Darcey Bussell

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Darcey Bussell Early Life Darcey Bussell was born on 27th April, 1969 in London. She started at the Arts Educational School at the Barbican until she auditioned for and joined the Royal Ballet School at White Lodge at the age of 13. In 1985, when she was 16, Darcey was accepted into the Royal Ballet’s Upper School at Barons Court. Success Her fantastic technique was spotted quickly and, in 1988, while she was a member of Sadler’s Wells Royal Ballet company, a lead role was created for her in the new ballet ‘The Prince of the Pagados’. This led to led to her move to the Royal Ballet. In December 1989, when Darcey was just 20 years old, she was promoted to principal dancer, becoming the youngest ballerina to achieve this at the time. Throughout her career, she played many iconic roles, including Princess Aurora in ‘The Sleeping Beauty’, Odette/Odile in ‘Swan Lake’, the Sugar Plum Fairy in ‘The Nutcracker’, and Giselle in ‘Giselle’. In total, she performed more than 80 different roles and 17 roles were created for her. She was a guest performer with many of the most popular ballet companies around the world, including the New York City Ballet, Paris Opera Ballet, Hamburg Ballet and the Australian Ballet. Photo courtesy of scillystuff (@flickr.com) - granted under creative commons licence Page 1 of 2 Darcey Bussell Accomplishments Over the years, she has won many honours and awards for her contribution to dance, not to mention an OBE and a CBE. She has performed for the Queen of England and several American presidents, and had the lead role in the closing ceremony of the 2012 Olympics. Retirement Darcey Bussell retired from ballet on 8th June 2007 with a performance of MacMillan’s Song of the Earth at the Royal Opera House in London. Nowadays, Bussell is best known for being a judge on Strictly Come Dancing, a job she has been doing since 2009. She is married with two daughters and is still active in the world of dance as the President of the Royal Academy of Dance and is a patron for many dance companies around the world. Page 2 of 2.

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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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My-Dance-INTERACTIVE-3.Pdf
i Since 1920, the Royal Academy of Dance has had a significant influence on the dance teaching profession – not just in the United Kingdom but all over the world. And our work continues to make a real difference to the lives of our members, students, teachers and staff. Classical ballet has played a central part in the RAD’s history and to this day is fundamental to who we are. Our mission, however, has expanded over the years and now includes an ever-widening range of genres and activities. Our students, who now range from two and a half to those in their 90s, and from all walks of life, can study styles ranging from ballet to contemporary, to hip hop and jazz. Our ever-increasing programme of outreach work brings dance into diverse communities, from those who are marginalised by circumstances or disability, to those who just want to have fun and get fit. And our Faculty of Education’s research into how dance contributes to wellbeing has led to the development of specialist training for older learners. The RAD is also the international centre for Benesh Movement Notation, which ensures that the work of choreographers is recorded and preserved. The increasing diversity of our work means that our relationship with both our members and many different audiences is also very varied. How the RAD is perceived today is often determined by a very personal experience. ‘my Dance’ gives voice to those experiences from around the world, united by their RAD membership and their passion for dance. From our Artistic Director to Genée candidates’ success stories and from members living in remote and far-flung places to figures playing important roles in theirlocal communities, all have their voice here, adding to the unique story of the RAD.
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Darcey Bussell CBE President Darcey Bussell Was Born in London And
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Darcey Bussells World of Magic Ballerina Kindle
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MIDNIGHT TANGO EXHIBITION, Works by Charles Willmott by Claire Mitchell 30
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Channel 5'S Boleyn Girl
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Antonio Pappano and Darcey Bussell Among Guest Presenters at the New Royal Opera House Cinema Festival
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Legacy 09.10.17 V3.Pdf
YOUR GIFT THEIR FUTURE HOW A GIFT IN YOUR WILL YOUR GIFT, THEIR FUTURE KEEP ME POSTED CAN HELP THE SCHOOL The Royal Ballet School has Fundamental to fulfilling this A RESIDUARY GIFT WHAT TO DO NEXT Title First name been at the cornerstone of objective is the generosity of those This is a specified percentage of If you would like to leave a gift in your Surname British classical ballet for more who value and support the aspirations your estate payable after all other will to The Royal Ballet School please of the School and its students. gifts, debts, taxes and expenses have first inform your solicitor and request than 90 years. Its legacy has Home address Gifts in wills have played been paid. that your will is adjusted accordingly. been to provide the world a vital role in underpinning with generations of renowned The Royal Ballet School’s A PECUNIARY GIFT Once you have done this, please dancers and choreographers. artistic and educational This is a tax-free fixed sum gifted to complete the form, detach it and send mission to date. Our need the School, which may be index-linked it back to us so that you can enjoy an Postcode From Margot Fonteyn, Kenneth MacMillan, for financial support is to ensure that its value increases in active association with the School. Antoinette Sibley, Anthony Dowell, increasingly important. line with inflation. Tel Anya Linden, Wayne Sleep, David Bintley, If you would like more information Darcey Bussell and Jonathan Cope, to A REVERSIONARY GIFT about how a gift in your will can Email a new generation currently making its This ensures your family is provided make a difference to The Royal Ballet mark on the world stage.
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