Barbora Kohoutková

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Barbora Kohoutková PLACE OF BIRTH: Czech Republic, in Prague EDUCATION: Prague Dance Conservatory OTHER EDUCATION: Since 2009 Gyrotonic and Gyrokinesis certified instructor ENGAGEMENTS: 1996-2002 Finnish National Ballet 2002-2003 Bavarian State Ballet 2003-2004 Boston Ballet 2004-2008 Hamburg Ballet-John Neumeier 2009- 2010 Ballet Master at the National Theater in Prague 2009 International Guest Dancer and Teacher 2009 Owner and instructor of GYROTONIC and GYROKINESIS in Art of Movement Studio in Prague 2013-2014 Aalto Ballet Essen COMPETITIONS, AWARDS: Bronze medal 1994 in Bordeaux Gold medal National Ballet Competition 1994 in Brno Silver medal 1994 in Varna Grand Prix 1994 in Paris Prix espèces 1995 in Lausanne Gold medal and Grand Prix 1995 in Helsinki Gold medal and Grand Prix 1996 in New York Fazer Prize 2000 in Helsinki 2002 Philip Morris Best Artist Award in Helsinki REPERTORY: Ben Stevenson Cinderella - Cinderella Pierre Lacotte La Sylphide - La Sylphide John Cranko Romeo and Juliet – Juliet Onegin -Tatiana, Olga Natalia Makarova after Marius Petipa La Bayadère – Nikija Rudolf Nureyev The Sleeping Beauty - Aurora; Vladimir Bourmeister The Swan Lake - Odette-Odile, Pas de quatre and the big swans George Balanchine Serenade Heinz Spoerli The Midsummer Night's Dream – Titania Jorma Utonien Ballet Pathétique - The Blue Ballerina Sylvie Guillem Giselle – Gisele Javier Torres after Petipa The Sleeping Beauty – Aurora Kenneth MacMillan Manon – Manon Wayne Eagling and Toer van Schayk The Nutcracker and the Mouse King – Clara George Balanchine Brahms-Schönberg Quartet - solo in the third movement John Cranko Onegin- Olga Ray Barra Raymonda - Raymonda and Clémence The Swan Lake – Charlotte Don Quijote - Dulcinella John Neumeier The Midsummer Night's Dreams - Hermia George Balanchine Stars and Stripes - Second regiment Rudolf Nureyev Don Quijote - Mercedes and Queen of Dryads Gianni di Marco The Nutcracker - Sugar Plum Fairy, Snow Queen, Dew Drop, Arabian dance With HAMBURG BALLET in choreographies by John Neumeier: A Cinderella Story - a foreign Princess, Cinderella's Mother The Sleeping Beauty - Aurora, Princess Florina, Moon Fairy Windows to Mozart – Bäsel The Lady of Camellias – Olympia Nijinsky - Eleonora Bereda and Mathilda Kschessinskaja The Nutcracker -Louise Preludes CV – Elizabeth Requiem,Romeo and Juliet - Luciana and Rosalinda Midsummer Night's Dream – Hermia Songs of the Night - Nocturnes .

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A Mixed Blessing at the Ballet 01
Daily Telegraph July 28 2001 A mixed blessing at the ballet Photo Sheila Rock As Anthony Dowell leaves the Royal Ballet, dance critic Ismene Brown assesses his 15-year regime as director - and stars pay tribute below AT THE Royal Ballet the countdown has begun to the end of an era. A week tonight, amid ﬂowers, Champagne and tears, Sir Anthony Dowell, the longest-serving ballet director since the company’s founder, Ninette de Valois, will end his 15-year regime. He was undoubtedly one of the great world stars of dancing, and the “Celebration Programme” will mark his achievements as such. But about his success as director of the company, opinion is far from unanimous. What makes a good director? The question has never been more of a poser than during Dowell\s captaincy of the ballet, in the most turbulent years of the Royal Opera House’s history. There are many pluses on Dowell’s account sheet - his maintenance of high classical technical standards, his welcoming of key foreign artists into the Royal (particularly Sylvie Guillem and Irek Mukhamedov), his inspiring coaching, to which leading guest stars attest opposite. The rise of Darcey Bussell to world acclaim, the forging of a superb partnership between Mukhamedov and Viviana Durante, this ﬁnal, nostalgic and beautiful 2000-01 season - these are positive memories. He will be noted as a conservative, and many welcomed this after an insecure period of modernising under his predecessor, Norman Morrice. Whether conservatism has served the company well for the future, though, is debatable. In the shifting landscape of ballet, conservatism is not enough to hold steady.
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O Brasil Descobre a Dança Descobre O Brasil
O TALHO NA CMESMIE Os milênios pertencem a ordenações soberanas. Conversas de fim de século geralmente tratam de momentos críticos e decisões irrevogáveis. As de agora, sopram prováveis e variados holocaustos, mas também diversas possibilidades de redenção. Clamam por urgências ecológicas, pela atenção com a saúde pessoal e do planeta; redimensionam questões nacionais, uma vez que as novas tecnologias de informação estão desenhando um mundo por conhecer. Qual o figurino indicado para uma troca de milênio? O motor do ato, aqui, se impele dos traços nascidos nos últimos anos deste 1900, mas não marcha nas hostes milenaristas (como se comportar perante os três zeros das datas que serão cabeçalhos de nossa futura correspondência? Zero-pai, zero-filho, zero-espírito santo, como diz Peter Sloterdijk?). Nem se abriga nas dobras amigáveis de uma historiografia oficial, cronológica na sua seqüência linear. Primeiro, porque ela não está sequer escrita. E depois, singrar outras faces em paisagens conhecidas é o que abre o breu. Na ausência de pernas, cavalgaremos com a ciência. Ciência: do que se desprende o nosso cotidiano. Às vezes, nem atentamos para sua presença. Distraídos, continuamos pensando que se trata de exclusividade de laboratório de cientista. Mas não. Escolher uma hipótese (por que uma, aquela, e não qualquer outra?), testá-la indutivamente e, em seguida, elaborar uma dedução a respeito das conclusões obtidas é o que cada um de nós faz a cada dia quando, por exemplo, abre a janela e escolhe com que roupa vai sair de casa. O ponto de partida, a idéia básica do trabalho, se centra num fenômeno tipicamente brasileiro conhecido por Ballet Stagium.
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Sylvie Guillem's Final Australian Performances
Wednesday 6th May, 2015 Sydney Opera House Presents Sylvie Guillem’s Final Australian Performances 19th – 25th August Drama Theatre, Sydney Opera House One of the world’s greatest ballerinas, Sylvie Guillem, will perform her final Australian shows ever at the Sydney Opera House this August as a part of her world tour Life in Progress. This will be the last chance for Australian audiences to see Guillem perform before her retirement from an unparalleled 35-year ballet and contemporary dance career. Guillem will perform six shows only of Life in Progress, a new production created especially for her farewell tour, which includes two new works – techne, a solo from choreographer Akram Khan accompanied by live music, and a duet with Italian dancer Emanuela Montanari from La Scala, entitled Here & After by choreographer Russell Maliphant. The evening will also showcase William Forsythe’s Duo featuring guest dancers Brigel Gjoka and Riley Watts, and Mats Ek’s audience favourite Bye. Sydney Opera House Presents Director of Programming, Jonathan Bielski, said that it is fitting for the greatest ballerina of this era to give her final Australian performances at the Sydney Opera House. “Ms Guillem is one of the most remarkable dancers the world has ever seen and her final bows will be mourned by dance lovers around the world. There is nothing more apt than a dancer of such extraordinary talent giving her final Australian performances atop the iconic Sydney Opera House stage. Ms Guillem’s fourth and final Sydney season will be the last opportunity Australian audiences have to witness the most significant ballerina of our time before the curtain comes down on her glittering career,” he said.
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Bolshoi Theater
FOR IMMEDIATE RELEASE Contact: Dick Caples Tel: 212.221.7909 E-mail: [email protected] Lar Lubovitch awarded the 20th annual prize for best choreography by the Prix Benois de la Danse at the Bolshoi Theater. He is the first head of an American dance company ever to be so honored. New York, NY, May 23, 2012 – Last night at the Bolshoi Theater in Moscow, Lar Lubovitch was awarded the 20th annual prize for best choreography by the Prix Benois de la Danse. Lubovitch is the first head of an American dance company ever presented with the award. He was honored for his creation of Crisis Variations, which premiered at the Baryshnikov Arts Center in New York City on November 9, 2011. The work, for seven dancers, is set to a commissioned score by composer Yevgeniy Sharlat, and the score was performed live at its premiere by the ensemble Le Train Bleu, under the direction of conductor Ransom Wilson. To celebrate the occasion, the Lar Lubovitch Dance Company performed the duet from Meadow for the audience of 2,500 at the Bolshoi. The dancers in the duet were Katarzyna Skarpetowska and Brian McGinnis. The laureates for best choreography over the previous 19 years include: John Neumeier, Jiri Kylian, Roland Petit, Angelin Preljocaj, Nacho Duato, Alexei Ratmansky, Boris Eifman, Wayne McGregor, Sidi Larbi Cherkaoui, and Jorma Elo. Other star performers and important international figures from the world of dance received prizes at this year’s award ceremony. In addition to the award for choreography given to Lubovitch, the winners in other categories were: For the best performance by a ballerina: Alina Cojocaru for the role of Julie in “Liliom” at the Hamburg Ballet.
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Dernussknacker 9. 12. 18
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Barbora Kohoutková
BARBORA KOHOUTKOVÁ Barbora Kohoutková started ballet training at a very early age. She was chosen at the age of 4 by a pre-ballet school of the National Theater in Prague and got accepted to the Prague Dance Conservatory when she was 10 years old. Barbora started her professional career at the age of 17 in Helsinki as a Principal Dancer with the Finnish National Ballet (1996-2002). Before becoming a guest principal dancer she worked with the Bavarian State Ballet – Munich (2002-2003), Boston Ballet (2003-2004) and Hamburg Ballet-John Neumeier (2004-2008). In her career she has danced the most important roles of almost the entire classical repertoire in its original form and in productions by Ben Stevenson, Natalia Makarova, Rudolf Nureyev, Vladimir Bourmeister, Sylvie Guillem, Wayne Eagling, Toer van Schayk, Bruce Marks, Frederick Ashton, Mikhail Fokine… Besides the classical repertoire she also performed in choreographies by George Balanchine, Jiri Kylian, John Cranko, John Neumeier, Jorma Uotinen, Sir Kenneth MacMillan, Heinz Spoerli, Mark Morris… As a guest artist she has been performing in Essen, Helsinki, Milano, Moscow, Munich, Prague, Rome, St. Petersburg, Tokyo (World Ballet Festival 2002 and 2004), … Sadly, due to injuries, she had to cut short her beautiful career at the early age of 28. After having undergone multiple surgeries and stoically enduring much physical suffering, Barbora had to retire from the stage and began a rewarding career as a Ballet Master and teacher, occasionally still performing as a guest Principal. During the season 2009- 2010 she worked as Ballet Master at the National Theater in Prague.
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New National Theatre, Tokyo 2019/2020 Season
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Ambassador Auditorium Collection ARS.0043
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