DOCSLIB.ORG

Denise Richardson Talks to Its Artistic Hamburg!Director and Patriach, John Neumeier

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Denise Richardson Talks to Its Artistic Hamburg!Director and Patriach, John Neumeier Hail the For the first time in its long history, the Hamburg Ballet is coming to Australia. Denise Richardson talks to its artistic Hamburg!director and patriach, John Neumeier. W o GER BADEK L HO Photo: 14 dance australia | AUGUST/SEPTEMBER 2012 www.danceaustralia.com.au o pposite: alexandre riabko (with silvia azzoni) in the title role of ‘nijinksky’, choreographed W by neumeier. o left: Here ballerina alina cojocaru GER BADEK L performs in HO ‘a midsummer night’s dream’ Photo: with the ensemble. he hamburg balleT has press conference and rehearsals, the era, like Jean baptiste lully and georg performed at the bolshoi Theatre, very busy Neumeier admits that he Telemann, may have often been staged, Tthe mariinsky Theatre and the never intended to remain this long. but ballet performances were spasmodic Opéra garnier in Paris. In august this “I still don’t,” he laughs. and rather crude. celebrated german company will for the Neumeier relates his main reason for and while the new opera house became first time be performing in australia, staying to the concept of “movement” a drawcard for big names of both opera along with the hamburg State Opera and (also the focus of a collection of his and ballet in the first half of the 19th the hamburg Philharmonic Orchestra, at essays called In Movement). “although century, with guest stars like marie the Queensland Performing arts Centre I have been in hamburg almost 40 Taglioni, Fanny elssler (who later made in brisbane. years, I still feel that I am ‘in movement’ hamburg her home) and lucile grahn The hamburg State Opera and because not only does the hamburg receiving critical acclaim, the poetic hamburg ballet, like many other ballet tour a lot, but I also work in many scribing of one hamburg critic that companies in europe, are historically different companies around the world,” “the garlands one throws to (elssler) will tied to the building in which they usually he explains. always remain fresh, drenched in the dew perform, in this case the hamburg Opera “This idea of moving is extremely of the joyous tears of the invigorated,” house. While most opera houses were important for me, not only moving give some insight into the still parlous originally conceived as places for the outside of the city but moving inside; status of ballet as a serious art form. nobility to see the finer arts, the city the fact that we now have a building of hamburg proved the exception when (housing the company and the school) IN 1865 The Viennese ballet dancer in 1678 their culture-loving merchants with nine studios and a dormitory – and prolific choreographer, Katti lanner, founded an opera house, or bürgeroper, this is unique – but it did not happen led the company on its first tour to for the people. anyone purchasing a like a fairy tale. It happened because berlin, but otherwise for the remainder ticket could attend. I worked, we worked, very hard. of the 19th century the ballet repertoire It was germany’s very first public The season that we’ve started with was inauspicious. by the 1950s the opera house and quickly became one of the national youth company, with company, now known as the hamburg europe’s leading musical centres. Today financial aid from the (german) Federal State Opera ballet and led by helga the hamburg State Opera is the oldest government, this is another dream Swedlund, was considered little more non-royal company in europe, its rich of mine. So if I ever felt that I was than an adjunct to the flourishing opera. history saying much about the dominance quite comfortable here, I would start With the appointment of rolf of the performing arts in europe, quite seriously to look around.” liebermann as general manager in 1959 especially germany. The hamburg and his subsequent collaboration with ballet, for nearly 40 years under artistic ThrOughOuT its lONg history, the Peter van Dyk from 1962, ballet finally director John Neumeier, has become one ballet in hamburg has seldom seen such took centre stage. although van Dyk’s of the world’s leading ballet companies. growth. In the years preceding the 1827 own choreography was unremarkable, Neumeier is the world’s longest serving inauguration of a new 2500-seat theatre he developed a company capable of artistic director, next to alicia alonso of on the site of the today’s State Opera in performing the works of george ballet Nacional de Cuba. In a last minute Dammtorstrasse, operas by some of the balanchine – the first european company phone interview squeezed between a most famous composers of the baroque to have a solid balanchine repertoire. www.danceaustralia.com.au AUGU ST/SePTember 2012 | dance australia 15 a nother scene from ‘nijinsky’, which is being performed in Brisbane: the dancers are (from left) alexandre riabko, anna Polikarpova and otto Bubenicek. ballet does now, so there was a strong sense of each of these artists wanting to develop themselves and perhaps some of them feeling they didn’t have enough to do, but it was a very, very exciting time.” HAMBURG BAllET is now primarily a creative company of 58 dancers with over 90 per cent of its vastly diverse repertoire choreographed by Neumeier. He has reworked the Tchaikovsky trilogy of classics – The Sleeping Beauty, Swan Lake and The Nutcracker; his Shakespeare-inspired ballets include Romeo and Juliet, Hamlet Connotations, A Midsummer Night’s Dream and Othello; and he has creatd a large group of ballets set to the music of Gustav W o Mahler (who coincidentally was principal musical director in Hamburg for six years from 1891), including several of his GER BADEK L symphonies. Outside these thematic HO constructs are many other diversely different works, like his Bernstein-based Photo: pieces, Songfest and Age of Anxiety, his Streetcar Named Desire, and his works Subsequently, as part of Hamburg’s needed more dancers and a bigger frame set to sacred music, such as Bach’s St official celebration of Igor Stravinsky’s in terms of financial help,” Neumeier Matthew Passion and Magnificat and 80th birthday in June 1962, the company remembers. “I had studied the company Mozart’s Requiem. performed a triple bill of three of and there were 16 dancers whose contract Neumeier has been described as an Balanchine’s ballets, Apollo, Argon and I did not renew. This was done legally, expressionist choreographer, a label he Orpheus, all conducted from the pit by they had one and a half years notice, but doesn’t deny. “I think that ballet, as an art, the composer himself. certain people were upset, the press was is an expression of a kind of secret, because Van Dyk left in 1970 and standards very negative, and it was clear that we you cannot adequately explain in words once again deteriorated, until the had to prove ourselves.” what you have seen in dance,” Neumeier appointment of Neumeier in 1973. The cry of outrage from almost the clarifies. “This secret has to do with Neumeier came from the Frankfurt whole of Hamburg, in particular the music, with movement and with emotion. Ballet, where he had been director for four years, successfully reinterpreting ballets such as The Nutcracker and I think that ballet, as an art, is an expression of Daphnis and Chloe. Previously he had danced with Stuttgart Ballet, along with a kind of secret, because you cannot adequately Francois Klaus, now the artistic director of the Queensland Ballet. explain in words what you have seen in dance. When Neumeier arrived in Hamburg, along with several of his very devoted dancers’ union, lasted only until the first It always comes down to ‘what am I seeing, Frankfurt dancers, he was only thirty- of Neumeier’s workshop matinee lecture and do those emotions that I’m seeing in one. Klaus had preceded him by a few demonstrations where, as Klaus puts it, motion move me?’ This to me is always the months and describes the company in the “John impressed with his creativity and important question. It’s not a question of years since van Dyk’s departure as almost his remarkable way of letting people telling stories but of expressing the “faceless”: without clear direction and know what he was doing – audiences and emotion, which is either part of the music run more or less by committee. Neumeier dancers alike.” or a feeing I have about a certain theme. soon stamped his authority. Neumeier quickly set to work building I think that you can construct a ballet so “The reason I went to Hamburg was a company, a repertoire, an audience and that when you look at it you can see the that I felt my work (including) my ultimately a school. “To start with we had score, and they may be well-made ballets experiments with the classics and new a very rich company,” he remembers. “We – but not necessarily inspired. interpretations of the Diaghilev works did not have as many performances as the “The Mahler Symphonies do not need 16 dance australia | AUGUST/SEPTEMBER 2012 www.danceaustralia.com.au me, they do not need to be danced, but by listening to them I can express my subjective feelings and the choreography becomes my reaction to those feelings. If we put these together it becomes something else, it’s a different experience to just hearing the music; it’s a hearing and seeing experience. I don’t try to think if what I am doing is what Mahler intended because I don’t know. Creation is not a rational process.” Klaus, who was principal dancer with Hamburg Ballet for 16 years, creating many roles, describes Neumeier’s way of working as being “a mixture of inspiration and calculation” and Neumeier agrees.
Load more

Recommended publications
  • Vision / Dance Innovations
    2020 FEBRUARY PROGRAMS 02 /03 CLASSICAL (RE)VISION / DANCE INNOVATIONS The people you trust, trust City National. Top Ranked in Client Referrals* “City National helps keep my financial life in tune.” Michael Tilson Thomas Conductor, Educator and Composer Find your way up.SM Visit cnb.com *Based on interviews conducted by Greenwich Associates in 2017 with more than 30,000 executives at businesses across the country with sales of $1 million to $500 million. City National Bank results are compared to leading competitors on the following question: How likely are you to recommend (bank) to a friend or colleague? City National Bank Member FDIC. City National Bank is a subsidiary of Royal Bank of Canada. ©2018 City National Bank. All Rights Reserved. cnb.com 7275.26 PROGRAM 02 | CLASSICAL (RE)VISION PROGRAM 03 | DANCE INNOVATIONS TABLE OF CONTENTS 05 Greetings from the Artistic Director & Principal Choreographer 05 06 Board of Trustees Endowment Foundation Board 07 SF Ballet Leadership 08 Season News 10 Off Stage 13 Pointe and Counterpoint: The Story of Programs 02 and 03 14 PROGRAM 02 Classical (Re)Vision Bespoke Director's Choice Sandpaper Ballet 22 PROGRAM 03 Dance Innovations The Infinite Ocean The Big Hunger World Premiere Etudes 30 Artists of the Company 14 39 SF Ballet Orchestra 40 SF Ballet Staff 42 Donor Events and News 46 SF Ballet Donors 61 Thank You to Our Volunteers 63 For Your Information 64 Designing Sandpaper Ballet FOLLOW US BEFORE AND AFTER THE PERFORMANCE! San Francisco Ballet SFBallet youtube.com/sfballet SFBallet 42 San Francisco Ballet | Program Book | Vol.
    [Show full text]
  • Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op
    Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 Item Type text; Electronic Dissertation Authors Stavrianou, Eleni Persefoni Citation Stavrianou, Eleni Persefoni. (2021). Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 (Doctoral dissertation, University of Arizona, Tucson, USA). Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 04:39:03 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/660266 ADAPTING PIANO MUSIC FOR BALLET: TCHAIKOVSKY’S CHILDREN’S ALBUM, OP. 39 by Eleni Persefoni Stavrianou ____________________________________ Copyright © Eleni Persefoni Stavrianou 2021 A DMA Critical Essay Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2021 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Creative Project and Lecture-Recital Committee, we certify that we have read the Critical Essay prepared by: titled: and recommend that it be accepted as fulfilling the Critical Essay requirement for the Degree of Doctor of Musical Arts. _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ submission of the final copies of the essay to the Graduate College. I hereby certify that I have read this Critical Essay prepared under my direction and recommend that it be accepted as fulfilling the Critical Essay requirement.
    [Show full text]
  • 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.
    [Show full text]
  • Nicolle Greenhood Major Paper FINAL.Pdf (4.901Mb)
    DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Nicolle Mitchell Greenhood Major paper submitted to the faculty of Goucher College in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration 2016 Abstract Title of Thesis: DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Degree Candidate: Nicolle Mitchell Greenhood Degree and Year: Master of Arts in Arts Administration, 2016 Major Paper Directed by: Michael Crowley, M.A. Welsh Center for Graduate and Professional Studies Goucher College Ballet was established as a performing art form in fifteenth century French and Italian courts. Current American ballet stems from the vision of choreographer George Balanchine, who set ballet standards through his educational institution, School of American Ballet, and dance company, New York City Ballet. These organizations are currently the largest-budget performing company and training facility in the United States, and, along with other major US ballet companies, have adopted Balanchine’s preference for ultra thin, light skinned, young, heteronormative dancers. Due to their financial stability and power, these dance companies set the standard for ballet in America, making it difficult for dancers who do not fit these narrow characteristics to succeed and thrive in the field. The ballet field must adapt to an increasingly diverse society while upholding artistic integrity to the art form’s values. Those who live in America make up a heterogeneous community with a blend of worldwide cultures, but ballet has been slow to focus on diversity in company rosters.
    [Show full text]
  • Queensland Ballet
    Queensland Front cover: Rachael Walsh as Fonteyn & Christian Tátchev as Nureyev dance The Lady of the Camellias pas de deux in François Klaus’s Fonteyn Remembered; Photographer: Ken Sparrow Below: Sarah Thompson and children taking class at the Open Day BAllet ANNuAl REPORT 2010 Queensland Ballet Thomas Dixon Centre Cnr Drake St & Montague Rd West End Queensland 4101 Australia Phone: 07 3013 6666 Fax: 07 3013 6600 Email: [email protected] Web: www.queenslandballet.com.au Christian Tátchev and Keian langdon in François Klaus’s Don Quixote (excerpt), 50th Anniversary International Gala; Photographer: Ken Sparrow Christian Tátchev as Romeo & Rachael Walsh as Juliet in François Klaus’s Romeo & Juliet; Photographer: Ken Sparrow Queensland Ballet 2010 AnnuAl RepoRt CONTENTS Company profile 1 2010 highlights 2 50 year chronology 3 Chair’s review 7 Artistic Director’s report 8 Chief Executive Officer’s report 10 2010 performance summary 11 The Company 15 Acknowledgements 17 Directors’ report 19 Lead Auditor’s Independence Declaration 25 Financial report 26 Independent auditor’s report 41 Appendix A: 2010 strategic performance 42 Appendix B: Queensland Ballet Friends 44 QUEENSlAnD BALLET 1 COMPANY PROFILE Queensland Ballet is the advanced dance training to students in ouR DReAm Years 10, 11, and 12 at Kelvin Grove State flagship ballet company of the College as well as the introductory Track By 2013, Queensland Ballet will be State of Queensland, with a Dance and Mid-Trackdance programs for recognised, not only in Queensland but reputation for a fresh, energetic Years 3 to 9. throughout Australia and also overseas, for: and eclectic repertoire ranging Community education and outreach is » creating and presenting a broad from short works for children to achieved through a range of programs.
    [Show full text]
  • Ballets Russes Press
    A ZEITGEIST FILMS RELEASE THEY CAME. THEY DANCED. OUR WORLD WAS NEVER THE SAME. BALLETS RUSSES a film by Dayna Goldfine and Dan Geller Unearthing a treasure trove of archival footage, filmmakers Dan Geller and Dayna Goldfine have fashioned a dazzlingly entrancing ode to the rev- olutionary twentieth-century dance troupe known as the Ballets Russes. What began as a group of Russian refugees who never danced in Russia became not one but two rival dance troupes who fought the infamous “ballet battles” that consumed London society before World War II. BALLETS RUSSES maps the company’s Diaghilev-era beginnings in turn- of-the-century Paris—when artists such as Nijinsky, Balanchine, Picasso, Miró, Matisse, and Stravinsky united in an unparalleled collaboration—to its halcyon days of the 1930s and ’40s, when the Ballets Russes toured America, astonishing audiences schooled in vaudeville with artistry never before seen, to its demise in the 1950s and ’60s when rising costs, rock- eting egos, outside competition, and internal mismanagement ultimately brought this revered company to its knees. Directed with consummate invention and infused with juicy anecdotal interviews from many of the company’s glamorous stars, BALLETS RUSSES treats modern audiences to a rare glimpse of the singularly remarkable merger of Russian, American, European, and Latin American dancers, choreographers, composers, and designers that transformed the face of ballet for generations to come. — Sundance Film Festival 2005 FILMMAKERS’ STATEMENT AND PRODUCTION NOTES In January 2000, our Co-Producers, Robert Hawk and Douglas Blair Turnbaugh, came to us with the idea of filming what they described as a once-in-a-lifetime event.
    [Show full text]
  • Dance Program and Ephemera Collection, 1909-1987
    http://oac.cdlib.org/findaid/ark:/13030/kt1b69p38p No online items Guide to the Dance Program and Ephemera Collection, 1909-1987 Processed by Processed by Linda Akatsu, Emma Kheradyar, William Landis, and Maria Lechuga, 1997-2001. Guide completed by Adrian Turner, 2002. © 2003 The Regents of the University of California. All rights reserved. Guide to the Dance Program and MS-P026 1 Ephemera Collection, 1909-1987 Guide to the Dance Program and Ephemera Collection, 1909-1987 Collection number: MS-P26 Special Collections and Archives The UCI Libraries University of California Irvine, California Processed by: Processed by Linda Akatsu, Emma Kheradyar, William Landis, and Maria Lechuga, 1997-2001. Guide completed by Adrian Turner, 2002. Date Completed: 2002 Encoded by: Andre Ambrus © 2003 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Dance program and ephemera collection, Date (inclusive): 1909-1987 Collection number: MS-P026 Extent: 10.3 linear feet (25 boxes and 5 oversize folders) Repository: University of California, Irvine. Library. Special Collections and Archives. Irvine, California 92623-9557 Abstract: This collection comprises printed materials, primarily dance programs, documenting significant international dancers, dance companies, festivals, performances, and events. The bulk of this collection comprises materials on 20th century American and European ballet performers and companies, such as the American Ballet Theatre, Ballet Russes and related companies. The collection also contains dance programs documenting world and folk genres, and international dance styles, primarily Indian, Japanese, and Spanish. A small group of printed ephemera documents various dance festivals, dance companies, and individuals such as Isadora Duncan, George Balanchine, Mary Wigman, and others.
    [Show full text]
  • Ballet Notes the Seagull March 21 – 25, 2012
    Ballet Notes The SeagUll March 21 – 25, 2012 Aleksandar Antonijevic and Sonia Rodriguez as Trigorin and Nina. Photo by Cylla von Tiedemann. Orchestra Violins Trumpets Benjamin Bowman Richard Sandals, Principal Concertmaster Mark Dharmaratnam Lynn KUo, Robert WeymoUth Assistant Concertmaster Trombones DominiqUe Laplante, David Archer, Principal Principal Second Violin Robert FergUson James Aylesworth David Pell, Bass Trombone Jennie Baccante Csaba Ko czó Tuba Sheldon Grabke Sasha Johnson, Principal Xiao Grabke • Nancy Kershaw Harp Sonia Klimasko-LeheniUk LUcie Parent, Principal Celia Franca, C.C., FoUnder Yakov Lerner Timpany George Crum, MUsic Director EmeritUs Jayne Maddison Michael Perry, Principal Ron Mah Karen Kain, C.C. Kevin Garland Aya Miyagawa Percussion Mark MazUr, Acting Artistic Director ExecUtive Director Wendy Rogers Filip Tomov Principal David Briskin Rex Harrington, O.C. Joanna Zabrowarna Kristofer Maddigan MUsic Director and Artist-in-Residence PaUl ZevenhUizen Orchestra Personnel Principal CondUctor Violas Manager and Music Magdalena Popa Lindsay Fischer Angela RUdden, Principal Administrator Principal Artistic Coach Artistic Director, • Theresa RUdolph Koczó, Jean Verch YOU dance / Ballet Master Assistant Principal Assistant Orchestra Valerie KUinka Peter Ottmann Mandy-Jayne Personnel Manager Johann Lotter Raymond Tizzard Senior Ballet Master Richardson Beverley Spotton Senior Ballet Mistress • Larry Toman Librarian LUcie Parent Aleksandar Antonijevic, GUillaUme Côté, Cellos Greta Hodgkinson, Jiˇrí Jelinek, Zdenek Konvalina*,
    [Show full text]
  • 2008, WDA Global Summit
    World Dance Alliance Global Summit 13 – 18 July 2008 Brisbane, Australia Australian Guidebook A4:Aust Guide book 3 5/6/08 17:00 Page 1 THE MARIINSKY BALLET AND HARLEQUIN DANCE FLOORS “From the Eighteenth century When we come to choosing a floor St. Petersburg and the Mariinsky for our dancers, we dare not Ballet have become synonymous compromise: we insist on with the highest standards in Harlequin Studio. Harlequin - classical ballet. Generations of our a dependable company which famous dancers have revealed the shares the high standards of the glory of Russian choreographic art Mariinsky.” to a delighted world. And this proud tradition continues into the Twenty-First century. Call us now for information & sample Harlequin Australasia Pty Ltd P.O.Box 1028, 36A Langston Place, Epping, NSW 1710, Australia Tel: +61 (02) 9869 4566 Fax: +61 (02) 9869 4547 Email: [email protected] THE WORLD DANCES ON HARLEQUIN FLOORS® SYDNEY LONDON LUXEMBOURG LOS ANGELES PHILADELPHIA FORT WORTH Ausdance Queensland and the World Dance Alliance Asia-Pacific in partnership with QUT Creative Industries, QPAC and Ausdance National and in association with the Brisbane Festival 2008 present World Dance Alliance Global Summit Dance Dialogues: Conversations across cultures, artforms and practices Brisbane 13 – 18 July 2008 A Message from the Minister On behalf of our Government I extend a warm Queensland welcome to all our local, national and international participants and guests gathered in Brisbane for the 2008 World Dance Alliance Global Summit. This is a seminal event on Queensland’s cultural calendar. Our Government acknowledges the value that dance, the most physical of the creative forms, plays in communicating humanity’s concerns.
    [Show full text]
  • 2021-QB-Academy-Prospectus.Pdf
    Prospectus 2021 CONTENTS Queensland Ballet acknowledges the traditional custodians 02 Academy Director’s welcome of the land on which we train and perform. Long before we 04 About Queensland Ballet Academy arrived on this land, it played host to the dance expression 06 Training and career pathways of our First Nations Peoples. We pay our respects to their Elders, past, present and emerging, and acknowledge 07 Training programs the valuable contribution they have made and continue 08 Kelvin Grove State College to make to the cultural landscape of this country. 10 Career entry programs 11 Workshops and activities 12 Living in Brisbane 14 Academy location and facilities 17 Career development 18 Fostering health and wellbeing 19 Auditions 19 Fees, scholarships and bursaries 21 Our leadership team Photography, unless otherwise labelled — David Kelly 01 ACADEMY DIRECTOR’S WELCOME On behalf of Queensland Ballet, I warmly welcome your consideration of our Academy’s elite training programs. Queensland Ballet Academy takes great pride in nurturing the future custodians of our exquisite artform. Combining world-class ballet training with an emphasis on student wellbeing, our Academy offers a unique educational pathway comparable to the finest international ballet schools. Our current training programs build on the extraordinary expertise of Queensland Ballet’s founder, Charles Lisner OBE. The establishment of the Lisner Ballet Academy in 1953 inspired Queensland Ballet’s commitment to nurturing and developing young dancers. Queensland Ballet Academy honours that legacy. As the official training provider for Queensland Ballet, our graduates have unparalleled access to the Company and its connection to the professional industry and wider dance community.
    [Show full text]
  • Ballet Notes
    Ballet Notes Mozartiana & Other Dances & In The Upper Room June 15 - 19, 2011 Aleksandar Antonijevic in In The Upper Room. Photo by Bruce Zinger. Orchestra Violins Bassoons Benjamin BoWman Stephen Mosher, Principal Concertmaster JerrY Robinson LYnn KUo, EliZabeth GoWen, Assistant Concertmaster Contra Bassoon DominiqUe Laplante, Horns Principal Second Violin Celia Franca, C.C., Founder GarY Pattison, Principal James AYlesWorth Vincent Barbee Jennie Baccante George Crum, Music Director Emeritus Derek Conrod Csaba KocZó Scott WeVers Karen Kain, C.C. Kevin Garland Sheldon Grabke Artistic Director Executive Director Xiao Grabke Trumpets David Briskin Rex Harrington, O.C. NancY KershaW Richard Sandals, Principal Music Director and Artist-in-Residence Sonia Klimasko-LeheniUk Mark Dharmaratnam Principal Conductor YakoV Lerner Rob WeYmoUth Magdalena Popa Lindsay Fischer JaYne Maddison Trombones Principal Artistic Coach Artistic Director, Ron Mah DaVid Archer, Principal YOU dance / Ballet Master AYa MiYagaWa Robert FergUson WendY Rogers Peter Ottmann Mandy-Jayne DaVid Pell, Bass Trombone Filip TomoV Senior Ballet Master Richardson Tuba Senior Ballet Mistress Joanna ZabroWarna PaUl ZeVenhUiZen Sasha Johnson Aleksandar AntonijeVic, GUillaUme Côté*, Violas Harp Greta Hodgkinson, Jiˇrí Jelinek, LUcie Parent, Principal Zdenek KonValina, Heather Ogden, Angela RUdden, Principal Sonia RodrigUeZ, Piotr StancZYk, Xiao Nan YU, Theresa RUdolph KocZó, Timpany Bridgett Zehr Assistant Principal Michael PerrY, Principal Valerie KUinka Kevin D. Bowles, Lorna Geddes,
    [Show full text]
  • John Neumeier
    JOHN NEUMEIER John Neumeier was born in 1942 in Milwaukee, Wisconsin, USA, where he also received his first dance training. He went on to study ballet both in Copenhagen and at the Royal Ballet School in London. He acquired a Bachelor of Arts degree in English Literature and Theater Studies from Marquette University, Wisconsin, where he created his first choreographic works. In 1963 John Cranko engaged him at the Stuttgart Ballet, where he progressed to solo dancer. In 1969 Ulrich Erfurth appointed Neumeier as Director of Ballet in Frankfurt. Since 1973 John Neumeier has been Artistic Director and Chief Choreographer of THE HAMBURG BALLET, since 1996 Ballettintendant (General Director). THE HAMBURG BALLET has become one of the leading ballet companies in the German dance scene and soon received international recognition. As a choreographer, Neumeier has continually focused on the preservation of ballet tradition, while giving his works a modern dramatic framework. His commitment to this end has manifested itself particularly in his revised versions of the classical “story ballets”. For his revolutionary choreographies on symphonies by Gustav Mahler he has received particular acclaim throughout the world. His latest creations for THE HAMBURG BALLET, Le Pavillon d’Armide and Orpheus, premiered in 2009, and Purgatorio, premiered in 2011. In 1975, Neumeier created the Hamburger Ballett-Tage, the Hamburg Ballet Festival, a climax and end to each season. In 1978 he founded The School of THE HAMBURG BALLET. In 1989 the school, together with the company, moved into its own Ballettzentrum (ballet center) provided by the city of Hamburg. Its facilities include nine studios and a boarding school for over thirty students.
    [Show full text]