and insight into this work And what a night it was. It turned out to be by coaching a new generation of dancers the beginning of an extraordinary journey whose performances will carry this ballet for the company with a ballet that has into the future. inspired standing ovations in cities across Australia as well as Tokyo and London. As always Janet and Graeme have brought This production of Swan Lake has featured their special magic to this staging, making consistently in our repertoire since 2002 sure the heart and soul of the work is and still remains our most requested true to their original concept. The dancers work. I am thrilled to present it once always eagerly anticipate their visits as again in Melbourne and Sydney before they bring equal parts of joy and rigour it premieres in Paris later this year. to the rehearsal room and are loved and respected by the whole company. Interestingly, the first production of Swan Lake in 1877 was not a huge My sincere thanks go to our corporate success. However when Marius Petipa sponsors who have supported the return and Lev Ivanov brought the magnificent of Swan Lake – Media Sponsor Madison Tchaikovsky score to life again in 1895, and our brand-new Lead Sponsor and they created a production that would Production Sponsor for Swan Lake, go on to inspire generations of dancers Mercedes-Benz. May they be with us as and balletomanes in companies and long as our wonderful Principal Sponsor audiences around the world for years to Telstra, which has supported our artistic come. The title of Swan Lake alone seems growth for the past twenty-four years. enough to guarantee a sold out season. Maybe one day I should name one of our It is a pleasure to have you with us for mixed bills Swan Lake to test this theory! the first programme of the year. I hope you can join us for the rest of our 2008 This production is more than just season and share in the company’s popular, it is a work that delves deeply wealth of talent, which comes together into the heart of the original fairytale nearly every night on stages across the and examines the humanity and frailty country and around the world. of royal duty and the quest for true love. Graeme Murphy, Janet Vernon and Kristian Fredrikson created a glorious work that grows with each season. The roles of Prince Siegfried, Odette and Baroness von Rothbart are three David McAllister AM of the most captivating characters a Artistic Director
- 4 - - 5 -
UBU1213 Ballet Ad 4.indd 1 30/1/08 6:46:10 PM Swan Lake
Choreography Graeme Murphy for a brief time, it seemed as if Siegfried Music Piotr Ilyich Tchaikovsky loved her alone. Concept Graeme Murphy, Janet Vernon Some months later, Odette left the white and Kristian Fredrikson loneliness of the sanatorium to seek and Set & costume design Kristian Fredrikson reclaim her husband, now fully under the MC Escher’s Rippled Surface © 2002 Cordon Art sway of the Baroness. Having appeared BV – Baarn – Holland. All rights reserved uninvited at an evening party given by Lighting design Damien Cooper the Baroness, Odette’s calm beauty and confident purity of spirit caused Siegfried Act One to fall deeply in love with her. The jealous Scene I Prince Siegfried’s quarters Baroness attempted to have Odette Scene II Wedding festivities returned to the sanatorium, but before she could be seized, Odette fled into the night. Act Two Scene I The sanatorium Siegfried then discovered the terrified Scene II The lake Odette near the lake and for a short Act Three time the couple were united in ecstatic An evening with the Baroness embrace. But even as she lay in the arms of her husband, Odette knew there would Act Four be no peace for her ever-troubled mind The lake and she was only to find ultimate release Cast of Characters in the depths of the dark lake of swans. Odette Prince Siegfried For the rest of his life, Prince Siegfried Baroness von Rothbart never loved again, but mourned ever his The Queen lost Odette. Prince Consort Princess Royal Note from the Choreographer Princess Royal’s Husband If no man is an island then surely a Duke choreographer is a continent of inter- Young Duchess-to-be dependence. Janet Vernon, Kristian Earl Fredrikson and I had a dream. This Earl’s Equerry dream was reliant on a commission and Lord Admiral commitment (thank you, David McAllister), Marquis an inspiring score (Tchaikovsky), a Baroness’ Husband design to house and adorn this dream Royal Physician (Kristian Fredrikson) and a lighting design Guests, Hungarians, Servants, Orderlies, to illuminate it (Damien Cooper), and Nuns, Cygnets, Guardian Swans & Children of course an enormous and dedicated dream team behind the scenes. Then, Synopsis above all, the bodies; beautiful and On the evening before her wedding, the articulate, who inhabit the dream, share apprehensive young maiden, Odette, the choreographer’s imaginings and give wandered the palace and became doubtful flesh to his feeble spectres. I’d like to of her betrothed Prince Siegfried’s love. thank every Australian Ballet dancer, be they footman or aristocrat, corps de ballet After the wedding Odette, so very much or principal, for crowding the continent of in love with her new husband, realised it Swan Lake with so much loving artistry. was a certain Baroness who really owned But as we all know busy crowded places his heart. Already fragile, Odette became can become lonely islands without a so distressed that by royal command she partner/guide/mentor/companion/ was committed to a sanatorium. decision maker and friend (enter Janet With her spirit broken, Odette could only Vernon), whose talent and love have made find escape in a frozen dream where this dream of Swan Lake a reality. swan-like maidens, much like herself, Graeme Murphy
Amber Scott as Odette and Adam Bull as Prince Siegfried•Photography – Liz Ham would calm her fevered mind and where,
- 6 - - 7 - An Australian classic
It is a brave choreographer that tackles Swan Lake but Graeme Murphy’s powerful version has become a classic in its own right. By Jane Albert.
It was many decades ago that Graeme gave Murphy an open slate, presuming national dance awards; and four Helpmann the production at least a dozen times, Murphy first began toying with the idea of he would simply play around with the awards. Writing in The Australian, critic including performances in London, recreating the century-old classic Swan staging of the Ivanov-Petipa production Lee Cristofis noted: “Just minutes after Cardiff and Tokyo. “In a traditional Swan Lake. One of the most oft-reworked ballets which premiered in St Petersburg in 1895. the curtain went up on The Australian Lake one has to buy into a fairytale and in the classical canon, Murphy felt there After conceiving and discarding many Ballet’s new Swan Lake we knew we were be swept away by the magic of being was room for an intelligent production ideas – including setting the production witnessing the birth of a classic. Three taken to another world,” Jones says. that spoke clearly of human emotions, in pre-Revolution Russia and having hours later the house went wild, wilder “In Graeme’s Swan Lake you’re taken one that could touch an audience’s heart Rasputin as the Rothbart character – than any ballet audience in town for years, into a story that’s of our world, and without asking them to suspend belief. Murphy pared back the story to its basic in a nearly ten-minute standing ovation.” people can relate very directly to such Says Murphy: “I always wanted to give elements: royalty, love and betrayal. His The Age’s Neil Jillett, witnessing the a story of passion and illicit love and The Australian Ballet a unique Swan Lake. Swan Lake became loosely based on the production in its return 2004 Melbourne broken hearts.” One of the main reasons Every company would love to have one, yet love triangle that was Princess Diana, season, declared it: “the greatest work to for the success of this production, of not many companies do.” Prince Charles and Camilla Parker-Bowles be created for The Australian Ballet”. course, is the dancers themselves. and the devastation suffered by a young Jones has watched at least six different It took many years for the internationally woman who realises too late that her There was a similar reaction in UK and females dance the role of Odette, and acclaimed choreographer and former husband is in love with another woman. Asia, where the work’s profound humanity each has interpreted the role in such an dancer of The Australian Ballet to realise This more realistic storyline, free from was able to cross cultural boundaries. individual way the production continues his dream. In his first year as Artistic flights of fancy, led UK newspaper The The Independent on Sunday noted “Given to remain fresh. “When you see a lot Director, David McAllister invited Murphy to Times to note that “by turning these our exposure to so many tinkerings with of dance, you’re looking and hoping for rework Swan Lake to mark The Australian characters into human beings rather than Swan Lake, it’s hard to believe another performances that illuminate and expand Ballet’s fortieth anniversary in 2002. It is fairytale characters Murphy provides a could surprise or move us. Yet here it on what you already know,” she says. a brave choreographer who tackles Swan kind of realistic, psychologically believable is.” The Western Mail wrote: “The dance “It’s a great tribute that it still works for Lake, one of classical ballet’s most iconic framework that most productions of Swan is wonderfully creative and imaginative, me every time.” Murphy says he feels narratives and one that has attracted Lake fail to deliver.” Murphy also returned the standard of acting something we blessed to be working with dancers who artists of the calibre of Balanchine and to the first arrangement of Tchaikovsky’s rarely see in ballet and the interpretation bring an innate understanding of the Baryshnikov. But McAllister’s belief in beautiful, haunting score, allowing the bold while perfectly acceptable.” The characters, not just the steps. “It lifts Murphy proved sound. Following its gala music to stand alone rather than being company’s 2006 tour to Shanghai was and falls on their interpretation,” he says. opening in Melbourne in September worked around the steps. its fifth, but only the first to present a “We’ve been very lucky that the dancers 2002, Murphy’s critically acclaimed Swan work by an Australian choreographer. The understand they have to be totally Lake played to sell-out houses around One of the key ingredients of Murphy’s show received raucous enthusiasm during human. And that’s the success of the Australia, and has toured London, Cardiff, success with Swan Lake, as with so many the three-performance season; while the work – you’re not watching people Tokyo and Shanghai. This year the work of his productions, was his team: fellow company was so well received in Tokyo simply going through the motions.” makes a welcome return locally, before the Sydney Dance director and Murphy’s wife, last July they were instantly invited to company takes it to Europe for its Parisian muse and former dance partner Janet return, possibly in 2010. Earlier this year Murphy and Vernon premiere in October. “It’s nice that in a very Vernon; and the magically creative designer returned to the studio to work with short time it has become regarded as an Kristian Fredrikson. The trio worked on McAllister has lost count of the number the company ahead of the new Swan Australian classic, in the same way [my] thirteen productions for the Sydney Dance of times people have approached him in Lake season. Some of the dancers had Nutcracker struck that chord,” Murphy says. Company including Daphnis and Chloe and theatre foyers or written letters begging performed it before but many of them, After Venice, before Fredrikson’s death in him to bring back Murphy’s production. principals included, were new to the roles. Murphy has been collaborating with The 2005 robbed audiences and artists of a “Swan Lake is the most requested ballet,” It has been satisfying for Murphy to watch Australian Ballet for many years. In 1976 truly great talent. he says. “After the last season I had the show evolve. “It is not a matter of he took on the directorship of the Dance audience members asking when we could simply revisiting the production,” Murphy Company (NSW), renaming it Sydney Since its 2002 opening night in do it again, and we had many people flying says. “We are breathing new life into it.” Dance Company three years later. During Melbourne, Murphy’s Swan Lake has to see it in Shanghai and Tokyo.” his thirty-one years with that company proved overwhelmingly popular with Jane Albert was the Deputy Arts Editor of The he created eight works for The Australian audiences and critics alike, earning at What is it that compels people to return, Australian and is now a freelance journalist Ballet, including Beyond Twelve, Nutcracker least nine awards including Best Foreign again and again? The Australian’s and Tivoli. For Swan Lake, McAllister Dance Company at the UK Critics’ Circle dance critic Deborah Jones has seen Amber Scott as Odette• Photography – Liz Ham
- 8 - - 9 - Choreographer & Creative Associate
Choreographer Graeme Murphy AM
Graeme Murphy is Australia’s most celebrated and prolific choreographer. Appointed Artistic Director and Choreographer at Sydney Dance Company in 1976, he went on to create a large repertoire of work renowned for its imaginative and theatrical style. Side by side with Associate Director Janet Vernon, his partner and muse, he led Sydney Dance Company on more than twenty international tours including nine to the United States.
Commissioned works include a new Sydney Dance Company at the end of they frequently danced together in a now Nutcracker and an award-winning Swan 2007 with a televised gala performance legendary partnership. Janet Vernon has Lake for The Australian Ballet, conceived of Ever After Ever. In 2008, Graeme long been Murphy’s muse. He created in collaboration with Janet Vernon and continues to be extremely active both in outstanding roles for her in Schéhérazade, the late designer Kristian Fredrikson; The Australia and overseas, including directing Daphnis and Chloe, Some Rooms (The Silver Rose for the Bayerisches Staatsballet Ainadamar for The Adelaide Festival, Bathroom), After Venice, Nearly Beloved, Munich; Song of the Night for Nederlands choreographing Bruce Beresford’s feature as Queen Roxana in King Roger, Berlin, Dans Theatre; and Embodied, a solo work filmLast Dancer and directing AIDA for The Protecting Veil, as Andromeque in for Mikhail Baryshnikov, to name but a few. Opera Conference Production. The Trojans (a collaboration with Opera He has choreographed for the Canadian Australia), and as Herodias in Salome, Opera Company (Death in Venice), The Graeme Murphy was awarded an AM to name but a few during her long and Metropolitan Opera, New York (Samson and for services to dance by the Australian industrious career as a dancer. Dalila) and the skaters Torvill and Dean, Government in 1982. He is the recipient of including their TV special Fire and Ice. three honorary doctorates, was honoured For Sydney Dance Company’s 2000 at the inaugural Sydney Opera House season, Janet compiled and edited For the Australian Bicentenary in 1988 Honours in 1993 and named by the Murphy’s extensive repertoire into a he created the monumental three- National Trust of Australia as a National seamless performance known as Body act work VAST (combining four major Living Treasure in 1999. Numerous dance of Work – A Retrospective, destined for dance companies); for the Centenary of awards include The Helpmann Award and Australia-wide success. The award- Federation in 2001 he created Tivoli – a the prestigious James Cassius Award, in winning production was recognised as dance musical paying tribute to the history recognition of his career achievements. a celebration of Janet and Graeme’s of the Tivoli theatres circuit. Tivoli was In 2003, he was presented with the achievements at Sydney Dance Company. itself an historic co-production between Australian Government’s Centenary Medal The Australian Ballet and Sydney Dance and in 2004 was named ‘Cultural Leader In 2001, Janet worked on the development Company, winning four Australian Dance of the Year’ by the Australia Business and creation of Graeme Murphy’s Tivoli, a Awards including Outstanding Achievement Arts Foundation. In 2005 he was listed dance musical for the combined forces of in Choreography. In 2000, he was among Australia’s 50 Most Glamorous The Australian Ballet and Sydney Dance commissioned to create Mythologia for the Exports by the Australian Government and Company and in 2001, on the creation of Sydney Olympic Arts Festival. Austrade and received the Award for Best the new Swan Lake for The Australian Ballet Choreography at the Australian Dance (winner of the London Critics’ Circle Award). In 2000 Graeme Murphy, Janet Vernon Awards for his new work for Grand. In In 2005 she worked with Graeme to create and Sydney Dance Company celebrated 2006, Graeme Murphy and Janet Vernon Hua Mulan, a collaboration between Sydney the new century with Body of Work – A were honoured with an award for Lifetime Dance Company and Shanghai Song and Retrospective. In 2005 he created Hua Achievement at the Australian Dance Dance Ensemble and The Silver Rose, a Mulan, a co-production between Sydney Awards ceremony at the Sydney Opera full-length commission for the Bayerisches Dance Company and the Shanghai Song House. The 2006 Green Room Awards in Staatsballet, Munich. After thirty-one years and Dance Ensemble. Featuring a cast Melbourne also gave them a special award at the helm, Graeme Murphy and Janet of sixty and the musicians of Synergy for Outstanding Contribution to Dance. Vernon farewelled Sydney Dance Company Percussion, Hua Mulan opened the 2005 at the end of 2007 with a televised Gala Shanghai International Arts Festival. Performance of Ever After Ever. Creative Associate For Opera Australia Graeme Murphy Janet Vernon AM Janet Vernon was awarded an AM for has directed and choreographed Brian Services to Dance in 1989 and was Howard’s Metamorphosis, Puccini’s Adelaide-born Janet Vernon has danced honoured at the inaugural Sydney Opera Turandot, Strauss’ Salome and Hector with The Australian Ballet, Ballet Felix House Honours in 1993, acknowledging Berlioz’ The Trojans, the latter bringing Blaska and Sydney Dance Company. twenty years of superlative performances the singers and dancers of Opera Australia In 1976 she was appointed, along with at the House. In 2003 Janet received together with Sydney Dance Company in Graeme Murphy, to the artistic helm of the Green Room Award for Concept and a lavish spectacle. Sydney Dance Company, where they set Realisation (Swan Lake) and was awarded about shaping a repertoire of genuine the Centenary Medal for services to After thirty-one years at the helm, Graeme originality and a company built on strong society and dance. Madeleine Eastoe and artists of The Australian Ballet •Photography - David Kelly Murphy and Janet Vernon farewelled technical standards. In the early years
- 10 - - 11 - Design
Set and Costume Design him as a passionate designer with an Kristian Fredrikson incredible eye for detail and colour, a voracious researcher and lover of history A former graphic artist and newspaper and myth. Over the course of the many journalist, Kristian Fredrikson studied productions he designed for The design in Wellington and won numerous Australian Ballet, Kristian won the awards for his work. Kristian left New hearts of audiences, dancers, and Zealand in the early sixties and became above all, those he worked with. one of Australia’s most experienced and sought-after designers. Lighting Design Upon his arrival in Australia, Kristian was Damien Cooper Resident Designer for the Melbourne Theatre Company for eight years. He A graduate of the Technical Production would go on to design a large number of Course at Sydney’s National Institute of productions for a variety of Australian and Dramatic Art (NIDA), Damien Cooper has New Zealand opera, theatre, and ballet worked extensively lighting dance, theatre companies including The Australian Ballet and opera. His work for Graeme Murphy (Cinderella, Coppélia, and Nutcracker), includes Tivoli, Ellipse and Air and other Opera Australia (Norma, Turandot, The invisible forces (which received a Green Merry Widow and Salome), Royal New Room nomination for Best Lighting Design) Zealand Ballet (Swan Lake, Peter Pan and Body of Work, Mythologia and GRAND and A Christmas Carol), Sydney Dance for Sydney Dance Company. Other work Company (King Roger and Body of Work) for dance includes The Age of Unbeauty, and Sydney Theatre Company (Hedda Plastic Space, Birdbrain, Attention Deficit Gabler, Macbeth, The School for Scandal Theory (Australian Dance Theatre); Spectre and A Doll’s House), as well as State Opera in the Covert Memory, Corrupted 1+2, of South Australia and West Australian Fleshmeet, Bodyparts (Chunky Move); Opera. He was one of a specialised team Heavy, Remote (Lucy Guerin Dancers); of designers working on the Sydney 2000 Under the Influence, Homelands, (Legs Olympic Games opening ceremony. on the Wall) which was performed at the Commonwealth Games, Manchester and Kristian created the costume designs The Gift and Fusion (Flying Fruit Fly Circus). and scenario with Graeme Murphy for Many of Damien’s designs for these The Australian Ballet/Sydney Dance companies have travelled throughout Company co-production Tivoli and in 2002 Australia, Asia, America and Europe. he designed and co-conceived Graeme Murphy’s Swan Lake for The Australian Damien has also worked extensively in Ballet, which earned him a 2003 Green theatre, creating lighting designs for The Room Award for Concept and Realisation, Ensemble Theatre, Company B, Performing and 2003 Helpmann Award for Best Lines, Sydney Theatre Company, Theatre Scenic Design. Kristian was a recipient of of Image, Griffin Theatre Company and four Erik Design Awards and Green Room Australian Theatre for Young People. Awards, as well as an AFI award. In 1999 His musical credits include Frank – The he received the prestigious Australian Sinatra Story In Song; The Beat it Concerts Dance Award for Services to Dance. 1998–2000, Steve Reich’s Drumming; The Revolution will Not Be Televised Kristian Fredrikson’s brilliant career (Revolutionary Productions); and Red Square spanned over four decades including (Barrie Kosky’s 1996 Adelaide Festival). a forty-two year association with The Australian Ballet. In November 2005, Damien lectures in Lighting Design at NIDA. Kristian Fredrikson passed away. Those who worked with him closely remember Madeleine Eastoe and artists of The Australian Ballet•Photography - Jeff Busby
- 12 - - 13 - Andrea Toy with artists of The Australian Ballet in Anne Wooliams’ Swan Lake Photography – unknown
The many dreams Margot Fonteyn and Rudolf Nureyev, guest artists in Peggy van Praagh’s production of Swan Lake, The Australian Ballet 1964 Photography – unknown
Artists of The Australian Ballet in Graeme Murphy’s Swan Lake 2004 of Swan Lake Photography – Jim McFarlane
Classic vampires, political machinations and talking unicorns have all arisen from artists calling on Swan Lake to invoke particular moods, themes or traditions in ways that Tchaikovsky could never have dreamed. By Martyn Pedler.
It’s widely lamented that Tchaikovsky that variations be introduced, large and Choreographed in 1987, Matz Ek’s Swan The ballet itself has also been featured in they were only included as they were a didn’t live long enough to see the full small, as each sought to make their mark Lake for the Cullberg Ballet also played silent cinema. Carl Dreyer inserted Swan trademark move that Legnani’s followers success of Swan Lake, but one has to on the ballet. For example, Agrippina with traditional gender roles, featuring Lake into his tragic romance and landmark wanted to see her perform in every wonder what he might have made of Vaganova’s 1933 production shifted male swans as well as female in its film for gay cinema, 1924’s Michael. The role. Swan Lake’s astonishing technical the many variations introduced to his the setting from the Middle Ages to the corps de ballet, with the skullcaps worn original novel by author Herman Bang requirements are what make it contain ballet over its hundreds of different nineteenth century, and gave the prized by the cast making them all somewhat shows its young artist and alluring princess such prized roles –Odette/Odile the productions around the globe: performed role of Odette/Odile – traditionally danced androgynous. Its more experimental watching a contemporary theatre piece; most alluring for any dancer, requiring with an all-male cast, staged as a ballet by a single ballerina – to two different moments seem less shocking now, Dreyer replaces it with a performance of the portrayal of purity, grace, deception, within a ballet, or recast as a Freudian performers. Rudolf Nureyev’s performance especially after Bourne’s version, but Swan Lake to better foreground the looming sex, and more–but also what can make drama. For many, Swan Lake and ballet as Siegfried in the 1963 Stuttgart Ballet it combined a comic prodding of ballet themes of sexual betrayal. And how could it a ‘plastic’ exhibition of skills, rather are synonymous, and once you begin to was enough to inspire new interest in conventions and a new psychological it not feature in perhaps the most famous than heart. look for its influence throughout popular the often overlooked character of Prince depth for Odette/Odile. Perhaps the most ballet film of all time? Michael Powell and culture there are dozens of examples from Siegfried. Erik Bruhn’s version, three years enlightening variation, however, is present Emeric Pressburger’s The Red Shoes from Mark Helprin’s illustrated children’s both high art and low. Classic vampires, later, combined the evil magician von in John Neumeier’s 1976 Illusions–Like 1948 has its beautiful protégé-to-be first novella Swan Lake keeps aspects of political machinations and talking Rothbart with Siegfried’s mother, creating ‘Swan Lake’ for the Hamburg Ballet. discovered while dancing Swan Lake. There the folktales that inspired the ballet, unicorns have all arisen from artists more than a little Freudian ickiness. He reimagined Act Two into a dream is simply no other work that would act as an but recasts the story into a historical calling on Swan Lake to invoke particular sequence, as Prince Ludwig of Bavaria appropriately fiendish test of her footwork. account of diplomatic intrigue and social moods, themes or traditions in ways that Graeme Murphy’s production, first projects himself into the role of Siegfried. commentary. He writes with deft ambiguity Tchaikovsky could never have dreamed. staged by The Australian Ballet in 2002, Neumeier rethought many ballet classics, The strangest cinematic adaptation about the supernatural aspects of the made significant variations of its own. inserting serious literary and religious is Barbie Of Swan Lake from 2003: a story: here, von Rothbart is a power- There’s an enjoyable irony in remarking Most notably, von Rothbart and Odile themes into his choreography, but by computer-generated fantasy piece filled hungry mortal, not a magician, and there’s that the initial production of Swan Lake were combined into the new figure of the allowing Ludwig to project himself into with shiny, mechanical heroes and villains. plenty of logical wiggle-room to allow that in 1877 had something of a lacklustre Baroness, a powerful female to better draw Swan Lake he acknowledges its cultural Yes, Odette is transformed into swan by the swan-transformation might just be reception – the music called ‘undanceable’; out the drama of Odette and Siegfried’s power within the staging itself. von Rothbart, but he’s also been happily the prince’s hallucination. the conductor claiming it to be ‘too tortured romance. Murphy too adjusted transforming others into adorable talking complex’ – but it was hardly a full-blown the setting, this time to an Edwardian If you ask a layman to picture a ballet, animals for comic relief. (His final fate is Graeme Murphy’s Swan Lake like Helprin’s disaster. The lack of eyewitness accounts court. The echoes of the infamous any ballet, it is inevitably Tchaikovsky that to be trapped as the talking novelty bird prose version, moves away from a literal of this production means that many Charles/Diana/Camilla love triangle, they will begin to hum. And sometimes, in a cuckoo clock.) The transformative interpretation of the ballet’s magical elements thought of as belonging to endlessly played out across the covers new variations in Swan Lake are actually abilities of animation here are mostly elements. The dream-world of swans is a the original are actually remnants of the of supermarket tabloids, were obvious. just older elements returning. Murphy’s prized for their instantaneous ability to soothing fantasy of Odette’s broken mind 1895 St Petersburg production created by Swan Lake sought to restore as much place Barbie-slash-Odette into a sequence after she is committed to a sanatorium; Marius Petipa and Lev Ivanov, which cast Other than the less successful Diana of the original score as possible, as of impossibly dazzling gowns, to better sell perhaps finding a balance between the such a long cultural shadow that it set the The Princess by Danish choreographer Tchaikovsky’s score was quickly spliced dresses for her toy doppelganger. Although traditionally tragic ending and more Barbie- standard Swan Lake for decades to come. Peter Schaufuss – which attempted to and mutated after its initial presentation. Barbie’s dance steps in this Swan suitable happily ever afters, Murphy’s The original storyline is hazily familiar to avoid kitsch while still including comically- Even detached from the ballet, though, Lake were created with motion-capture finale still contains Odette’s death, but all: Odette as the spellbound princess, stiff royals, music from 1980s gothic the score carries other cultural memories. technology modelled on members of the symbolically implies a defeat of evil with turned into a white swan, requiring true favourites The Cure, and Charles and Lovers of classic horror will recognise it New York City Ballet, it cannot capture its imagery of light and darkness. Most love to be transformed back to humanity; Camilla using a riding crop as foreplay – it as the music that plays over the opening their faces, of course; just their bodies. importantly, this Swan Lake was determined the deception of the evil magician Von was Matthew Bourne’s 1995 production credits of the Universal Pictures 1931 to move away from simply being a Rothbart and his daughter, Odile; and the that next took on the British Royal Family adaptation of Dracula, featuring Béla Lugosi Barbie might be pleased to know that showcase of technical skill. By rediscovering prince, Siegfried, fooled into pledging his as Swan Lake subtext. This contemporary in the role that made him famous. There is Pierina Legnani’s performance as Odette/ the human qualities of its characters – love for the wrong swan, dooming Odette retelling was perhaps the first to include barely any soundtrack throughout the film, Odile in the classic 1895 production was love, betrayal, madness, tenderness – it forever, leaving Siegfried and Odette both a palace and a nightclub, highlighting leaving Tchaikovsky to hang in the air long described by one critic as embodying resonates strongly with modern audiences, to drown themselves in the lake, finally politics alongside the more transgressive after his composition has ceased to play. “the supreme ideal of plastic movement.” whether familiar with earlier versions and together in death. and erotic elements. The new sexual It’s only fitting. Dracula’s tortured romance Legnani’s infamous thirty-two fouettés variations, or new to ballet altogether. politics introduced by its all-male cast and supernatural transformations suit the became an inescapable addition to Ongoing repetition of this relatively simple made it a sensation. any production of Swan Lake – even if Martyn Pedler is a Melbourne writer darker elements of Swan Lake perfectly. and pop-cultural critic story by subsequent productions required
- 14 - - 15 - Swans and Princes
Madeleine Eastoe, Rachel Rawlins, Kirsty Martin and Amber Scott are all slated to dance Odette this season, four very different ballerinas who promise four very different portrayals. Kate Scott meets the swan princesses.
The name Odette, in French, means grew all the way through, becoming the Kirsty Martin also danced her first Odette Amber Scott was a Corps de Ballet ‘treasure’. The Swan Lake Graeme Murphy powerhouse emotional performer she in 2004, partnered by Damien Welch, dancer in 2004 and an understudy for created on The Australian Ballet has is today, as well as having a beautiful one of the original Siegfrieds. The on and the role of Odette when she was suddenly certainly been a gift to ballerinas. Dancers physical rendering.” offstage partners were the ideal royal called upon to perform. “She learned agree that it’s a fiendishly difficult role, couple: darkly glamorous, sexy, perfectly it very quickly, rehearsed it very little, both dramatically and technically – Odette Of that first flock of Odettes, Madeleine matched. “Anything I do with Damien feels and just went out there and lived it,” is in nearly every scene, with four pas de is the only one to return this year. She has that little bit more special,” says Kirsty. “I says David. “She was a knockout.” At deux, two solos and two pas de trois – danced the role every year since 2002 and think we have a good rapport on stage; we just twenty-one, Amber was by far the but also an incredibly rewarding one. was singled out by one critic, who’d seen look right together as partners. It’s nice youngest of the Odettes, emphasising Stripped of the supernatural curses of many casts, as being “the only Odette to do a role that emotionally charged with the character’s wide-eyed innocence. Odettes/Odiles in Swan Lakes past and who made me cry.” “Your interpretation someone who you feel comfortable with.” After a season in her hometown of recast as a complex and vulnerable changes a little every year,” says Brisbane, Amber was called on once young woman – the victim of a scheming Madeleine. “I find I increasingly approach Principal Coach and Ballet Mistress again to dance the role at the last mistress, a caddish husband and her own it from the story angle more than the Fiona Tonkin notes how easily the steps minute, when Rachel Rawlins tore a calf troubled mind, rather than a duplicitous technical angle. But it never gets easier,” came to them. “Kirsty has an innate muscle before the company’s 2006 tour magician – the role offers great scope for she admits. “Odette is very vulnerable but sense of movement. And the way Damien of Shanghai. “Amber is different again personal expression. at the same time needs to show a change approaches his steps is very organic; his because she has a very natural instinct and a strength. I have to remind myself movement is quite spectacular.” While for emotional dancing,” says David. Graeme Murphy created his Odette on sometimes that it’s okay to be ugly and to Steven Heathcote played his Prince as “Her physicality comes out through Simone Goldsmith, then a Senior Artist get that across, not always to pull it back, an essentially nice – if conflicted – guy, her emotion, rather than the other way with the company, and Prince Siegfried on as I can being a bit of a Virgo.” Damien’s Siegfried loved, in his words, around – almost like method dancing. Steven Heathcote. The contrast between “the subversion of cheating” as much as It makes her a really exciting performer.” the two was striking – Goldsmith’s tiny Rachel Rawlins first danced Odette during the privileges of court life. carriage almost disappearing in Heathcote’s Swan Lake’s encore seasons of Sydney This year Amber is partnered by Adam strong hands – but her china-doll face and and Melbourne in 2004 in performances And Kirsty, again, brought something very Bull in his debut as the Prince, with delicate physicality was underpinned by that strikingly counterbalanced those different to the role. “She’s a very regal Danielle Rowe as the Baroness, marking incredibly strong technique and powerful which had come before. A Senior Artist Odette,” says David, “almost detached. a generation change of sorts. “I feel like I acting ability. The night of Swan Lake’s at the time, Rachel had already given There’s quite an introspection to her have grown up as a person every time I’ve world premiere, which received a standing audiences a taste of her great dramatic portrayal. And she’s so elegant – she come back to Odette,” says Amber. “But it’s ovation, Simone was promoted to Principal power as the doomed heroine of Romeo really does look like her Royal Highness not as if it gets easier. You’ve always got Artist. “When a ballet is created for you & Juliet. “From the moment she walks from the minute she steps onstage, so it’s a bit of nervous energy and fragility there there is an indelible link between that on in Swan Lake she’s a tragedy waiting interesting to see that crack and shatter when you’re approaching something so dancer and the role,” says Artistic Director to happen,” says David. “She has that as the ballet goes on.” mammoth, and it’s nice being able to show David McAllister. “Everyone who’s come beautifully aquiline, imperial look, very that side on stage; it’s really cathartic.” after Simone has had an element of her aristocratic with that beautiful long neck, Between their 2004 performances and performance.” but there’s something in her eyes, and you reprising the roles on the company’s By virtue of its popularity, Graeme know it’s not going to be a happy ending.” 2007 tour of Japan, Kirsty and Damien Murphy’s Swan Lake has been a ballet Also dancing Odette during the first had a son together, adding an extra dancers can grow up in, whether it’s season were Nicole Rhodes, Elisha Rachel admits Odette is a draining role. charge to their onstage relationship rising from the massed ranks of swans Willis and Madeleine Eastoe, who all “By the time you get to Act Four you’re (and, says Kirsty, a certain sleep- in the Corps de Ballet, or finding new gave remarkably singular performances. very tired, physically and mentally,” she deprived transcendence to the Japan depths of their artistry to mine in the “Nicole’s performance was probably says. “The devastating emotion happens performances). But then, she adds, her leads of Odette, Prince Siegfried and a little more steely; more of a mental very early in the ballet. But the music in Odette can change from show to show. Baroness von Rothbart. Tchaikovsky fragility than a physical fragility,” says Act Four is so beautiful and so serene, “One night you might be feeling a bit would have been pleased. David. “Elisha had always been a and it’s a nice conclusion in a way, even more vulnerable, and one show you might spectacular dancer, but this was the first though there’s a sadness that comes be a bit of an angry Odette. There’s so Kate Scott is The Australian Ballet’s publications editor time we’d seen her be an emotional, fully with it.” Rachel was promoted to Principal many different emotions that can come dimensional character. And Madeleine Artist shortly after her debut. out in the ballet, and that’s what is really Amber Scott as Odette and Adam Bull as Prince Siegfried•Photography – Liz Ham interesting about the role.”
- 16 - - 17 - playbill_ad_FA.qxd:Layout 1 15/2/08 11:07 AM Page 1
A CELEBRATION playbill adverts 19-22
“... it is probably the coolest ballet ever made.” The Australian on Afternoon of a Faun
Jerome Robbins’ career began on the We present four of his most celebrated MELBOURNE stages of Broadway as a chorus dancer, works, The Cage, A Suite of Dances, 5 – 16 June before he joined the American Ballet Afternoon of a Faun and The Concert which the Arts Centre, State Theatre Theatre and later the New York City Ballet. are set to extraordinary scores by musical With Orchestra Victoria He would go on to jointly helm the company greats Stravinsky, Bach, Debussy and ticketmaster.com.au with George Balanchine and create more Chopin. 1300 136 166 than fifty ballets, as well as picking up two Academy Awards for his co-direction and SYDNEY $30 – $115* choreography of the massively influential 30 April – 19 May film West Side Story. Opera Theatre, Sydney Opera House Don't miss a thing in 2008 - subscriptions With Australian Opera and Ballet Orchestra are still available! Contact 1300 369 741 This programme salutes Robbins by $28 – $132* presenting very different sides to his australianballet.com.au imagination, ranging from the intriguingly sydneyoperahouse.com dark to the laugh-out-loud funny. 02 9250 7777 *A transaction fee may apply
Government Partners Media Sponsor Production Sponsor
- 18 - - 19 - playbill adverts playbill adverts 19-22 19-22
- 20 - - 21 -
xxxxxxxx xxxxxxxxxx xxxxxxxxx xxxxxxxxxx xxxxxxx xxxxxxxxx xxxxxxxx xxxx xxxx Photography – xxxxxxxxx Conductors
toured with many orchestras including the Arnhem, the Limburg Symphony Orchestra, Salzburger Chamber Ensemble and the the Residentie Orchestra in The Hague, Chamber Orchestra of Bassano; and was a the Kanazawa Chamber Orchestra (Japan) member of the Haydn Quartet, based at the and the Finnish Ballet (Helsinki). Esterhazy Palace in Eisenstadt. In 1998 she took up the position of In 1990 Nicolette moved to the Director at the School of Music, Australian Netherlands where she became Assistant National University, and continued her Musical Director for the 1991-92 season conducting work with the West Australian of Les Misérables in Amsterdam and The Ballet, the West Australian Symphony Hague. In 1992 she was admitted to the Orchestra, the Australian Youth Orchestra Netherlands Broadcasting Association’s and the Canberra Symphony Orchestra. International Conductors’ Masterclass, She debuted with The Australian Ballet resulting in a performance with the in 2002, conducting Spartacus, and was Dutch Radio Symphony Orchestra in the Music Director and Chief Conductor then invited by David McAllister to become Concertgebouw in Amsterdam. This led to Nicolette Fraillon Music Director and Chief Conductor, an invitation to conduct for the Nederlands beginning in January 2003. Since joining Dans Theater. She was then invited Nicolette Fraillon began her music the company, Nicolette has conducted to become Music Director and Chief studies on violin and piano at an early all programmes for The Australian Ballet, Conductor of the National Ballet of the age. At sixteen she conducted her including three overseas tours, and has Netherlands; working with such renowned first concert with the Victorian Junior been a guest conductor for the San choreographers as Hans van Manen, Symphony Orchestra. She graduated on Francisco Ballet. Following The Australian Toer van Schayk, Rudi van Dantzig and viola from Melbourne University in 1982, Ballet’s 2005 tour to the UK, Nicolette Krzystof Pastor; and conducting numerous gaining an equal first place in her year was in 2006 invited back to conduct The world premieres. During the following in Performance. From 1984 to 1987 Sleeping Beauty with the Birmingham Royal five years she worked with the North she furthered her instrumental studies Ballet. In 2007, Nicolette guested with Holland Philharmonic Orchestra, the New at the Hochschule für Musik in Vienna the New York City Ballet and this year will Sinfonietta Amsterdam, Noord Nederlands playbill adverts and 1987 to ‘88 in Hannover. During her return to Birmingham Royal Ballet for a Orchestra, the Gelders Orchestra in time in Germany and Austria, Nicolette season of The Nutcracker. 19-22
Between 1993 and 1997, Tom was Later in 2003 he made his debut with The Assistant Conductor for over sixty operas, Australian Ballet in performances of The assisting such maestri as Richard Hickox, Three Musketeers. Simone Young, Christopher Hogwood, Sir In 2004 Tom conducted the Queensland Charles Mackerras, Richard Bonynge and Ballet, Orchestra Victoria and Willoughby Carlo Felice Cillario. He became one of Symphony Orchestra in Bach’s B Minor the youngest conductors in the company’s Mass. He also led Opera Australia’s world history with his debut A Midsummer Night’s premiere performances of Madeline Lee, Dream at age twenty-three, to critical conducted Messiah with the Tasmanian acclaim. Subsequent operas with Opera Symphony Orchestra and continued as Australia received outstanding reviews. Artistic Director of the SYO. In Australia, Tom has conducted West In Opera Australia’s 2005 and 2006 Australian Opera, Sydney Symphony seasons, Tom has conducted seasons of Sinfonia, West Australian Symphony, Guest Conductor, Sydney season La Bohème, Madama Butterfly, Turandot Queensland Symphony, Queensland Tom Woods and Carmen. In 2007, he conducted a Philharmonic, Australian Opera and Ballet new season-highlight production of Andre Orchestra, State Orchestra of Victoria, Conductor Tom Woods is widely Previn’s A Streetcar Named Desire and La Sydney Opera House Orchestra and was considered to be one of the leading Traviata for Opera Australia and travelled the Artistic Director of the Sydney Youth talents in Australia’s musical life. He to Adelaide for Il Barbiere di Sivilglia with Orchestra until 2005. He has conducted has established a reputation conducting State Opera of South Australia; Tom also in Hong Kong and Russia, and in 2001 symphonic concerts, opera and ballet. conducted concerts with the Christchurch conducted the Bangkok Symphony Born in Tanzania to Australian parents, Symphony and led many performances by Orchestra and the London Festival Tom grew up in Perth, studying conducting, the Australian Ballet. Orchestra on tour to Brunei, Kuala Lumpur cello and piano at the West Australian and Jakarta, as well as touring the Sydney He currently holds the position of Manager, Conservatorium before undertaking Youth Orchestra to Denmark and Sweden. Artistic Planning of The Queensland conducting studies in Moscow under Orchestra and becomes Principal Conductor Maestro Vladimir Ponkin. He conducted the In 2002 and 2003 Tom Woods conducted of the Christchurch Symphony, New Zealand Garmonia and Kompositor orchestras in for Opera Australia, Queensland Ballet, in 2008. Also in 2008, he will conduct La Moscow before returning to Australia and and Orchestra Victoria in a series of bohème in Sydney, Madama Butterfly in joining Opera Australia. operatic and chamber concerts, and led Melbourne and Rigoletto in Adelaide. the Australian Youth Orchestra and Sydney Philharmonia in two world premieres.
- 22 - - 23 - Music note
Tchaikovsky’s sublime score for Swan Lake may have attracted just as much scorn as admiration on its premiere, but it was a critical turning point in the evolution of ballet music. Dr Mark Carroll investigates.
Piotr Ilyich Tchaikovsky’s Swan Lake that the listener sitting in the theatre Reisinger’s alterations, together with the is generally associated with D major, marks a turning point not just in his own was drawn away in spite of himself by general mediocrity of the first production, also a sharp key. Flat keys, on the other creative development, but in the evolution Mr Tchaikovsky’s music from what was set the stage for the innumerable hand, accompany the forces of evil and of ballet music as a musical genre. happening on stage.” Then again, to judge revisions that followed. The most notable unhappiness, such as the machinations Without Swan Lake there would be no from the bulk of reviews of the premiere, of these was the 1895 staging under of Rothbart, and Siegfried’s lament. Rite of Spring, or no Romeo and Juliet, to this was perhaps no bad thing given that the direction of the ballet master Marius name just two of the masterpieces that much of what was happening on stage was Petipa. Although the score was heavily In keeping with play on key centres, basked in its legacy. Small wonder, then, apparently ill-prepared and amateurish. rearranged, such was the quality of Acts Two and Four are predominantly that Swan Lake’s premiere at Moscow’s But such was the power of the music that Petipa’s production that it set Swan Lake in sharp keys, while in Act 3, as the Bolshoi Theatre in 1877 attracted it led to the obvious question: was the on the path to international recognition. deception grows, the tendency is towards admiration and condemnation almost ballet written for the music, or the music For Graeme Murphy’s reworking of the flat keys. By the same token, Act One, in equal measure. “Tchaikovsky’s music for the ballet? The answer depended, then piece, the intent was to restore and use which focuses on ‘everyday’ occurrences contains many beautiful moments and, as as now, on establishing the nature and as much as possible of Tchaikovsky’s involving mixed emotions and morals, music for a ballet, it is perhaps even too extent to which Tchaikovsky collaborated original score. moves freely between sharp and flat keys. good,” one reviewer observed cryptically. with others on the project. Being neither major nor minor, the unison While another, who had possibly been As the composer implied in his letter to Bs with which the ballet ends seem to consigned to the stalls, harrumphed Although the myth of the Swan Maiden Bryullova, the score of Swan Lake boasts capture the enigmatic fate of Odette and that “it is impossible not to notice that has a long history, it is generally thought a formal architecture closely tied to the the Prince, whose love lies forever fixed the music of Swan Lake is pallid and that the libretto of Swan Lake was dramatic action. While audiences today in death’s embrace. monotonous in the extreme.” Although based on a one-act ballet, The Lake of have come to expect as much, such a it may well have been that the author Swans, created by the composer for the step was innovative for its day, Russian Listening carefully with Tchaikovsky’s tonal of the first was a musician, the second entertainment of his sister’s children, audiences considering ballet to be purely scheme in mind one can also distinguish a balletomane, their conflicting views which was in turn based on the German decorative spectacle. The plot, if there between those dances that are pivotal to also say a great deal about the way fairytale Der Geraubte Schleier. Swan was one, was little more than a vehicle to the dramatic action (say, the Waltz in Act that Tchaikovsky’s first foray into ballet Lake’s journey to the theatre was the get from one set dance piece to another. One, or the Dance of the Swans in Act achieved more of a parity between the product of a mixture of inexperience on Not surprisingly, this kind of expectation Two) and any number of divertissements. music and the action on stage. Tchaikovsky’s part, and what is thought imposed severe limitations on the extent The latter are invariably in stark contrast to be a good deal of intervention by its to which the music might be allowed to to the musical narrative, incorporating Swan Lake came about as the result first choreographer, Julius Reisinger. develop. Tchaikovsky overcame these abrupt changes of key that leave no doubt of a commission in mid 1875 from the Reisinger’s intervention is possibly not limitations by conceiving the music that they are outside the tonal contour of directors of the Imperial Ballet, and it was surprising given that Tchaikovsky was, as having two distinct but interrelated the symphonic music, and are therefore a measure of his enthusiasm for the task by his own admission, flying blind, as functions: the symphonic music tells the secondary to the plot. that Tchaikovsky completed it within a he wrote in a letter to his friend Alina story, while the less texturally dense but year. Such was Tchaikovsky’s reputation at Bryullova: “I, having leapt before I looked, more rhythmically active dance music One could go on, just as a gaggle of that point that the ballet’s appeal to early began to write, like an opera, a symphony, enlivens the spectacle in such a way as commentators did and still do go on about audiences lay primarily with the music, and it came out such that not one danseur to afford moments of reflection. Tchaikovsky’s virtues as a composer. Yet the which, as one commentator wrote, stood or danseuse could dance to my music, all significance of Swan Lake in the evolution out as a gem amidst “the uninteresting the numbers were too long, no one could It is in the symphonic passages that of ballet music cannot be underestimated. musical junk” that had passed for ballet last them out.” Small wonder then, as Tchaikovsky’s innovative approach comes Even though he may have needed the music until then. Although he meant one wag put it, that marching in 3/4 time to the fore. The composer establishes a money, there can be little doubt about the it as a compliment, the same writer was easier than dancing to Tchaikovsky’s tonal opposition that reflects the ‘good courage of Tchaikovsky’s convictions as then went on to laud aspects of the score. Given that the autograph score no versus evil’ narrative at the heart of the he turned his hand to “this kind of music”. music that unsettled traditional ballet longer exists we cannot be sure of the story. Sharp keys represent the purity “Whether my ballet is good or bad,” he aficionados. “Mr Tchaikovsky,” intoned the extent to which Reisinger took it upon of Odette and the Swan Maidens. The wrote of Swan Lake, “I alone would like to critic, “being one of the most prominent himself to amend Tchaikovsky’s work, sublime ‘swan’ theme that makes its take responsibility for its music. orchestral composers of our time, was although it has been established that first appearance played by the oboe in the finale of Act One is in the sharp key Dr Mark Carroll is an Associate Professor at able to put into the framework of ballet the ballet master re-ordered some of the The Elder School of Music, University of Adelaide music so many purely musical virtues dances and reduced the length of others. of B minor, and the Siegfried character Lucinda Dunn as Baroness von Rothbart and Robert Curran as Prince Siegfried•Photography – Liz Ham
- 24 - - 25 - 1. Andrew Killian and Remi Wortmeyer in Graeme Murphy’s 6.Madeleine Eastoe and Steven Heathcote in Swan Lake 2005 Graeme Murphy’s Swan Lake 2005 Photography–David Kelly Photography–David Kelly 2. Rachel Rawlins in Graeme Murphy’s Swan Lake 2004 7. Christine Walsh with artists of The Australian Ballet Photography–Jim McFarlane in Anne Woolliams’ Swan Lake Photo Gallery Photography–Branco Gaica 3. Rachel Rawlins in Graeme Murphy’s Swan Lake 2004 Photography–Jim McFarlane 8. Kirsty Martin and Damien Welch in Graeme Murphy’s Swan Lake 2004 4. Artists of The Australian Ballet in Anne Woolliams’ Photography–Jeff Busby Swan Lake 1983 Photography–Branco Gaica 9. Olivia Bell in Graeme Murphy’s Swan Lake 2004 Photography–Jeff Busby 5. Lynette Wills, Steven Heathcote and Madeleine Eastoe in Graeme Murphy’s Swan Lake 2005 10.Rosemary Mildner, Marilyn Jones and Suzanne Musitz Photography–David Kelly in The Australian Ballet’s Swan Lake 1962
1 2 6 7
4 9
3 5 8 10
- 26 - - 27 - Guest Artists
Shane Carroll Harry Haythorne Colin Peasley Robert Olup Shane Carroll graduated from Adelaide born, Harry Haythorne Sydney-born Colin Peasley, Robert was trained in the The Australian Ballet School in spent over twenty-five years of is a founding member of The Cecchetti method and danced 1975 and spent seven years his professional life in Great Australian Ballet and during in various television productions dancing with the Nederlands Britain. His first engagement his distinguished career with before joining the Borovansky Dans Theater under the was with the Metropolitan Ballet. the company has attained great Ballet in 1959, where he remained directorship of Jiˇrí Kylián. After its demise he joined the personal success, particularly until its disbandment in the early Working with Kylián and other International Ballet. His career in an extraordinary variety of sixties. He toured nationally as choreographers such as Hans then alternated between ballet character roles, many of which an original cast member of the van Manen, William Forsythe, and musicals, including the he has created. rock musical Bye Bye Birdie after Glen Tetley, Christopher London productions of Can-Can, which he joined the Elizabethan Invited onto the ballet staff of Bruce, and Louis Falco, Shane Divorce Me Darling and the film Trust Opera Company as The Australian Ballet in 1975 he performed an extensive Half-a-Sixpence. He was Ballet Principal Dancer in La Traviata, became the company’s teacher repertoire throughout Europe, Master and a Principal Dancer in choreographed for Stephan and ballet master responsible and the USA. From 1983, Shane the ballet companies of Leonide Beinl’s production of Ariadne auf for the reproduction of ballets danced with Graeme Murphy’s Massine and Walter Gore, as well Naxos, and was responsible for from repertoire and the daily Sydney Dance Company before as Het Amsterdams (now Dutch the re-staging of Algeranoff’s scheduling of rehearsals. retiring from performing in National) Ballet. In the sixties, choreography for Falstaff. 1987. Shane has been a regular Harry was a guest artist with In 1988 Colin Peasley In 1962, Robert joined The guest teacher for The Australian both The Royal Ballet at Covent was awarded the Bull HN Australian Ballet as a foundation Ballet and Bangarra Dance Garden and the Marquis de Information Systems ‘Great member and in August the Theatre as well as numerous Cuevas Company in Paris, then Performer Award’ in recognition following year he travelled schools, institutions and became Ballet Master of Sadler’s of his significant and long-term overseas and was guest artist universities. She is a former Wells (now English National) contribution to The Australian with the Irish National Ballet Chair of the Dance Board of the Opera, Western Theatre Ballet Ballet. He was awarded a Medal and later toured Europe with Australia Council and the Dance and finally Assistant Artistic of the Order of Australia for London Festival Ballet. Committee for ArtsNSW. After Director of Scottish Ballet. service to dance in the 1996 studying Politics and History at Queen’s Birthday honours list. Robert returned to The He returned to Australia in Macquarie University, Shane is Australian Ballet in 1965 as 1975 to become Artistic In 1997 Colin Peasley, a currently involved as consultant a Senior Soloist, where he Director of Queensland Ballet Fellow of the Imperial Society on various projects both arts remained until joining Sydney and later Co-ordinator of Dance of Teachers of Dancing, retired and non-arts. Dance Company in 1977, Studies at the Queensland as a Principal Artist from the becoming Ballet Master University of Technology. He company, a position he had before retiring as a dancer and was Artistic Director of The held from 1987, to concentrate rejoining The Australian Ballet’s Royal New Zealand Ballet on establishing an Education administration in 1989. (1981-1992), and is still its Programme for The Australian Artistic Director Emeritus. Ballet, which he currently Robert retired as Manager, In 1993 he received an MBE manages while continuing Patrons Programme of The for his services to dance to perform character roles Australian Ballet in and ballet. with the company as well as September 2001 and has maintaining a busy international since co-adjudicated for the In recent years, Harry has schedule as coach, teacher and McDonald’s Performing Arts fulfilled many national and adjudicator. Challenge Ballet Scholarship international engagements as at the Sydney Opera House as a teacher and ballet director. well as other regional ballet For The Australian Ballet he has Eisteddfods. He returned to the appeared as a guest artist in stage as guest artist with The Cinderella, The Merry Widow, La Australian Ballet in the role of Sylphide and Graeme Murphy’s Dr Coppelius in Coppélia at the Nutcracker, Tivoli and Swan Sydney Opera House and has Lake. At the 2001 Australian performed the role of Prince Dance Awards Harry received Consort in Graeme Murphy’s the Award for the year’s most production of Swan Lake Outstanding Performance by an during the company’s tours Individual for his role in Tivoli. of the United Kingdom, Rachel Rawlins and artists of The Australian Ballet•Photography - David Kelly China and Japan.
- 28 - - 29 - Amber Scott as Odette and Adam Bull as Prince Siegfried • Photography – Liz Ham
- 30 - - 31 - Artistic Staff
Associate Ballet Master Ballet Mistress Principal Coach Ballet Mistress Artistic Director and Choreologist and Rehabilitation Facilitator and Ballet Mistress and Repetiteur Danilo Radojevic Mark Kay Noelle Shader Fiona Tonkin Wendy Walker
Danilo Radojevic, a dancer with a Mark Kay decided to take up the Noelle Shader was born in Caracas, Fiona Tonkin began her career in Born in Adelaide, Wendy Walker studied dynamic style and exceptional technical profession of choreologist after studying Venezuela, and emigrated to the United Wellington where she joined the Royal ballet with Joanne Priest before attending skill, catapulted to international status Benesh Movement Notation at The States, where she studied at the School New Zealand Ballet in 1979. Her The Australian Ballet School. After at the age of nineteen when he won the Australian Ballet School. In 1986 he of American Ballet in New York City. She association with The Australian Ballet graduating in 1969 she joined The Gold Medal at the 1977 International went to London to complete the notation was one of the last intakes into the school began in 1980 when Marilyn Jones invited Australian Ballet. During this time Wendy Ballet Competition in Moscow, the only course at the Benesh Institute and under Balanchine’s direction. In 1976 her to join the company. was fortunate to work with Ashton, Butler, Australian to win this prestigious award while there notated and worked with Noelle joined the New York City Ballet and Tudor, Massine and Nureyev and was By 1987 she had become a Principal throughout the Moscow competition’s choreographer Gillian Lynne on the remained with the company until 1981. promoted to Senior Soloist. In 1975 and Artist, renowned for her interpretative long history. musical The Phantom of the Opera. 1976 she danced with London Festival Emigrating to Australia, Noelle worked as artistry, classicism and technical Ballet (now English National Ballet), Soon after, Danilo left The Australian He joined The Royal Ballet as a freelance a classical dance lecturer at the Western versatility. Upon her retirement in 1993, working with Beryl Grey, Beriosoff, Ronald Ballet to become a Soloist with American notator in 1987 under the directorship Australian Academy of Performing Arts she had danced almost every major Hynde and taking outside classes with Ballet Theatre in New York. He remained of Anthony Dowell and worked on Wayne with Dame Peggy van Praagh, and in female role in the company’s repertoire. John O’Brien. Returning to Australia, with the company for fifteen years, visiting Eagling’s Beauty and the Beast and 1984 assumed the position of Ballet Career highlights with The Australian Wendy continued dancing with The his homeland in 1978 and 1979 with Dowell’s Swan Lake. Mistress with the West Australian Ballet Ballet include her performances at the Australian Ballet and also assisted Anne Stars of the World Ballet and in 1991 under the direction of Barry Moreland. After a twelve-month repose in Australia, Royal Opera House, the Kirov Theatre Woolliams and Peggy van Praagh. with Rudolf Nureyev’s last tour. Danilo Mark returned to London in 1988 to work In 1989 she joined The Australian Ballet and the Metropolitan Opera House and was promoted to Principal Dancer of In 1978 a Churchill Fellowship enabled for English National Ballet, directed by as Ballet Mistress under the direction opening the company’s 1992 London American Ballet Theatre by Artistic her to undertake a Benesh Movement Peter Schaufuss. During his five years of Maina Gielgud. After six years she Coliseum season as Giselle. Director Mikhail Baryshnikov in 1981 Notation course at The Institute of with the company he performed, notated, returned to freelance work as a full- and performed the leading roles in many She appeared as a Guest Artist with Choreology in London for eighteen and worked with many choreographers time classical dance lecturer at the of the classics, often alternating with the Kirov Ballet in Swan Lake, on Rudolf months, and she worked with Sir Kenneth and directors, including Peter Schaufuss, Victorian College of the Arts; restaging Baryshnikov himself. Nureyev’s Farewell Tour, and danced lead MacMillan, Nederlands Dans Theater Ronald Hynd, Kenneth MacMillan,Nicholas choreographic works and teaching in roles in the ABC TV broadcasts of La Fille and Sadler’s Wells Royal Ballet. Upon the After retiring from dancing, Danilo taught Beriozoff, Ben Stevenson and Ivan Nagy. the larger dance community. mal gardée and Romeo and Juliet. In 1988 completion of her studies in 1980, Wendy at American Ballet Theatre, New York As a freelancer, Mark has staged Peter She rejoined The Australian Ballet as a scholarship enabled her to work with joined American Ballet Theatre in New Dance Studios and leading universities Schaufuss’ Nutcracker for the Graz Ballet Mistress in 1997 at the invitation Stuttgart Ballett and Yvette Chauviré in York as a choreologist, working closely in California, gaining a reputation as an Oper Ballett in Austria in 1992, Rudolf of then Artistic Director Ross Stretton Paris. Fiona received Green Room Awards with Tudor, MacMillan, Makarova, Tetley, outstanding technical coach. He returned Nureyev’s Don Quixote for the Royal and continues as Ballet Mistress and in 1988 and 1989. John Taros, Mark Morris, Twyla Thwarp to join the ballet staff of The Australian Swedish Ballet in 1994 and for The Royal Dance Rehabilitator for the company and Artistic Director Mikhail Baryshnikov. Ballet in 1997 at the invitation of former Fiona returned to New Zealand in 1994 Ballet in 2001, and taught Christopher under Artistic Director David McAllister. Promoted to Ballet Mistress in 1984, Artistic Director Ross Stretton. where she completed a Bachelor of Arts Wheeldon’s Continuum© for DutchNational Wendy co-staged Balanchine’s Bourrée Over the years, Noelle has been involved at Canterbury University while guest Danilo was appointed Associate Ballet (2005) and Zurich Ballet (2006). Fantasque for American Ballet Theatre, in the premieres of many ballets now teaching in New Zealand and Australia.In Artistic Director of The Australian Makarova’s La Bayadère for Rio de In 1993 then Artistic Director Maina in the company’s repertoire, including 1999 she completed The Australian Ballet Ballet in July 2001. Janeiro, MacMillan’s Romeo & Juliet Gielgud invited Mark to join The Australian Nutcracker, Divergence, Rites, Bella School’s Professional Dance Teachers in Beunos Aires, and Manon in Vienna. Ballet as the company’s choreologist, Figura, Requiem and Madame Butterfly Course and was awarded the Australian where he continues to notate and stage and has enjoyed working with great Multicultural Foundation Scholarship. At the invitation of Maina Gielgud, Wendy ballet, as well as perform character roles artists, choreographers and directors. returned to The Australian Ballet as Ballet In 2000 Artistic Director Matz Skoog such as Sancho Panza in Don Quixote. Mistress in 1994. She enjoys a close Noelle has been a dance panel member appointed her Rehearsal Director of the For The Dancers Company, he has been working relationship with choreographer for the Department of the Arts (WA) Royal New Zealand Ballet. She continued responsible for teaching, staging, and Steven Baynes and has been inspired and the Australia Council, and has to work with Skoog in London as Assistant recently performing the role of The by working with Nacho Duato, William choreographed works for West Australian Artistic Director of the English National Head Mistress in Graduation Ball. Forsythe and Graeme Murphy. She takes Ballet and for the Festival of Perth. Ballet in 2002 and returned there as Guest particular joy in coaching and teaching the Repetiteur in June and July of 2003. Fiona In 2003 Noelle was awarded a Corps de Ballet and has been involved in has worked with many choreographers Centenary Medal. the restaging of the works Les Sylphides including Stanton Welch, Mark Morris, and Les Présages. In 2003 Wendy Walker Christopher Hampson and Mark Baldwin. was awarded the Centenary Medal for her Fiona returned to The Australian Ballet in services to Dance in Australia. 2003 at the invitation of David McAllister.
- 32 - - 33 - Principal Artists
Principal Artists generously supported by Les Etoiles Ms Robin Campbell Sue Chisholm Lynette Harvey Mr Arthur L Norcott Mrs Roma Norcott Mrs Kerry Packer AO Dr Valmai Pidgeon AM Lady Potter AC Mr Peter Reilly Mrs Christine Smedley Ms Nancye Willmott
Olivia Bell Robert Curran Lucinda Dunn Madeleine Eastoe “An intoxicating lead.” “The grand danseur noble, a secure “In a word – stunning” “... an outstanding artist of extraordinary Sunday Herald Sun self-effacing partner.” State of the Arts range and unfailing power.” Adelaide Review Financial Times, UK
Newcastle-born Olivia Bell competed in the Prix A graduate of The Australian Ballet School, Lucinda Dunn received her early training in A graduate of The Australian Ballet School, de Lausanne awards and won a scholarship Robert Curran joined The Australian Ballet in Sydney with Janece Graham and Tanya Pearson Perth-born Madeleine Eastoe joined the to the Paris Opéra Ballet School, where she 1996 and was promoted to Principal Artist before going on to win a Prix de Lausanne company in 1997 and danced many lead graduated in 1995. Joining The Australian in 2002. During his time with the company scholarship to study at The Royal Ballet School, roles before being promoted to Principal Ballet the same year, Olivia would go on he has performed in numerous classical and London. While in London she also performed Artist following her debut as Giselle in 2006. to dance some of The Australian Ballet’s contemporary works by choreographers such with Birmingham Royal Ballet. In 1991 Lucinda Madeleine has particularly enjoyed working most coveted lead roles, hailed variously as as Kylián, Forsythe, Welch, Balanchine, Cranko, joined The Australian Ballet and was promoted one-on-one with choreographer Stephen “imperious and sinuous”, “truly exquisite”, Baynes, Robbins and MacMillan, carving out to Principal Artist in 2002. She has also Baynes to create the lead role in 2007’s and for her “cool, sensitive precision”. a niche with his powerful partnering. Robert been awarded several scholarships to study Constant Variants, and dancing with guest In 1996 she was awarded a Khitercs particularly enjoys the interaction with other overseas and has been partnered by many artists such as Angel Corella in La Fille mal Foundation scholarship, enabling her to study dancers in the technical achievements of international guests of The Australian Ballet gardée and Cédric Ygnace in Giselle. Her abroad. Olivia’s acclaimed performances in pas de deux and the creation of stories including Robert Tewsley and Bruce Samson. career highlight so far, however, was dancing everything from the most classical ballets to and feelings on stage. Robert has toured A diverse and musical dancer with a strong Odette on the opening night of Graeme contemporary pieces have shown her great extensively overseas with The Australian Ballet, technique, Lucinda excels in the pure classical Murphy’s Swan Lake in London, a role she versatility. A career highlight was dancing the and a burgeoning interest in choreography has ballets and enjoys portraying characters in reprised on the company’s 2007 Japan tour. role of the Baroness in the premiere season seen him create two works for the company’s story ballets, as well as the physicality of Madeleine has also toured internationally of Graeme Murphy’s Swan Lake, which she Bodytorque programme. contemporary pieces. with The Australian Ballet to China, reprised for the company’s tours of the UK Repertoire highlights Repertoire highlights Singapore, New Zealand and the US. and Japan. Olivia was promoted to Principal •Symphonie Fantastique 2007 In addition to the ballerina roles in all of Repertoire highlights Artist in 2007. •Don Quixote 2007 the major classical ballets such as Giselle, •Peter Wright’s The Nutcracker 2007 Repertoire highlights •Apollo 2007 Romeo and Juliet, Swan Lake and Coppélia, •Don Quixote 2007 •Sugar Plum Fairy in Peter Wright’s •Giselle 2006 a particular career highlight for Lucinda was •Constant Variants 2007 The Nutcracker 2007 •Le Spectre de la rose 2006 dancing the world premiere of Stanton Welch’s •Giselle 2006 •Idée Fixe in Symphonie Fantastique 2007 •Forgotten Land 2005 The Sleeping Beauty in 2005. Other highlights •La Sylphide 2005 •Passion in Les Présages 2007 •Petite Mort 2005 include her performances on The Australian •Graeme Murphy’s Swan Lake 2005 •Christopher Wheeldon’s After the Rain©, •Other Dances 2001 Ballet’s tours to London, Tokyo, Italy, Shanghai •La Fille mal gardée 2004 Continuum© and Mercurial Manoeuvres© •At the edge of night 1997 and New York, as well as dancing lead roles •Romeo & Juliet 2003 •Street dancer in Don Quixote 2007 Guest appearances in contemporary works by Wheeldon, Kylian, •Graeme Murphy’s Nutcracker 2000 •Terpsichore in Apollo 2007 •The Sleeping Beauty with Houston Ballet Robbins, Balanchine, Tharp, Fonte and Baynes. Awards •Zobeide in Schéhérazade 2006 •The Nutcracker with The Royal Danish Ballet Guest appearances •Telstra People’s Choice Award 2006 •Jiˇrí Kylián’s Petite Mort and Choreographic works •The Royal Danish Ballet •Green Room Award 2005 Stepping Stones 2005 •Le Jeune Ballet de France •Helpmann Award nomination 2003 •Flavia in Spartacus 2003 •amusemeant for Bodytorque.To the Pointe. 2008 •Promenade for Bodytorque.Generations. 2007 •Birmingham Royal Ballet You may not know … •Vertiginous Thrill of Exactitude 2000 •World Ballet Festival, Tokyo •Other Dances 2000 You may not know … Madeleine’s preferred mode of transportation •William Fortsythe’s In the Middle, Robert is undertaking a Bachelor of Business Awards is her bicycle. Somewhat Elevated 1996 by correspondence, and is studying for the •Helpmann Award nomination for Dance Vocational Graduate Certificate in Elite Ballet Performer of the Year 2007 and 2004 Guest appearances •Mo Award nomination for Dance Performer •Swan Lake with The Dancers Company 2001 Instruction with The Australian Ballet School. He has a miniature border collie called Gilly. of the Year 2006, 2005 and 2001 Awards •Green Room Award for Best Female •Telstra Ballet Dancer Award nominee 2003 Dancer 2005 You may not know … You may not know … Olivia took time out to travel and see the world At the age of sixteen Lucinda was diagnosed in 1997, rejoining the company in 1999. with a stress fracture in her spine and was immobilised in a plaster cast that went from shoulders to hips.
- 34 - - 35 - Principal Artists
Kirsty Martin Yosvani Ramos Rachel Rawlins Damien Welch Lynette Wills “Heartbreakingly lovely … She seems “A revelation ... with his smouldering “Every centimetre the classical ballerina.” “Slick and self-possessed.” “Steely yet slinky” not so much to cut the air, but carve it. matinee-idol looks, he achieves the The Australian Sunday Herald Sun Sunday Age Evening Standard extraordinary” Evening Standard Kirsty Martin had twelve years of ballet training Yosvani Ramos was born in Camagüey, Rachel Rawlins grew up in Canberra where she Damien started training at the Marilyn Jones Adelaide-born Lynette Wills began her ballet before graduating from The Australian Ballet Cuba and trained at the National Ballet studied ballet with Del Brady. She completed and Garth Welch School of Ballet at the age of training with Betsy Sawers and graduated School under the direction of Gailene Stock. School, going on to dance with Jeune Ballet her dance training in Melbourne, attending fifteen, and was accepted into The Australian from The Australian Ballet School in 1990. She joined The Australian Ballet in 1996 and de France and Ballet de l’Opéra National de the Victorian College of the Arts, the National Ballet School at sixteen. In 1992 he joined She joined The Australian Ballet in 1991 after then Nederlands Dans Theater I in 2000, where Paris after winning the Gold Medal at the Paris Theatre Ballet School and The Australian Ballet The Australian Ballet, and was promoted to touring with The Dancers Company and was she performed a wide range of contemporary International Ballet Competition in 1998. He School. Rachel also studied with the National Soloist in 1996, then to Senior Artist and finally promoted to Senior Artist in 1996. Lynette has ballets and worked with choreographers Jiˇrí joined English National Ballet as a Soloist in Ballet School in Canada for six months. She Principal in 1998. Damien has performed toured extensively with the company to Italy, Kylián, Johan Inger and Paul Lightfoot. Kirsty 1999 and was promoted to Senior Soloist in joined The Australian Ballet in 1992 and was works by many famous choreographers, London, Taiwan, China, Japan and the United returned to The Australian Ballet in 2002 2000, then Principal Artist in 2003 after his promoted to Soloist in 1995. Rachel was including William Forsythe, Nacho Duato, States, and was promoted to Principal Artist and performed in the world premiere season performance as Franz in Coppélia. During his invited to become First Soloist with the Royal Stanton Welch, Graeme Murphy, Twyla Tharp, after her fiery and moving portrayal of Baroness of Graeme Murphy’s Swan Lake and was time with English National Ballet he created Ballet in London in 1999, returning to The James Kudelka, Gideon Obarzanek and Paul von Rothbart in the Sydney premiere of Graeme promoted to Principal Artist after the opening many pieces in the company’s choreographic Australian Ballet in 2002. Her performances Lightfoot, and has danced in hundreds of Murphy’s Swan Lake in 2002. In 2005 Lynette night performance of The Three Musketeers in workshops and was nominated for several with the company have garnered much critical ballets. After a stretch with Nederlands visited a Cambodian dance company as The 2003. After becoming a mother, Kirsty returned years running in the Critics’ Circle National acclaim: her interpretation of Odette in Graeme Dans Theater I from 2000 to 2002, Australian Ballet’s ambassador in a joint to The Australian Ballet in 2006. Stephen Dance Awards. He joined The Australian Murphy’s Swan Lake proclaimed “a mature Damien returned to The Australian Ballet. initiative between the company and CARE Baynes created the role of Raymonda on her Ballet as a Principal Artist at the beginning exploration of all its emotions – love, hurt, Repertoire highlights Australia. She returns to The Australian Ballet in for his glamorous new production of the same of 2008. anger, despair, madness, hope, serenity”; her •Symphonie Fantastique 2007 2008 after taking time off to become a mother name later that year. Repertoire highlights balcony scene in Romeo and Juliet acclaimed •Graeme Murphy’s Swan Lake to Thomas Burke with husband Tim Burke. Repertoire highlights •Basilio in Don Quixote 2006 for “fine nuances, caution and curiosity and 2007, 2006, 2005, 2004, 2002 Repertoire highlights •Swan Lake 2007 •Prince Siegfried in Swan Lake 2004 total fascination with this wonder that has •Les Sylphides 2006 •Giselle 2006 •Don Quixote 2007 •The Prince in Cinderella 2003 entered her life”; while in The Sleeping Beauty •Raymonda 2006 •Raymonda 2006 •Apollo 2007 •Romeo in Rudolf Nureyev’s she was described as “perfect as Princess •Stanton Welch’s The Sleeping Beauty •Stepping Stones 2005 •After the Rain© 2007 Romeo & Juliet 2002 Aurora. Her looks and skill are sublime”. Rachel 2006, 2005 •El Tango 2004 •Paquita 2007 •Albrecht in Giselle 2001 was promoted to Principal Artist in 2004 •Petite Mort 2005 •The Merry Widow 2000 •Symphonie Fantastique 2007 •George Balanchine’s Who Cares? 2000 Repertoire highlights •Bella Figura 2000 •Don Quixote 1999 •Les Présages 2007 •Principal Man in Etudes 2000 •Sugar Plum Fairy in Peter Wright’s •Manon 1999 •Madame Butterfly 1998 •Raymonda 2006 •Les Sylphides 2000 The Nutcracker 2007 •In the Middle, Somewhat Elevated 1996 •In the Middle, Somewhat Elevated 1996 •Giselle 2006 •The Prince in The Nutcracker 1999 •Constant Variants 2007 •Madame Butterfly 1998 •Onegin 1996 •Manon 1999 •Franz in Coppélia 1999 •Promenade in Bodytorque.Generations. 2007 •Cinderella 1997 •Anna Karenina 1995 •La Bayadère 1998 Awards •Raymonda Grey in Raymonda 2006 Guest appearances •Graeme Murphy’s Swan Lake Awards •Silver Medal in Nagoya, Japan 1999 •Jiˇrí Kylián’s Petite Mort and Forgotten •Houston Ballet 2006 and 2003 2007, 2006, 2005, 2004, 2003 •Gold medallist at the fifth Asian Pacific •Gold Medal in the International Ballet Land 2005 •National Ballet of Canada 2000 •Stanton Welch’s The Sleeping Beauty Ballet Competition 1995 2007, 2006 Competition in Paris 1998 Guest appearances Awards •Silver medallist at the Adeline Genée •Silver Medal in Mississippi, USA 1997 •Featured in Michael Carter’s experimental •Green Room Award for Best Male You may not know … Awards 1995 •Silver Medal and Best Couple in the film Principal Role Dancer 2002 Lynette rides a motor scooter, walks her You may not know … Junior division at the International Ballet Awards •Ausdance Award for Best Male labrador Tyler twice a day, and fosters “I enjoy being a mum and having a great Competition in Varna, Bulgaria 1996 •Khitercs scholarship to travel to New York, Dancer 1998 passions for both real estate and photography family life, as well as a wonderful career. •Grand Prix and the Best Couple at the in her spare time. A collection of Lynette’s Washington, Houston, London and You may not know … A rewarding challenge!” first International Ballet Competition in photographs of The Australian Ballet’s Amsterdam. When he’s not dancing, Damien spends his Havana 1995 dancers will be published later this year. time playing guitar, golfing, and being a dad. •Gold Medal at International Ballet You may not know … Competition in Vignale, Italy 1994 Rachel loves Australia, the beach, the bushland, the animals, the sounds, the skies You may not know … and the cities. She admires and is moved Yosvani speaks fluent French, Spanish, by people who can sing well and wishes she Portuguese and English and loves cooking could. She is grateful to all the people who Cuban food. have supported her and enriched her life.
- 36 - - 37 - Senior Artists
Adam Bull Marc Cassidy Danielle Rowe “True star quality.” “Dazzle and strength.” “Imperious and striking” Dance Australia The Age Dance Australia
Adam Bull was born in 1981 Marc Cassidy was born in Born in Shepparton in 1982, and began training at Dance New Zealand and grew up in Danielle trained at the Cheryl World 301 with Brian Nolan Central Otago. He joined the Bradley Dance Studios in before joining The Australian Australian Ballet in 1994 and South Australia for eleven Ballet School. In 2000 he was promoted to Senior Artist years, then with Marie represented Australia in the in 2000. He admires dancers Walton-Mahon in Newcastle Paris International Ballet who are capable of delivering before moving to Melbourne playbill adverts Competition, before graduating performances with depth, to join The Australian Ballet from The Australian Ballet honesty, solid technique and School. During her years as School with honours in 2001. energy – qualities he strives a student Danielle received 39-42 Adam joined The Australian to achieve in his own work. many scholarships including Ballet in 2002, going on to Scholarships have enabled the Fauldings Bursary, which dance soloist and principal him to travel to Europe and allowed her to complete her roles in works by George USA for training as well as training with the school. Balanchine, Jiˇrí Kylián, Graeme giving him invaluable insights Danielle joined The Australian Murphy, Christopher Wheeldon, into international dance. Marc Ballet in 2001. 2005 saw Stephen Baynes, Stanton has toured with The Australian her promoted to Soloist and Welch and Adrian Burnett. He Ballet to Japan, USA, New awarded the Lissa Black was promoted to Soloist in Zealand, China, England and Memorial Scholarship, which 2006 and Senior Artist at the Wales. His most special time she used to travel to Europe. beginning of the 2008 season. onstage has been dancing Danielle was promoted to Repertoire highlights leading roles opposite his Senior Artist in 2007. •Peter Wright’s partner Leanne Stojmenov, Repertoire highlights The Nutcracker 2007 particularly Basilio to her Kitri •Stanton Welch’s •Apollo 2007 in Don Quixote. The Sleeping Beauty •Don Quixote 2007 Repertoire highlights 2007, 2006, 2005 •Raymonda 2006 •Don Quixote 2007 •Don Quixote 2007 •Giselle 2006 •Le Corsaire 2007 •After the Rain© 2007 •La Sylphide 2005 •Suite en Blanc 2005 •Apollo 2007 •La Fille mal gardée 2004 •La Fille mal gardée 2004 •Symphonie Fantastique 2007 Guest appearances •Romeo & Juliet 2003 •Peter Wright’s •The Dancers Company •Mercurial Manoeuvres 2002 The Nutcracker 2007 tour 2006 •Etudes 2001 •Giselle 2006 You may not know … •Raymonda 2006 Awards •Stepping Stones 2005 •Telstra Ballet Dancer Award “Since the age of four I have nominee 2004 and 2006 been having a love affair Awards •Green Room nomination for with motorcycles. The smell •Helpmann Award nomination Albrecht in Giselle 2006 of the petrol, the sound and for best female dancer in •The Australian Ballet Society feel of them, is as much in The Sleeping Beauty 2006 Scholarship in 2001 my blood as ballet. Ballet •Telstra People’s Choice and motorcycles aren’t really Award 2003 and 2005 You may not know … compatible, but as soon as I •Lissa Black Memorial “I was encouraged to dance stop dancing I’m getting one Scholarship 2004 by a grade one primary school … again!” teacher. I owe a lot to her You may not know … – thank you Mrs Kipp from Danielle enjoys spending time Laverton Primary School!” at the beach and would love to learn how to surf one day.
- 38 - - 39 - playbill adverts playbill adverts 39-42 39-42
- 40 - - 41 - Soloists
Gina Brescianini Jane Casson Tzu-Chao Chou Matthew Donnelly Daniel Gaudiello Born in Sydney, Gina Jane Casson was born Born in Taiwan, Tzu Chao Born in New South Brisbane-born Daniel studied at the McDonald in Auckland and began studied at the Lan Yang Wales, Matthew trained Gaudiello strapped on College with Josephine her training at age six, Dance Centre, joining in Newcastle before his first pair of dancing Jason and Allan moving to Wellington the centre’s dance joining The Australian shoes at the age of six Cross before joining to train at The New troupe in 1993. In 2003 Ballet School. After at the Johnny Young playbill adverts The Australian Ballet Zealand School of he commenced an graduating with honours Talent School then School in 1998, and Dance at seventeen. Advanced Diploma of in 1996, he was invited Promenade Dance. The Australian Ballet There she was awarded Dance at The Australian to join The Royal Danish Later he completed in 2001. Gina enjoys several scholarships, Ballet School, going on Ballet, where he worked the Queensland Dance 39-42 performing all genres of enabling her to compete to attend classes with with some of the world’s School of Excellence ballets, particularly the and train in Sydney, the American Ballet leading choreographers and Queensland Ballet wide range performed Hong Kong and Japan, Theatre Studio Company including Maurice professional year before by The Australian Ballet, before joining the Royal and the National Ballet Béjart, who recreated being accepted into The and finds variety helps New Zealand Ballet School of Canada a solo for him in Gaîté Australian Ballet School, get ultimate expression in 1998. After joining as part of a student Parisienne. A memorable where he performed as from a dancer’s The Australian Ballet exchange. Tzu-Chao moment was performing an exchange student body. Her favourite in 2001, Jane was joined The Australian Return to the Strange with the National Ballet genre, however, is the awarded a scholarship, Ballet in 2005, with Land for Her Majesty School of Canada and story ballet, and the which allowed her to his performance in Queen Margrethe of the School of American experience of getting study with the Paris The Flower Festival in Denmark in 1998. Ballet. Daniel joined lost in a character. Opera Ballet, Ballet de Genzano prompting a Matthew returned to The Australian Ballet in Gina was promoted to Nice, Ballet de Monte journalist to compare The Australian Ballet in 2004 and in early 2007 Coryphée in 2005 and Carlo and the Hamburg his “buoyancy, power 1999. While enjoying the participated in classes Soloist in 2007. Ballet. A self-confessed and fluency” to that of physical challenges of with some of the world’s Repertoire highlights drama queen on stage, a young Baryshnikov. He the contemporary works, finest ballet companies •Peter Wright’s The Jane was promoted to was promoted to Soloist classic storytelling is his in London, Amsterdam, Nutcracker 2007 Coryphée in 2004 and at the beginning of the passion. Matthew was Munich and Paris. •Don Quixote 2007 Soloist in 2006. 2008 season. promoted to Soloist Daniel was promoted •Apollo 2007 Repertoire highlights Repertoire highlights in 2005. to Soloist for the 2008 •Giselle 2006 •Peter Wright’s The •La Favorita 2007 Repertoire highlights season and made his •Rites 2006 Nutcracker 2007 •Bodytorque 2007 •Constant Variants 2007 choreographic debut •Stepping Stones 2005 •Don Quixote 2007 •Le Spectre de la rose •Raymonda 2006 with a piece called Notte •Forgotten Land 2005 •Les Présages 2007 2006 •La Fille mal gardée 2004 in Bianco for Bodytorque. •Petite Mort 2005 •Giselle 2006 •Bodytorque 2006 •Romeo & Juliet 2003 To the Pointe. •Sechs Tänze 2005 •Bodytorque 2006 •Flower Festival in •The Sentimental Bloke Repertoire highlights Guest appearances •Grand Tarantella 2005 Genzano 2005 2002 •The Sleeping Beauty 2007 •The Dancers Company •Swan Lake 2007, 2002 Awards •In the Upper Room 2002 •Don Quixote 2007 tour 2007 •Forgotten Land 2005 •The Australian Ballet •Return to the Strange •Constant Variants 2007 Guest appearances Society Scholarship Land 1998 •Les Présages 2007 Awards •Fearful Symmetries 1997 •Giselle 2006 •Telstra Ballet Dancer •New Zealand School 2004 of Dance’s 40th •Asian Pacific Awards •Forgotten Land 2005 Award winner 2006 © Anniversary 2007 International Ballet •Adeline Genée Awards, •Continuum 2004 You may not know … Competition, gold Silver Medal 1995 Awards Gina practices Kundalini Awards •Telstra Ballet Dancer medallist 2003 •Asian Pacific •Telstra Ballet Dancer yoga and meditation •Kelvin Coe Memorial International Ballet Award Winner 2007 and has completed a Award nominee 2007 and 2004 Scholarship 2003 Competition, Silver •Freda Irving course in teaching yoga •Ballet Teachers’ Medal 1995 Scholarship 2006 to children. She travels •Lissa Black Scholarship 2002 Workshop Award 2002 •Adeline Genée Awards, •BJ Sutton Scholarship oversees as often as Bronze Medal 1994 she can, loves reading You may not know You may not know … You may not know … and painting, and rides “Before my love of “My name in Chinese You may not know … “I love to camp on the a red electric scooter dance evolved, my means super child. “Overseas touring beach, spending time with around Melbourne. She parents tried everything When I was younger gives me a fantastic my family, and my two lives with fellow dancer from gym to trampoline I always dreamed of opportunity to combine dogs Chloe and Rico.” Rudy Hawkes and their classes to rid me of my being a super hero!” my passions for dance Pomeranian puppy Billy. severe social shyness.” and travel. I enjoy wandering the streets of cities and immersing myself in the sights and culture.”
- 42 - - 43 - Soloists
Luke Ingham Kevin Jackson Lana Jones Andrew Killian Paul Knobloch Luke Ingham was born Born in Perth, Kevin Lana Jones was born Melbourne-born Andrew Canberra-born Paul in Mt Gambier, South commenced his dance in Coffs Harbour, but Killian studied dance at Knobloch trained at Australia. His childhood training at the age of moved to Canberra the Victorian College of The Canberra Dance was spent chasing cows seven with the Shirley soon after where she the Arts prior to joining Development Centre and and driving tractors on Farrell Academy of commenced her ballet The Australian Ballet The Australian Ballet the family farm. Inspired Dance. He studied a training at the Canberra School in 1998. He School, graduating with by Mikhail Baryshnikov, variety of dance styles, Youth Ballet School. She joined The Australian Honours. He joined the he began dance classes as well as taking singing moved to Melbourne Ballet in 2000 and was West Australian Ballet aged five, joining The lessons, and went on in 1999 to join The promoted to Soloist for in 1997, dancing many Australian Ballet School to perform in several Australian Ballet School, the 2006 season. He principal and soloist roles. in 2001. After joining stage musicals. In 1999 graduating dux to join has been involved in In 1998 he toured Europe, The Australian Ballet he undertook a year The Australian Ballet in the creation of many accepting a position in 2004. Luke was the of classical training in 2002. In 2005 she was new works including at the English National recipient of the Young Perth under Adrienne promoted to Coryphée Stephen Baynes’ Ballet and in 2002 he positional only and Emerging Arts Eastoe before joining and won Telstra Ballet Constant Variants, joined The Australian Initiative Award from the The Australian Ballet in Dancer Award, the Graeme Murphy’s Ballet. He was awarded Australia Council, which 2003. Kevin enjoys the highest accolade of Swan Lake and all a scholarship by the enabled him to attend technique and artistry its kind for Australian five Bodytorque company which he used classes with New York demanded by many Ballet dancers. A rising seasons, and enjoys to travel to the United City Ballet, American different kinds of works star within the ranks, working closely with States, working with Ballet Theatre, Pacific but holds the story Lana’s dancing has choreographers during American Ballet Theatre, Northwest Ballet, San ballet near to his heart. been has been critically this process. Andrew New York City Ballet, Francisco Ballet and He was promoted to acclaimed as “joyous has toured to New San Francisco Ballet and Toronto Ballet. He was Soloist at the beginning and effervescent,” with Zealand, Japan, the Pacific Northwest Ballet. promoted to Soloist at of 2007. one writer declaring UK and China with In 2006 Paul made his the beginning of 2008. Repertoire highlights her performance in The Australian Ballet. choreographic debut, Repertoire highlights •Apollo 2007 George Balanchine’s Repertoire highlights creating FourTune for •Don Quixote 2007 •The Sleeping Beauty, Apollo “supernatural”. •The Nutcracker 2007 BodyTorque.Face the •After the Rain© 2007 Japan 2007 Lana was promoted to •Don Quixote 2007 Music. In 2007 he •Diana and Actéon 2007 •Symphonie Fantastique Soloist at the beginning •Raymonda 2006 created a new work mrq vlropbic of 2006. Valetta for the company’s •Rites 2006 2007 •Stepping Stones 2005 •Giselle 2006 •Diana and Actéon Repertoire highlights •La Sylphide 2005 Paquita season, which •Les Sylphides, 2007 •Don Quixote 2007 •Agon 2004 was also performed in The Dancers Company •Don Quixote 2007 •Diana and Actéon 2007 •Symphony in C 2004 Brisbane at Telstra Ballet tour 2006 •Les Présages 2007 •Apollo 2007 •La Fille mal gardée in the Gardens. •Auroras Wedding, •Rites 2006 •After the Rain© 2007 2004 Guest Appearances fk qebfo pelbp The Dancers Company •Raymonda 2006 •Peter Wright’s •Almost Tango 2004 •The Dancers Company tour 2006 •Stepping Stones 2006 The Nutcracker 2007 •Bella Figura 2003 tour 2007 •Suite en blanc 2005 •Forgotten Land 2006 •Giselle 2006 Guest Appearances Repertoire highlights •Stepping Stones 2005 Awards •Raymonda 2006 •The Nutcracker with •Le Corsaire 2007 •Forgotten Land 2005 •The Australian Ballet •Forgotten Land 2006 Houston Ballet 2007 •Don Quixote 2007 © Guest appearances Society Scholarship •Petite Mort 2006 •After the Rain 2007 Awards •The Sleeping Beauty 2007 /--5 Bar`^qflk Moldo^jjb •The Dancers Company •Khitercs Foundation Awards •Telstra Ballet Dancer tour 2006 •Helpmann Award for •Les Sylphides 2006 2007 Award nominee 2006 •Stepping Stones 2006 Ì Qeb >rpqo^if^k ?^iibq Awards best female dancer in You may not know … Forgotten Land 2006 You may not know … •Petite Mort 2006 •Telstra People’s Choice Kevin enjoys taking Andrew uses his time •Forgotten Land 2006 K>?) ^ ib^a pmlkplo lc Qeb >rpqo^if^k Award 2007 long walks, getting lost •Telstra Ballet Dancer off to travel overseas. •Le Conservatoire 2005 •Australian Arts Council and exploring places. Award 2005 •Symphony in C 2004 ?^iibq) fp molra ql ^kklrk`b qeb obqrok Young and Emerging You may not know … Awards lc qeb efdeiv ^``i^fjba >rpqo^if^k Artist Award 2006 Lana loves photography, •Lady Mollie Askin Ballet You may not know … jet skiing and the beach, Travelling Scholarship ?^iibq Bar`^qflk Moldo^jjb fk /--5+ When he’s not and has two dogs, Chloe •Marten Bequest Ballet dancing, Luke enjoys and Rico. Scholarship surfing, golf, swimming •ACT Young Australian J^glo Pmlkplo lc qeb k^qflk^i and skateboarding. of the Year 2001 Bar`^qflk Moldo^jjb You may not know … K^qflk^i Bar`^qflk Moldo^jjb Paul is a commissioned artist and exhibits in galleries around Melbourne.
- 44 - - 45 - ¥TRRZ K^qflk^i >rpqo^if^ ?^kh Ifjfqba >?K STRRVRVV[UY½Â¼RSS[ Soloists
Miwako Kubota Tristan Message Amber Scott Leanne Stojmenov Adam Thurlow Remi Wörtmeyer Miwako was born in Tristan was born and Amber Scott was born Leanne was born and Born in Melbourne, Remi began dancing in Japan and began her grew up in Melbourne. in Brisbane and grew up raised in Perth where Adam Thurlow trained Adelaide aged three at ballet training with He graduated from on the Sunshine Coast, she began her initial with Lorraine Blackbourn Pierrot School of Ballet Fumika Morishima in The Australian Ballet joining The Australian ballet training with at the Heidelberg and before training at Terry Okinawa. Before joining School in 1999, going Ballet School at age Helen McKay. Her full- District Ballet School Simpson Studios and The Australian Ballet on to join The Australian eleven. After graduating time training began at from age five alongside now holds an Advanced School she trained with Ballet in 2000. In 2002 as dux, Amber joined the Graduate College his twin brother Dale. Diploma of Dance Kimie Sasamoto and he travelled to Europe The Australian Ballet in 1993 under the Adam was accepted (Honours) from The Iwao Nagae in Tokyo. on the Lissa Black in 2001. In 2003 she school’s director, Terri into The Australian Australian Ballet School. In 1997 Miwako was Memorial Scholarship spent four months on Charlesworth, and Ballet School at fifteen Since graduating as awarded the Idemitsu to study with Yannick a dancer exchange in 1999 she joined and graduated as dux dux in 2001, Remi has Scholarship at the sixth Boquin, and has also at The Royal Danish the West Australian with honours, before danced some of ballet’s Asia Pacific Competition. travelled extensively Ballet, giving her the Ballet. In 2001 Leanne joining The Australian most recognisable roles, After graduating from with The Australian opportunity to learn left Perth to take up Ballet at nineteen under including the Prince in The Australian Ballet Ballet, including tours the Bournonville a position with The Artistic Director Ross The Nutcracker. Winning School in 1998 with to China, the UK, New technique firsthand. Australian Ballet. Stretton. His ballet the Diana Ramsay honours she joined Zealand and Japan. A lyrical and musical Receiving the New career flourished under Scholarship in 2003 The Australian Ballet, Tristan is known as dancer, Amber also South Wales Friends Stretton, and within two allowed Remi to tour going on to perform a strong dancer and relishes the virtuoso of The Australian Ballet years he was promoted London’s Royal Ballet, many ballets, including sensitive partner, and pieces with exacting scholarship in 2004 to Soloist. Enticed by Paris Opera Ballet, principal roles, and tour enjoys the challenge of technique, as well as enabled her to study the travel bug, Adam Italy’s Aterballetto, Les to Japan, New Zealand, developing realistic and contemporary ballets. throughout Europe. left the company in late Ballets de Monte-Carlo China, London and New complex characters. Amber was promoted Leanne has a high 2002 and joined the and La Scala Ballet. York with the company. His favourite role to to Soloist in 2006. regard for artists that English National Ballet In 2005 he received a Miwako was promoted date is Prince Jean de Repertoire highlights can adapt to all kinds for a season, before standing ovation after TOãOURãFIRSTãDAYãATãSCHOOL to the rank of Soloist Brienne in Stephen •Le Corsaire of roles and repertoire. accepting a coveted dancing Grand Tarantella in 2007. Baynes’ Raymonda. pas de deux 2007 She was promoted to position at Paris Opera with Lana Jones, a Repertoire highlights Tristan was promoted •Swan Lake soloist in 2006. Ballet. After three years performance that earned •Peter Wright’s to Soloist in 2005. 2006, 2005, 2004 Repertoire highlights with the company, him the inaugural Walter The Nutcracker 2007 Repertoire highlights •Apollo 2007 •Don Quixote 2007 Adam returned to The Bourke Award and the •Apollo 2007 •Les Présages 2007 •Les Sylphides 2006 •Apollo 2007 Australian Ballet opportunity to spend •Flower Festival in •Schéhérazade 2006 •Le Spectre de la Rose •Constant Variants 2007 in 2006. time with New York’s American Ballet Genzano 2005 •J i rˇ í programme 2005 2006 •Le Corsaire 2007 Repertoire highlights © Theatre in 2006. •Les Sylphides 2006 •Continuum 2004 •Suite en blanc 2005 •Symphonie Fantastique •Symphonie Fantastique TOãOURãFIRSTãOVERSEASãTRIP •Symphony in C 2004 •Voluntaries 2003 •J i rˇ í programme 2005 2007 2007 Repertoire highlights •Serenade 2004 •Molto Vivace 2003 •El Tango 2004 •Les Présages 2007 •Don Quixote 2007 •The Nutcracker 2007 •In the Night 2003 •Spartacus 2002 •Por vos Muero 2002 •Giselle 2006 •The Nutcracker 2007 •Symphonie Fantastique &ROMãOURãFIRSTãBREATH •Bella Figura 2003 •The Sentimental Bloke •Beyond Bach 2001 •Stepping Stones 2005 •Raymonda 2006 2007 •Beyond Bach 2001 2002 Guest appearances •Stanton Welch’s The •Coppélia 2000 •La Favorita 2007 •Aurora’s Wedding •Requiem 2001 •The Dancers Company Sleeping Beauty 2005 •Manon 1999 •The Sleeping Beauty Guest appearances •Divergence 2001 tour 2003 and 2004 •Grand Tarantella 2005 •Swan Lake 1999,1998 2007, 2005 •The Dancers Company Guest appearances Awards Awards •Theme and Variations •Romeo & Juliet 2003 D9=>'*0-'(&'/ tour 2006 •Queensland Ballet •Telstra Ballet Dancer •Telstra Ballet Dancer 1998, 1997 Awards You may not know … International Gala with Award and Telstra Award nominee 2007 •Dark Lullaby 1998 •Green Room Award Miwako loves horse Lisa Bolte, 2007 People’s Choice Award You may not know … •La Bayadère 1998 •Helpmann Award racing, knitting, You may not know ... 2004 “Although for now my Awards •Asian Pacific Fm\ik_\cXjk-'p\XijD9=_Xj_\cg\[d`cc`fejf]8ljkiXc`Xej cooking and is a proud Tristan goes hiking •Adeline Genée Awards, passion is in the arts, in •The Australian Ballet International Ballet Melbourne Storm whenever he gets bronze medal 1998 the future I would love to Society Scholarship Competition, silver supporter. the chance. His open a small business.” 1997 medal favourite hike to date You may not know … “I love reading and •James and Pamela You may not know … kXb\gfj`k`m\jk\gjkfc`m\_\Xck_`\i#cfe^\ic`m\j% was climbing Mount Mills Memorial Remi was recently a Feathertop in the snow. exploring second-hand bookstores, markets Scholarship 1996 guest male principal with and libraries, and I You may not know … all-male comedy ballet am a self confessed Adam was once a troupe Grand Diva during Francophile.” champion BMX racer their 2007 Australian and captain of the tour. school football team. Today he’s a single- D9=gifl[cpjlggfik`e^K_\8ljkiXc`Xe9Xcc\k% figure golfer.
D9=8ljkiXc`XC`d`k\[89E/('''',.,0'
- 46 - - 47 -
G 0396 0108 Swan Lake Ballet Ad 1 1 23/1/08 1:05:15 PM Coryphées Corps de Ballet
Juliet Burnett Halaina Hills Jia Yin Du John-Paul Idaszak Amy Harris Natasha Kusen Robyn Hendricks Melissa Lenehan
Natalie Hill Brooke Lockett Reiko Hombo Jarryd Madden Ty King-Wall Heidi Martin Jacob Sofer Frances Murphy
Simone Pulga Laura Tong Gabriella Raetz Vivienne Wong Jared Rainford - Wright Andrew Wright Mitchell Rayner
Corps de Ballet
Dimity Azoury Sharni Spencer Kismet Bourne Dana Stephensen Annie Carroll Garry Stocks Jacinta Christos Charles Thompson
Ben Davis Eloise Fryer Sarah Thompson Rohan Furnell Alice Topp Rudy Hawkes Stephanie Williams
- 48 - - 49 - Private Giving The Australian Ballet
ENDOWMENT The Colin Peasley OAM Robert J Shipsides Wendy Burgin Geraldine Lawton Miss Ruth Trait Principal Patrons Lady Porter Pam Caldwell Dr Alastair Jackson Pamela Ruskin General Support Funds within Fund for Education E M Black Dr Sheena L Burnell Bequest Patricia Tyler Gifts over $20,000 Professor Ruth Joyce Campbell His Excellency Maj Ros Russell The Australian Ballet The Endowment The Noël Pelly AM Fund Paul Sinclair Trish Byrne Muriel Leadbeater John & Susan Mr Robert Albert AO Rentschler Lynette & Paul Carter General Michael Mrs Janis Salisbury Society Inc The Australian The Margaret Ellen Mrs M M C Djordjevic Pam Caldwell Daniel - Francois Vanderstock & Mrs Albert Jacqui & Richard Barbara & Tim Cohen Jeffery AC CVO Deri Saunders President Ballet Endowment Pidgeon Fund for Lemesle Patricia M Vanderwal Bill Bowness Scheinberg Christine Marie Josie Woodgate OAM encompasses capital Dr George Garratt Mr John Calvert-Jones Mrs Christine Max & Jill Schultz Classical Ballet Kate Lewis (Speher) Mr Peter Clemenger AM Mrs Helen Selle Johnson Maple-Brown Friends of The funds created by Robert Salzer AO AM & Mrs Janet Calvert- Collingwood John & Pat Seybolt endowed by Dr Valmai & Mrs Clemenger Dale & Ian Johnson Australian Ballet (NSW) individuals, large Betty Gleeson-White Jones AO Dr C S Loader Ms Jill Vaughan Lady Southey AC Dr Margaret Cook Ms Polly Shaw Pidgeon AM The Late Lady Max Johnston Chairman donations and Dr Brian T Carey Mrs Patricia Loughhead Peter Vaughan The A.W. Tyree Jim Cousins AO & Libby The James & Clifford Burgess Tim & Lynne Sherwood Robert McCormack bequests. The income Robert E A Carli Chris Mackay Dr Richard Vesey (Vincent) Fairfax AM OBE Foundation Cousins Ervin & Judith Katz Diana Ramsay (The Keith M Christensen Mrs Kathleen Skinner Friends of The Australian earned is used for the Rowena Catchatoor Geoff & Margaret Kenneth W Watkins Renaissance Tours Leigh & Jenny Virtue Barry Cowdell Miss Dawn V Kelly Australian Ballet) Fund William Arthur Hugh Mr & Mrs Smooker Ballet (SA) Inc benefit of the Ballet Mr Bryan Chidgey Markham Pamela Whalan Dick & Pip Smith Ray Wilson OAM & Tim & Bryony Cox Mrs J E Kirk The Kenneth R Reed Gordon Mr Sam Smorgon AO President L Marrone Mrs Sproat & Mrs The Late James Mavis Lance The International Fund Fund Freda Eileen Spicer Miss Beverley F Clark Barry & Megan Willcox Tracey Cunningham & Mrs Minnie Smorgon Barbara Marrett Cooke Agapitos OAM Mr Harold Marshall AM Dr Michael Lebert Capital Contributions Kevin Regan Fund Asle Noel Chilton Caroline Cooper-Sande Margaret Amery White Mrs Kate Damm Ezekiel Solomon The Australian Ballet Anonymous (5) & Mrs Lebert Frances Gerard endowed by Max Gwendolyn Letitia MVO Patsy Martin Mr Antony Williams Senior Artist Patrons Shirley Danglow Mr David Southwick School Ian & Dale Johnson Johnston Mr Jim Cousins AO Mr Edward J Mason Mrs Judy Lee Tennant Jan Williams Gifts Corps de Ballet Mrs David Darling Jacques Spira OAM Director Mrs Sarah Murdoch The James Slater Sir Robert Southey & Mrs Libby Cousins Graham Matheson Ms Sallyann Wilson $15,000 - $19,999 Patrons Frederick Davidson Mrs Deborah S Lobb & Edith Spira Mr Kenneth R Reed Marilyn Rowe OBE Memorial Fund AO CMG Judith Cowden David McAllister AM Betty Amsden OAM Gifts $3,000 - $4,999 Pty Ltd Steven & Judy Lowy Amanda Talbot Leonard J Wilson J & J Strutt Australian Opera The Marigold Southey Miss Katrina Cowen John Calvert-Jones AM Mrs Fiona MacLachlan Anonymous (1) Brenda June McGowan Canon Albert Josie Woodgate OAM Sallyanne Atkinson AO Mr Chris Davies Mrs Susan Talbot and Ballet Orchestra Fund & Janet Calvert-Jones AO OAM Mr Will Noble Mrs Melba A Cromack McPherson The Late Dr Donald Lee Barr Mrs Sara Dawe Ms Susan Taylor through Opera We are grateful to The Robert Southey Beverley & Richard Christina Marks those individuals who Norma Lucas Payne Mrs Maree D’Alterio Toni Meath Wright Arda & John Barry Dickerson Gallery Victoria Taylor Australia Fund for Australian Mr Leonard Dark Prudence Menzies Harvey Melbourne/Sydney Alexandra Martin & the Orchestra Victoria made donations of Choreography, endowed Mrs Ila Leland Massy Victor & Christine Mr Leonard Bosman Marliese & Georges Mrs Sue Perini Late Lloyd Martin AM Sydney Opera House $20,000.00 or less. by The Sidney Myer Fund Burnside Merawyn Davies Ms A Michell Zemancheff Jannie Brown Andrew Dixon Teitler Mr David McAllister AM Trust It was the Opening Ross Stretton Fund Gay John Therese David de Verelle-Hill Margaret Middleton Ruth Zionzee Soloist Patrons Charles G Clark Patricia Duffy Mildred Teitler Mrs Marie McCann OAM Night of Swan Lake endowed by Bee Clarke Miss Patricia Downes Mary Murphy Anonymous (47) Gifts Mrs Gordon Douglass Mrs Edrina Dunstan Cheryl & Chris Thomas Queensland Performing in London in 2005 Mrs Cherry McCardel Fletcher Gwendoline I Tregear George Drew Mrs Margaret Murray $10,000 - $14,999 In Memory of Gladys Mr Richard Evans David & Annalise Arts Centre that inspired Frances ANNUAL GIVING Lesley Morgan Sperry Mr Norman Jean M Negus Brian Abel & The Late Eunson Aina Reega & Aruids Sandra McCullagh Thomas Gerard to establish The Maurice Sullivan President Support from Private Gwen Hunt Drogemuller OAM & Mrs Ben Gannon AO Fibigs Jane McGregor this important Fund. Memorial Scholarship Simon Nettleton Lady Potter AC Ron & Rosemary Peter & Frieda Thornhill Foundations Fund Mrs Patricia McSpeerin Lorraine Drogemuller Mr John N Almgren AM Farrow In memory of W J Mr Michael McKenzie 2008 Tour Miss Judith Newberry The Australian Ballet is Mr Douglas Tobin ANZ Trustees through Mrs Jill Duck & Mrs Almgren Faithfull Malcolm & Sandy Contributions Dame Peggy van Mr Noël Pelly AM Kersti Nogeste proud to acknowledge Mr Arshak Galstaun AM Miss Ruth Trait the Sandy Michell Praagh Fund for Mr & Mrs D C Dunstan Mrs Mary Barlow & Mrs Sophie Galstaun William J Forrest AM McLachlan Friends of The Lady Snedden AM Mr & Mrs Arthur L the generous support Ann Tregear Legacy Choreography Robert & Victoria Australian Ballet (NSW) William F Wells Mrs Joan Daphne Norcott and encouragement Penny Edwards Mr & Mrs Chris Gillman Mr George Foster Mrs Claire Truscott The Cory Charitable William Arthur Hugh Evans McLellan John & Caroline Laws Mrs Thora Pearce Kathleen O’Hara it receives through John & Catherine Mrs Anne Gluyas Tonia & Eric Gale Rosslyn J Turner Foundation Gordon Fund Mrs Barbara McNulty OBE Miss Ann Williams Richard Evans Di Palmer & Stephen annual Private Ellice-Flint Mrs L P Goodyer Mrs Kylie Ganko The Greatorex Mr David McAllister AM Contributions to the Mrs K Tutton Jim Finch Rodgers-Wilson Giving. Unfortunately, Val & Mike Harding Miss Patricia Grattan- Mrs Neilma Gantner Drs Pam & Andrew Foundation Mrs Kerry Packer AO General Fund Mr Ian Berkeley Small space does not J A Uhrig AC Peter F Fleming Mr & Mrs B G O’Conor French Mcqueen First Impressions We are grateful to Ian & Norma Drew Nola Joan Hassall Mrs Meredith Peters permit individual Diana Gaze Mr & Mrs F G Upton Mr Kenneth R Reed Mr Paul Keogh Harry & Wei Wu Adelaide Bank the 4 individuals who Jean Hammond Mrs Rita Fletcher Lady Porter acknowledgment of the Dr Kingsley Gee Mr Fred Millar AO CBE Melkonian Mrs Robyn Veal Charitable Foundation have made donations Barrie I Follows AM JP Mrs Diana Ramsay AO Lyne Sedgman Rob & Sue Logie-Smith Ian & Christine George & Beth Millar Mr AS Leslie 1,143 Supporter level Mr & Mrs H E Michell Mrs K D Verco less than $20,000 & Margaret Gail Follows Penelope S Rawlins Patrons ($100-$999). Mr & Mrs P H Shearer Fay Mahoney Belinda Gibson James N Kirby Henry & Miriam Mr Laurie Davies Desmond B Misso Esq Dr Richard Vesey Foundation Anthea Gilbert Trevor Rice Continued support William & Marijke Jeanne McMullin Mr & Mrs Adrian Endowment Funds Greenfield Esther Primrose Lucy Mr Barry Moore Isaac & Susan Wakil Mr George Foster from individuals Webb Mrs Kayoko Miki Gibson Newsboys Foundation The Robert & Elizabeth Perini Family Gertrude Poelman Peter & Rhonda Roga Dr John Walker & Mrs Mrs Geraldine and corporations is Dr E Xipell Dr M Murnane AM Pierce Armstrong Trust Albert Music Fund Foundation Dame Joyce Richard Ross Yvonne Reuvekamp Ms Judy Gillard Walker Fox-Penglis essential to develop Anonymous (1) Irena Nebenzahl Snowy Nominees Pty The Richard & Barbara The Robert Salzer Margaretta Daws Caroline J Ross-Smith Louisje & Steven Skala Kirsten Gormly & Mrs J Wallace Suzanne Gleeson our artistic excellence Jean Negus Ltd Allert Fund Foundation Lady Nancy Fairfax Mrs Margaret Sault Mrs Anne Symons Kristian Downing and secure the future Coryphee Patrons Simon Nettleton S & J Wallis The Profield AM OBE Mrs Krystyna & Michael & Mari Gourlay The K Christensen Peter & Frieda Thornhill Sheila Scotter AM MBE of The Australian Anthony & Valerie Mr Stephen Gogolak Gifts $5,000 - $9,999 Mrs Jan Northam Rosemary Walls Foundation & AE Bond Bequest Queensland Friends of Annonymous (1) Margot Seeley Ballet. If you would Taylor Jamie & Rebecca Gray Lyn Grigg Jim & Janette Bain Sean O’Farrell Mr John Wansborough Thyne Reid Charitable The Walter Bourke The Australian Ballet like to join our Private Dr Christine Richard & Isabella The Leadership Circle Mr & Mrs Charles Wensley Carroll Mrs Susan Warburton Trusts Award endowed by his Anonymous (1) Mrs Lilian Hardy Giving programme, Thevathasan Green The Hon Mr Justice Securing the future Sheldon Ms Angela Carter Mr & Mrs Mel Ward William Angliss (Vic) Friends Mr Robert B Haynes please ring Kenneth Mrs Suzanne Lyn Grigg B O’Keefe AM & Mrs through a bequest Betty Shelton Charitable Fund Estates Christopher Hector & Watkins (03) 9669 Ronda Chisholm Waterhouse Jan O’Keefe Barbara & Danny The George Garratt Sara J Simpson Betty & Donald Gunner The Australian Ballet Mr L Kevin Adair Ros Neave 2780 or Jane Diamond Joyce Clothier OAM Mrs Diana-Rose Orr Watson Lasting Impressions Fund Donna Woodhill Mrs Felicity Gunner OAM acknowledges with Richard Allert AM FCA Elvira Sinicins (02) 9252 5587. The Flew Foundation The Maina Gielgud The Late Barbara Tim & Patricia Copes Anonymous (3) Mrs Faye Parker Mrs Marion Wells great appreciation & Barbara Allert All donations are fully Maria Hall Fund Hewitt Mrs Sally Sinisoff Dr Nicholas Girdis CBE & Mary Parry Christine Wenkart the bequests which tax deductible. Alan & Margaret Hamer Private Giving Support Betty Amsden OAM Ms Claire Houston Mr Robbie Smith Mrs Marina Girdis Gifts $1,000 - $2,999 Geoffrey & Jan Phillips Angela Westacott Renaissance Tours – The Kathleen Gorham it has received from Louise Hamshere Mrs Patricia Anders Lady Southey AC Aron & Helen Ross Adamson Fund established in the Estates of the Dr & Mrs Ken Hoyle Les Etoiles Paul M Pinel Mrs M White Preferred Private Ms Greta Archbold OAM Kleinlehrer Ms Meredith Hellicar her memory following benefactors. Lilla Ito Jacques Spira Supporting the Veronia Aldridge Mr & Mrs J Playoust Dr Wicki Giving tour operator & Edith Spira Dr & Mrs Darryl J The Neil Hopkins Fund These bequests have Ms Jennifer Barnes Michael & Jennifer Principal Artists Mr & Mrs R Maple- Jane Allen Dave Poddar & Angela Mrs Judith Williams Dendy Films & Kino Norman Stevens Brown Hodgkinson The Freda Irving been invaluable in the Philip & Laurel Bendry James Ms Robin Campbell In memory of Ian & Ila Flanery Josie Woodgate OAM Dendy Cinemas Mr Graham Matheson Holmes à Court Family Memorial Scholarship achievement of the The Late Mrs Sylvia Max Johnston Ms Juanita Stockwell Sue Chisholm Anderson Robin Potter OAM Dr Michael J Wright company’s objectives. Foundation Fund Box Mrs Mary Jones Miss Pat Sutherland Lynette Harvey John & Anni McArthur Laser Beams Pty Ltd Kerryn Pratchett Ruth Zionzee Correct as at Mr Reginald Gregory Bee Hopkins Barry Kay Memorial Mrs Anne Boyle Marlene Kavanagh Deb Sutton Mr Arthur L Norcott Mrs Susan Morgan Rosemary & John Barr Lynn Rainbow Anonymous (23) 14 February 2008 MBE & Mrs Gregory Caroline Howard Scholarship Fund Ann & Derek Braham Marion J Kelly Elizabeth Swanton Mrs Roma Norcott Dame Elisabeth Miss Catherine Boag Estate of L I Roach John Lanchbery Fund Patricia Marie Smit Murdoch AC DBE Pat Howell Patricia A Breslin Mrs Valda Klaric Susanne Sweetland Mrs Kerry Packer AO Mrs R D Bridges OBE Jason Ronald OAM Patricia Hope Willis Brian Nebenzahl Mrs Christine Hughes The Ian McRae Fund Mrs R D Bridges OBE Lisa Kokegei Dr Christine Dr Valmai Pidgeon AM Rita H Brown Sylvia Rosenblum Colin Robert Marshall OAM RFD & Jocelyn The Hon TEF Hughes The Susan Morgan Mrs Margaret Broeks Thevathasan Lady Potter AC Miss Marie Butler Simon Lambourne Nebenzahl AO QC Mrs Margaret S Ross AM Fund Hazel Graham Jannie Brown Dr Diana Tolhurst Mr Peter Reilly Mrs Nancy Butler The Frank & Thora Francine Lancaster Mr Henry Nowik AO OBE Ms Danielle Hunt Mr Michael Roux Ethel Margaret Ewing Ms Deborah Buckett Michele & Mario Topcic Pearce Fund Mavis Lance Mrs Christine Smedley Trish Byrne Rob & Susan Hunt Dr Maurice Rozenberg Cutten Dr Sally Townsend Mrs Gillian Bunning Mrs Carlean Langbein Ms Nancye Willmott
- 50 - - 51 - Company & Directors Business & Government Partners
Principal Sponsor
In everything we do, Telstra is there with us
Melbourne Sydney The Australian Ballet Centre The Australian Ballet Lead Sponsors 2 Kavanagh Street, Southbank Victoria 3006 Level 3 10 Hickson Road, The Rocks Sydney 2000 Telephone (03) 9669 2700 Telephone (02) 9252 5500 [email protected] The Australian Ballet ABN 57 004 849 987 australianballet.com.au
Proudly supporting The Australian Ballet Celebrating 50 years of automotive and the national Education Programme excellence in Australia Patron Ballet Mistress and Myotherapist Production Co-ordinator Online and Data Co-ordinator and General Michael Rehabilitation Facilitator Stuart Buzza and Administrator, Direct Marketer Assistant to Private Jeffery a c c v o m c (Retd) Noelle Shader Consultant General The Dancers Company Natalie Verheggen Giving Director Governor-General of Choreologist Practitioner Angela Embleton Marketing Assistant Melissa Harty the Commonwealth and Ballet Master Dr Vicki Higgins Production Manager, Alycia French Private Giving Assistant Major Sponsors of Australia Mark Kay Body Conditioning Wardrobe Merchandising Katherine Chien Resident Choreographers Specialist Michael Williams Co-ordinator Board Stephen Baynes Paula Baird Colt Purchasing Co-ordinator Nicole Smith Finance and Chairman Stanton Welch Jenny Howard Publications and Administration David Crawford Guest Coach Stage Head Costumier/ Website Editor Finance Director Official outdoor Méthode Tasmanoise®: Australia’s arts Paspaley Pearls: Deputy Chairman Steven Heathcote a m Company Management Women’s Cutter Kate Scott John Orr Christopher Knoblanche media partner Exclusive sparkling and entertainment unique Australian beauty Guest Teacher Director of Operations Kerry Cumberbatch Graphic Designer Finance Manager wine sponsor TV channel on the world stage Directors Mary Li Helen McCormack Gentlemen’s Cutter Jasmin Tulk Greer Marshall Robert O Albert a o , r f d , r d Music Company Managers Peggy Moad Customer Services IT Manager Sallyanne Atkinson a o Principal Pianist Kerry-Anne Cook Senior Costumier Manager Damien Calvert Toni Cody and Music Librarian Robyn Fincham Maureen Ryan Amalia Hordern Payroll Administrator Julie da Costa o a m Stuart Macklin Assistant Andrew Smalley Li Cunxin Costumiers Database Administrator Company Manager Felicity Gunner o a m Pianist and Associate Marcia Bergh Richard Laslett Assistant Accountants Jasmine Moseley Sarah Murdoch Music Librarian Jessie Dole Customer Services Denise Barratt Official airline of Official wine sponsor New South Wales’ Supporting the Marilyn Rowe Cowden o b e Duncan Salton Operations Co-ordinator Ruth Owen Supervisor Felicity Frederickson The Australian Ballet favourite daily newspaper magic of ballet Steven Skala Pianist Noeleen King Casual Costumiers Pam Martin OfficeA dministrator Peter Smedley Belinda McGlynn Travel and Freight Penelope Bjorksten Customer Services - Tracy Hosier Honorary Life Members Ballets Russes Co-ordinator Naomi Clegg VIP Co-ordinator Personal Assistant Elizabeth Albert Project Assistant Michelle Saultry Corinne Gibbs Bradley Grimshaw to the Acting Executive Angela Mesiano Robert Albert a o r f d r d Debra Howlett Travel and Operations Development Director Supporting Sponsors Musette Molyneaux Timothy K F Cox a o Artistic Management Assistant Corporate Clare Gray Fiona Page Maina Gielgud a o Personal Assistant to Lynne McDougall Partnerships Manager Receptionist Kate Powers John McCallum a o ,c b e the Artistic Director Technical and Sophie Webster Jenny Abramson Trudy Scott Frederick W Millar a o , c b e and Ballet Coach Production Development Account Lady Porter Head of Millinery Your global fresh The Dancers Company Australia’s leading Mind The classics – quality, Madison and the Ballet: Megan Connelly Technical Production Manager human Resources produce partner tour clothing sponsor & Body Health Clubs service and style Vicki Car read it, live it Lady Potter a c , d l j Artistic Administrator Director Claire O’Riordan Human Resources Dame Margaret Scott d b e Jo Sapir Production Secretary Frank Leo National Events Manager Lady Southey a m Dana Morfett Artistic Co-ordinator Technical Manager Manager Helen Williams Josie Woodgate o a m Shani Pearce Darren Conway Scenery and Properties Fionn Meikle EHS Co-ordinator Production Manager, Education Stage Manager Development Assistant Marina Milankovic Management Scenic Education Fiona Boundy Tiffany Moulton Artistic Director Scott Mathewson Programme Manager Assistant Stage Manager Publicity Australian Ballet David McAllister a m Scenic Workshop Colin Peasley o a m Victoria Woolley Media Relations Manager Centre Pty Ltd Acting Manager Director of Marketing, Master Technician Vanessa Duscio ABN 16 005 363 646 Executive Director Paul Anderson Proudly supporting Creating prosperity A unique Australian Roses Only and Lush The Age - If Victoria’s Special Projects Bruce Gordon Publicist Directors The Australian Ballet through property expression of Flowers – delivering floral best Arts coverage Patrick McIntyre Store Yvonne Gates Master Electrician Donna Cusack David Crawford world-class luxury arrangements in Sydney, matters to you Music Director Wardrobe Manager Education Consultant John Berrett (Chairman) accommodation Brisbane, Adelaide, Perth, and Chief Conductor Barbara Langley Canberra and Melbourne Helen Cameron Wardrobe Master Fundraising Building Services Nicolette Fraillon Store Mechanist Medical Geoffrey Harman Director, Endowment Administrator Associate Warren Rice Jackie Harris Medical Co-ordinator Mechanists and Private Giving Artistic Director Dr Ken Crichton Bart Kendall Kenneth Watkins Car Park Manager Government Partners Danilo Radojevic Market Sports Physician Avon Kilcullen Private Giving Manager John Vanderstock Development Dr Andrew Garnham (n s w , a c t ) Senior Car Park Artistic Electrician Marketing Jane Diamond Attendant Ballet Principal Michael Pearce Marketing Manager Physiotherapist Private Giving Brendon Richardson Principal Coach Assistant Wardrobe Philippe Magid The Australian Ballet The Australian Ballet The Australian Ballet Playing Australia Susan Mayes Operations Co-ordinator and Ballet Mistress Master CRM Project Manager As at 18 February 2007 is assisted by the is assisted by the acknowledges the Sharyn Gilham Fiona Tonkin Physiotherapists Ian Martlew Paula Kitt Commonwealth New South Wales support of the Victorian Tim Buckley Private Giving Government through Government through Government through Arts Ballet Mistress Campaign Marketer Leanne Rath Events Co-ordinator the Australia Council, the New South Wales Victoria – Department and Repetiteur Daniel Burns Donna Brearley its arts funding and Ministry for the Arts of Premier and Cabinet Wendy Walker advisory body
- 52 - - 53 - Orchestras
Artistic Director and Oboe Orchestra Victoria Lady Potter a c Regional Education Concertmaster Cello Contra Bassoon Board of Directors Orchestral The Concertmaster’s Co-Concertmaster Stephen Robinson Acknowledgements Mr John Redman Partners Aubrey Murphy Zoltan Szabo Gillian Hansen Chairman Management desk is sponsored by Jo Beaumont** Collier Charitable Gordon Fell the Board of Opera Joshua de Graaf* Supporters Michael Robinson a o Acting Associate Eszter Mikes-Liu* Horn Orchestra Manager & Judith Robinson Foundation Australia. Deputy Concertmaster Cor anglais Program Patrons Concertmaster Andrew Hines* Michelle Perry Anson Austin o a m Andrew Snell Roger Jonsson Stephen & Kate Margaret Stewardson Huy-Nguyen Bui Eve Newsome Lady Southey a m Henry Urbanavicius** Anton Schroeder* Philip Bacon a m Shelmerdine Charitable Trust Assistant Orchestra Violin Patron of the Violin Pierre Emery Saul Lewis Gordon Cairns Managers Clarinet Gillian Stillwell Business Partners Susan Pierotti Supporter Program Kiyondo Ishizaka Margaret Iddison Rowena Danziger a m Paul Champion Victoria Chatterley Charlotte Miss Betty Amsden o a m Ross & Daphne Bib Stillwell BMW (First Violin) Adrian Keating+ Double Bass Lisa Wynne-Allen Julia King Binns-McDonald Richard Doumani* Patron of the Friends Turnbull Equity Trustees Ellen Mentiplay* Catalin Ungureanu+ Brett Berthold David Malouf a o Rhonda Jones (First Violin) Bass Clarinet Program Mrs Wendy Weight John Wertheimer and Trumpet Tony Gault+ Andrew Meisel* Tim McFarlane Gerard Patacca Yi Wang Andrew Mitchell Geoff Handbury a o Erna & Neil Werner o a m Company Joshua Clarke Mark Fitzpatrick* Edmund Bastian Harold Mitchell a o Simon Thew (Second Violin) Slome-Topol Family Iluka Resources Bruce Hellmers* Bassoon Benefactors Virginia Blunt Robert Morgan Charitable Trust Limited Jennifer Penno Brian Evans Staging Assistant Iseult Stephenson* Miss Betty Amsden o a m Lucinda Cran Rachel Easton David Cooper Richard Owens o a m (Second Violin) Enthusiasts Scott Moon Tahnee Van Herk* Mr David Mandie a m o b e Business Associates Orchestra Victoria Yu-Qing Rebecca Irwin Trombone Ziggy Switkowski Elizabeth Ambrose Dame Elisabeth Jo & Ian Barker Ace Radio is assisted by the Flute Gregory van der Struik Australian Opera and The Australian Opera Contrabassoon Commonwealth Marek Kruszynski Chief Executive and Ballet Orchestra Seung Baik Murdoch a c d b e Ian Hocking & Allens Arthur Robinson Elizabeth Pring Brett Favell* Ballet Orchestra Limited Glenn Prohasky Government through the Airena Nakamura Limited, a subsidiary Lubino Fernandes Lady Southey a m Rosemary Forbes Amanda Hollins* Adrian Collette ABN 32 003 889 156 Chandler Direct Australia Council, its arts Samuel Podjarski William Farmer company of Opera (Principal Second French Horn John Wertheimer a m Mrs Norma Leslie Personalised funding and advisory body. Alistair Howlett Music Director PO Box 291 Violin Emeritus) Daniel Rosenbaum Bass Trombone Australia, is assisted Richard Runnels & Marcia Wertheimer Nicholas Lis Communication Piccolo Richard Hickox c b e Strawberry Hills by the Australian Rachel Gamer Robert Sek Brett Page Deborah Hart* & Gay Michau Coliban Water Bendigo NSW 2012 Government through Patrons Jaroslaw Talar Diane Berger Executive Producer Matthew Hassall David McAlpine Ernst & Young Tuba The Opera Centre the Australia Council, Linda Hewett Mr Robert Albert a o r f d , Stuart Maunder Rachael Hunt Rachel Westwood Oboe Matthew Walmsley its arts funding and Jasen Moulton r d & Mrs Libby Albert Anne McCamish Kent Moving & Storage 480 Elizabeth Street, Ceridwen Jones Patrick Wong Conall McClure Director of Human advisory body, and by Geoff Handbury a o John McConnell KPMG Percussion Surry Hills NSW 2010 Mara Miller (Associate Trumpet Ursula Nelius Matthew Tighe* Resources and the NSW Government Jigsaw Farms Michelle & Ian Moore Bruce Cotterill Telephone Concertmaster Emerita) Craig Ross Business Supporters Mark Bruwel Orchestral Services through Arts NSW. Dr Peter A Kingsbury, Jason Ronald Viola Darryl Turner* (02) 9699 1099 Philip Nixon Anthony Pope* 3MBS FM 103.5 Vernon Winley Gippsland Dental Group Kenneth W Park Virginia Comerford Cor Anglais Facsimile John Noble Mark Skillington Kawai Pianos Timpani Amanda Murphy* Andrew Malec (02) 9699 3184 Robert Smithies Maestro Circle Community Support In Full Bloom David Clarence Auditors Ernst & Young Martin Reddington David Dixon (Bequestors) Principal Regional Shelmerdine Vineyards Clarinet Allan Watson* Bankers Commonwealth Christine Ruiter Trombone Magda Kruszynska Miss Betty Amsden o a m Partners Tremayne Salon Peter Jenkin Bank of Australia Philippa West Scott Evans Harp Alan Egan Bendigo Bank Marilyn Wilson Richard Rourke* Julien Dupont Anthony Gilham* Government Partners Jane Rosenson Rosemary Forbes Colonial Foundation Robyn Stout Claire Tyrell City of Greater Bendigo Bass Clarinet Bass Trombone Ian Hocking Helen Macpherson City of Greater Euan Huggett Viola Geraldine Evers Smith Trust Italics Principal Graeme Studd Shepparton Paul McMillan The Ian Potter Bassoon + Principal 1st Violin Tuba Michael Walker Horsham Rural City Hannah Forsyth* Foundation Douglas Eyre * Associate Principal David Martin Council (Principal Emerita) Associates VicHealth Matthew Ockenden* ** Deputy Principal Latrobe City Council Catherine Bishop Harp Alan Beckett The William Buckland Mildura Rural City Jason Bunn Mary Anderson Stephen W Bolton Foundation Beth & Tom Bruce Council Nadine Delbridge Timpani Principal Community Peter & Ivanka Canet City of Boroondara Raymond Hope Chris Lane Partner Evelyn & Tom Danos City of Melbourne Andrew Jakopanetz Guy du Blêt* Tattersall’s George Dr Peter Eng Hobsons Bay City Cello Percussion Adams Foundation Council William J Forrest a m Diane Froomes* Conrad Nilsson Supporting Partners Southern Grampians Mrs Neilma Gantner Sarah Cuming Paul Sablinskis* The A L Lane Foundation Shire Council Gaye & John Gaylard Philippa Gardner Guy du Blêt Besen Family Foundation Warrnambool City Isabella Green o a m Tania Hardy-Smith The Gandel Charitable Council David I Gibbs Andrea Taylor Italic print denotes Trust For information about Betty & John Higgs Section Principal Estate of John W Caffrey the Orchestra Victoria Double Bass Darvell M Hutchinson a m donation, bequest and * Denotes the player The Jack Brockhoff Davin Holt sponsorship program, who leads the section Dr Alastair Jackson Foundation please call: Dennis Vaughan* in the absence of the Carmel & Peter Johnson Elias & Colleen Jreissati 03 9694 3600 or Matthew Thorne Section Principal. Peter & Barbara Kolliner The Myer Foundation email: peter.garnick@ Stuart Riley **Orchestra Victoria is Yvonne & Phillip The Lord Mayor’s orchestravictoria.com.au Flute proud to associate Marshall Charitable Fund (Eldon Marcia Wertheimer Lisa-Maree Amos Maple-Brown Abbott & Anne Foote Trust) with the Artistic Investment Managers William Angliss (Victoria) Lorraine Bradbury Director Chair in Heather McKenzie Charitable Fund recognition of her Piccolo McPherson Media Group generous support. Gwen & Edna Jones Michael Smith Don & Angela Mercer Foundation Michelle & Ian Moore The Ray & Joyce Baillieu Myer a c Uebergang Foundation
- 54 - - 55 - New release movies you can stop and start as you wish. Venues
Like being at home.
Without the phone ringing.
the Arts Centre Victorian Arts The Arts Centre PO Box 7585 Centre Trust gratefully acknowledges St Kilda Road President the support of the Melbourne Vic 8004 Carrillo Gantner Victorian Government and the support of its Telephone Deborah Beale donors through the (03) 9281 8000 Paul Brasher Arts Angels Program. Facsimile Michael Daddo (03) 9281 8282 Mem Kirby Website Ailsa Piper For your information theartscentre.com.au Professor Leon van The management Schiak a o reserves the right David Vigo to add, withdraw or Janet Whiting substitute artists and Chief Executive to vary the programme Tim Jacobs as necessary. The Trust reserves the right of refusing admission. Cameras, tape recorders, paging machines, video recorders and mobile telephones must not be operated in the venue. In the interests of public health, the Arts Centre is a smoke-free area.
Sydney Opera House Sydney Opera Executive Management Bennelong Point House Trust Chief Executive GPO Box 4274 Mr Kim Williams a m Richard Evans Sydney 2001 NSW (Chair) Director, Facilities Administration Mr John Ballard Paul Akhurst (02) 9250 7111 Mr Wesley Enoch Director, Box Office Ms Renata Kaldor a o Finance & Systems (02) 9250 7777 Ms Jacqueline Kott David Antaw Mr Robert Leece a m Facsimile Director, Marketing Ms Sue Nattrass a o (02) 9250 7666 & Development Mr Leo Schofield a m Website Naomi Grabel Qantas Airways Limited ABN 16 009 661 901 Ms Barbara Ward sydneyoperahouse. Mr Evan Williams a m Director, com Performing Arts Rachel Healy Director, Audio and Video on Demand now People & Culture Rick Browning in International Business. Director, Information Systems Claire Swaffield Our award winning in ight entertainment gives you your Director, Tourism own personal screen and a choice of over 300 audio and & Visitor Operations Maria Sykes video programs that you can start, stop, fast forward and Proud to support rewind, as often as you like.* And best of all, you don’t have
The Australian Ballet. Robert Curran as Prince Siegfried•Photography – Liz Ham to share the remote. The Spirit of Australia. *Audio and Video on Demand is available on all B747-400 and A330-300 ights. qantas.com
- 56 - - 57 - An exciting opportunity to discover the world of The Australian Ballet. In this entertaining and enlightening ninety-minute programme, you will see the grace and athleticism of the dancers demonstrated in a shortened class, before being introduced to members of the orchestra. Then the dancers will perform Jerome Robbins’ The Concert, one of the most hilarious ballets ever made!
Suitable for everyone age 10 to adult Schools groups – comprehensive Teachers’ kits are available to download from australianballet.com.au/education Melbourne with Orchestra Victoria Wednesday 11 June - 11.30am to 1pm the Arts Centre, State Theatre Sydney with Australian Opera and Ballet Orchestra Wednesday 14 May - 11.30am to 1pm Opera Theatre, Sydney Opera House Bookings For prices and bookings visit australianballet.com.au or call 1300 369 741 for details Damien Welch & Lucinda Dunn in The Concert • Photography – Justin Smith Hurry book early – seats are selling fasT
Major Sponsor National Education Programme
FOR THIS PRODUCTION Costumes executed by The Australian Ballet production division. Scenery and properties manufactured by Showworks Scenery and properties painted by Scenic Studios Programme edited by Kate Scott Programme designed by Jasmin Tulk Portrait photography by James Braund The Australian Ballet 2008 identity 3 Deep Design www.3deep.com.au
The cast for this performance is available on the nightly cast list which is issued free of charge to patrons. The Australian Ballet reserves the right to cancel or alter any detail of this season, or any performance forming part of this season, as it considers necessary.
- 58 - - 59 - M 2008 elbourne
S ydney
- 60 -