Dear Jonathan

Total Page:16

File Type:pdf, Size:1020Kb

Dear Jonathan English National Ballet Emerging Dancer LIVE London Coliseum Monday 11 June 2018 Performance at 7.30pm Tickets: £12 - £35 Box office: 020 7845 9300 and www.ballet.org.uk/emerging On Monday 11 June 2018, English National Ballet’s Emerging Dancer competition, hosted by the actor and dancer Will Kemp, will be live streamed from the London Coliseum via Facebook, YouTube and Twitter. Emerging Dancer LIVE follows the success of last year’s live stream which achieved over 80,000 views worldwide. English National Ballet – Emerging Dancer – © Laurent Liotardo – post production by Nik Pate Through this annual event, English National Ballet recognises the excellence of its artists. Selected by their peers, six of the company's most promising dancers perform in front of an eminent panel of expert judges, before one receives the 2018 Emerging Dancer Award. The recipients of the People's Choice Award, selected by members of the public, and the Corps de Ballet Award, acknowledging the work on and off-stage of a member of the Corps de Ballet, will also be revealed. Joining Tamara Rojo CBE, Artistic Director of English National Ballet, on the judging panel this year are former American Ballet Theatre principal dancer and former director of the National Ballet of Uruguay, Julio Bocca; principal dancer at The Royal Ballet, Lauren Cuthbertson; former artistic director of Romanian National Ballet and former Royal Ballet principal dancer, Johan Kobborg; and leading multidisciplinary dance artist and director of Kerry Nicholls Dance, Kerry Nicholls. The finalists will perform a pas de deux, followed by a solo. This year will see Precious Adams and Fernando Carratalá Coloma performing Petipa’s Harlequinade pas de deux; Francesca Velicu and Daniel McCormick perform a pas de deux from English National Ballet’s Le Corsaire; and Connie Vowles and Giorgio Garrett perform a pas de deux from Bournonville’s William Tell. Precious Adams will then perform A Point of Collapse, a new solo with choreography and music composition by Mthuthuzeli November, Junior Artist of Ballet Black; Francesca Velicu will perform Toccata, a new work choreographed by Royal Ballet of Flanders Principal and former English National Ballet First Artist, Nancy Osbaldeston and set to Paul Constantinescu’s Suite for Piano played by Mihaela Ursuleasa; and Connie Vowles will perform Be all / End all, a new piece by Royal Ballet Young Choreographer, Charlotte Edmonds to music from Carl Orff’s Carmina Burana. Fernando Carratalá Coloma will go on to perform The last call, new choreography by Victor Ullate Ballet dancer, Mariano Cardano set to Alexander Balanescu’s Aria; Giorgio Garrett will perform Fraudulent Smile by choreographer Ross Freddie Ray set to Kazimierez recorded by Nigel Kennedy and the Kroke Band; and Daniel McCormick will perform a solo from Leatherwing Bat by American dancer and choreographer Trey McIntyre set to Boa Constrictor and Leatherwing Bat by folk group Peter Paul and Mary. The finalists are being coached for their performances by their peers in the Company. Pedro Lapetra and Junor Souza are working on Le Corsaire with Francesca Velicu and Daniel McCormick; Fernanda Oliveira and Barry Drummond are helping Connie Vowles and Giorgio Garrett prepare for William Tell; and Crystal Costa and Fernando Bufalá are rehearsing Harlequinade with Precious Adams and Fernando Carratalá Coloma. Additional coaching is also being given by Joseph Caley, Maria José Sales and Shevelle Dynott. Also on the night, last year’s joint Emerging Dancer Award winners, Aitor Arrieta and Rina Kanehara will perform the pas de deux from Act III of The Sleeping Beauty, whilst the winner of the 2017 People’s Choice Award, Georgia Bould, will perform an extract from La Sylphide. Casting, repertoire, panel and host are subject to change. Please see www.ballet.org.uk for up-to-date details. For further information, interview requests and images please contact Alice Gibson, Senior Press Officer at [email protected] or call 020 7590 2932. For further information about English National Ballet and to book tickets visit www.ballet.org.uk Please note performance details are subject to change. Notes to editors: The judging panel for Emerging Dancer 2018: Julio Bocca One of the most outstanding Argentine dancers of all time, Buenos Aires born Bocca trained at the Institute Superior of Art at the Teatro Colón. He danced with American Ballet Theatre for 20 years as well as Ballet of Camera of the Teatro Colón; Teresa Carreño Foundation, Venezuela; Teatro Municipal, Río de Janeiro; and Ballet Estable of the Teatro Colón. His Guest artist appearances with leading companies included English National Ballet, The Royal Ballet, Teatro alla Scala, the Bolshoi, Royal Danish Ballet and the Paris Opéra. His partners included Alessandra Ferri, Nina Ananiashvili, Tamara Rojo, Viviana Durante, Natalia Makarova amongst many others. His retirement from the stage was held in Buenos Aires in 2007 to an audience of over 300,000 spectators. He has received countless awards including the Benois Prize, the Gold Medal awarded by The Kennedy Center and the title of the Knight of the Order of Arts and Letters from the government of France. Appointed International Cultural Representative of the Teatro Colón and directed the National Ballet Sodre of Uruguay, Artistic Director 2010 – 2017. Lauren Cuthbertson English dancer Lauren Cuthbertson is a Principal of The Royal Ballet. She studied with The Royal Ballet School as a junior associate and at White Lodge and the Upper School, and graduated into the Company in 2002. She was promoted to Soloist in 2003, First Soloist in 2006 and Principal in 2008, becoming the youngest female Principal in the Company. Cuthbertson was born in Devon and started dancing at the age of three. Her roles with the Company have included Juliet, Manon, Aurora (The Sleeping Beauty), Giselle and Odette/Odile (Swan Lake). Christopher Wheeldon created the title role of his Alice’s Adventures in Wonderland on Cuthbertson, describing her ‘unique ability to make her dramatic persona on stage natural, honest, fresh and to the point’. Cuthbertson’s other role creations include Hermione (Wheeldon’s The Winter’s Tale) and in Wayne McGregor’s Tetractys. In 2007 Cuthbertson won an Arts and Culture Women of the Future Award. Other awards include silver medal at the Varna International Ballet Competition in 2006 and the 2004 Critics’ Circle Award for Outstanding Female Performance (Classical). Devoted to inspiring the next generation of dancers, she is an active patron of both National Youth Ballet and London Children’s Ballet. Johan Kobborg Johan Kobborg was born in Copenhagen 1972 and trained at the Funen Ballet Academy and the Royal Danish Ballet School before enjoying a distinguished career as a principal dancer with the Royal Danish Ballet, the Royal Ballet and as a guest with most major companies around the world. From December 2013 until April 2016 Johan was Artistic Director of the Romanian National Ballet. He has distinguished himself as a choreographer with leading companies including The Royal Ballet, Bolshoi Ballet, Royal Danish Ballet, Zurich Ballet, National Ballet of Canada, San Francisco Ballet, Lithuanian National Ballet and Royal New Zealand Ballet. In 1993 Johan won the gold medal at the Erik Bruhn Competition in Canada. The following year he won the Grand Prix at the International Ballet Competition in Jackson, U.S.A. and the Grand Prix at the International Nureyev Ballet Competition in Hungary. In 1996 he was nominated for the Benois de la Danse for his role as James in La Sylphide. He has won the Dance Critics Circle award for best male dancer and has received many Danish ballet Grants and Awards. In 2006, he was nominated for two Olivier Awards in London: one for his Royal Ballet production of La Sylphide and another for his performance in Fleming Flindt’s The Lesson. Kerry Nicholls Kerry has taught, choreographed, mentored, performed and consulted extensively for numerous dance companies and institutions worldwide. She was appointed Co-Director of Creative Learning for Studio Wayne McGregor in 2007 and was the Artistic Advisor for English National Ballet School in 2008. Currently, Kerry is an external assessor and Contemporary Module Leader for the Degree programme at The Royal Ballet School. She is a regular choreographic mentor and career consultant for the Royal Opera House, English National Ballet, One Dance UK, Rambert and Scottish Ballet. Kerry is the Patron of Constella Opera Ballet, a Dance Ambassador for PIPA (Parents and Carers in Performing Arts) and annual Guest Artist at The Juilliard School. Kerry is director and owner of Kerry Nicholls Dance and embodies the values and spirit of the brand which launched in autumn 2012. .
Recommended publications
  • Study Guide for Teachers and Students
    Melody Mennite in Cinderella. Photo by Amitava Sarkar STUDY GUIDE FOR TEACHERS AND STUDENTS 1 TABLE OF CONTENTS PRE AND POST-PERFORMANCE ACTIVITIES AND INFORMATION Learning Outcomes & TEKS 3 Attending a ballet performance 5 The story of Cinderella 7 The Artists who Created Cinderella: Choreographer 11 The Artists who Created Cinderella: Composer 12 The Artists who Created Cinderella Designer 13 Behind the Scenes: “The Step Family” 14 TEKS ADDRESSED Cinderella: Around the World 15 Compare & Contrast 18 Houston Ballet: Where in the World? 19 Look Ma, No Words! Storytelling in Dance 20 Storytelling Without Words Activity 21 Why Do They Wear That?: Dancers’ Clothing 22 Ballet Basics: Positions of the Feet 23 Ballet Basics: Arm Positions 24 Houston Ballet: 1955 to Today 25 Appendix A: Mood Cards 26 Appendix B: Create Your Own Story 27 Appendix C: Set Design 29 Appendix D: Costume Design 30 Appendix E: Glossary 31 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Students can describe how ballets tell stories without words; • Compare & contrast the differences between various Cinderella stories; • Describe at least one dance from Cinderella in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures. §114.22. LANGUAGES OTHER THAN ENGLISH LEVELS I AND II (4) Comparisons. The student develops insight into the nature of language and culture by comparing the student’s own language §110.25. ENGLISH LANGUAGE ARTS AND READING, READING (9) The student reads to increase knowledge of own culture, the culture of others, and the common elements of cultures and culture to another.
    [Show full text]
  • English National Ballet 2018-2019 Season
    English National Ballet 2018-2019 Season www.ballet.org.uk • English National Ballet and English National Ballet School set to move into joint state-of- the-art home in Canning Town, East London • Christopher Wheeldon to create a new in-the-round version of Cinderella for English National Ballet and the Royal Albert Hall • ENB’s second bill featuring female choreographers, She Persisted includes a new work inspired by Ibsen’s A Doll’s House by First Artist Stina Quagebeur • She Persisted also features Pina Bausch’s Le Sacre du printemps and Annabelle Lopez Ochoa’s Broken Wings • Lest We Forget returns to mark the centenary of the end of the First World War • Akram Khan’s Giselle tours internationally to the Harris Theater, Chicago and to the Chekov International Festival at the Bolshoi Theatre, Moscow • Sir Kenneth MacMillan’s Manon performed on tour and at the London Coliseum • ENB in Paris, following the Company’s performances at the Palais Gariner, to be released via YouTube English National Ballet has today announced its 2018-2019 season at a press conference at London City Island, the site of its future home. English National Ballet’s 2018-2019 season begins as the Company prepares to move to its new purpose-built home at London City Island in Canning Town, a new neighbourhood from EcoWorld Ballymore. The Company is thrilled to announce it has been successful in its stage two application to Arts Council England’s Capital Large Grants programme, funded by the National Lottery, for a £3 million investment in its future home.
    [Show full text]
  • Press Release
    04 January 2021 English National Ballet’s BalletActive English National Ballet’s on-demand video platform hosts a wide variety of ballet-based online classes for all levels and abilities. Whether trying ballet for the first time, rediscovering a passion for dance, maintaining your bal- let practice or just looking to build fitness at home, English National Ballet’s BalletActive has something for everyone. Building on the popular series of classes which ENB made available online during the UK’s first lockdown, BalletActive offers an even wider variety of classes from beginners to advanced level. The classes are especially designed for those participating at home and in smaller spa- ces, giving people the opportunity to actively engage with ballet-based exercise from home with a monthly or annual subscription.. The recently launched ‘Beginners Ballet’ series with English National Ballet dancer Sarah Kundi covers the basics of ballet, introducing first to fifth positions and starting at the barre. There are improver to advanced level Ballet Masterclasses run by the Company’s ballet mas- ter Renato Paroni de Castro and ballet mistress Mayumi Ganley, advanced level classes with ENB’s Artistic Director Tamara Rojo, Barre Fit classes, a contemporary series which explores the core fundamentals of contemporary dance, a beginners series for young people and much more. Also available on BalletActive is a range of yoga, meditation and strength and conditioning sessions available to complement ballet practice and help to build ballet strength. All classes on the BalletActive platform are pre-recorded, with new classes added periodically. New classes this month include seated workout classes for those with limited mobility, aimed to improve a range of motion, developing coordination and musicality, and a contemporary se- ries with Alleyne Dance, a multi-disciplinary dance company based in London.
    [Show full text]
  • The Caramel Variations by Ian Spencer Bell from Ballet Review Spring 2012 Cover Photograph by Stephanie Berger, BAM : Silas Riener in Merce Cunningham’S Split Sides
    Spring 2012 Ball et Review The Caramel Variations by Ian Spencer Bell from Ballet Review Spring 2012 Cover Photograph by Stephanie Berger, BAM : Silas Riener in Merce Cunningham’s Split Sides . © 2012 Dance Research Foundation, Inc. All rights reserved. 4 Moscow – Clement Crisp 5 Chicago – Joseph Houseal 6 Oslo – Peter Sparling 9 Washington, D. C. – George Jackson 10 Boston – Jeffrey Gantz 12 Toronto – Gary Smith 13 Ann Arbor – Peter Sparling 16 Toronto – Gary Smith 17 New York – George Jackson Ian Spencer Bell 31 18 The Caramel Variations Darrell Wilkins 31 Malakhov’s La Péri Francis Mason 38 Armgard von Bardeleben on Graham Don Daniels 41 The Iron Shoe Joel Lobenthal 64 46 A Conversation with Nicolai Hansen Ballet Review 40.1 Leigh Witchel Spring 2012 51 A Parisian Spring Editor and Designer: Marvin Hoshino Francis Mason Managing Editor: 55 Erick Hawkins on Graham Roberta Hellman Joseph Houseal Senior Editor: 59 The Ecstatic Flight of Lin Hwa-min Don Daniels Associate Editor: Emily Hite Joel Lobenthal 64 Yvonne Mounsey: Encounters with Mr B 46 Associate Editor: Nicole Dekle Collins Larry Kaplan 71 Psyché and Phèdre Copy Editor: Barbara Palfy Sandra Genter Photographers: 74 Next Wave Tom Brazil Costas 82 London Reporter – Clement Crisp 89 More Balanchine Variations – Jay Rogoff Associates: Peter Anastos 90 Pina – Jeffrey Gantz Robert Gres kovic 92 Body of a Dancer – Jay Rogoff George Jackson 93 Music on Disc – George Dorris Elizabeth Kendall 71 100 Check It Out Paul Parish Nancy Reynolds James Sutton David Vaughan Edward Willinger Cover Photograph by Stephanie Berger, BAM : Silas Riener Sarah C.
    [Show full text]
  • 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.
    [Show full text]
  • 1 Engaging Minds, Informing Practice Tutors and Presenters Alice White, MA, BA (Hons) Embracing Social Media Alice Graduated
    Engaging Minds, Informing Practice Tutors and Presenters Alice White, MA, BA (Hons) Embracing Social Media Alice graduated from Trinity Laban Conservatoire of Music and Dance in 2015 with a First Class Honours degree in Contemporary Dance, and went on to gain an MA in Dance Performance at the University of Chichester. Currently the Lead Press and Communications Officer at the Royal Academy of Dance, Alice has previously worked in marketing and communications at organisations such as Trinity Laban and The Place, gaining an in depth and confident understanding of social media strategy. Amelia Wilkinson, MSc Physiotherapy (pre-reg), MSc Dance Science, BA (Hons) Sociology, APPI certified Pilates Instructor Enhancing Silver Swans® Provision Amelia originally trained as a dancer at The Royal Ballet School and is now a dance science educator, physiotherapist and Pilates instructor. Her expertise in health and wellbeing is informed by both her dance for health and physiotherapy research. Most recently she examined community dwelling stroke survivors’ perceptions of upper limb dysfunction and its impact on quality of life. She currently works as a Health and Performance Enhancement Tutor across two Centre for Advanced Training programmes and delivers dance science CPD courses across the UK and internationally for the RAD. Caroline Palmer, ARAD (Dip. PDTC) Analysing Discovering Repertoire Choreographic Style with Benesh Notation Caroline trained in classical ballet in London with Andrew Hardie and Maria Fay. She danced professionally for 10 years mainly with the Deutsche Opera in Dusseldorf. In 1979 Caroline retrained as a teacher at the Royal Academy of Dance and subsequently taught on the degree course at Laban, London.
    [Show full text]
  • Soviet-American Dance Medicine. Proceedings of the Glasnost Dance Medicine Conference and Workshops (Boston, Massachusetts, May 18-19, 1990)
    DOCUMENT RESUME ED 337 430 SP 033 300 AUTHOR Micheli, Lyle, Ed.; And Others TITLE Soviet-American Dance Medicine. Proceedings of the Glasnost Dance Medicine Conference and Workshops (Boston, Massachusetts, May 18-19, 1990). INSTITUTION American Alliance for Health, Physical Education, Recreation and Dance, Reston, VA. National Dance Association. REPORT NO ISBN-0-88314-512-X PUB DATE 91 NOTE 118p. AVAILABLE FROMAAHPERD, Publications Sales, 1900 Association Drive, Reston, VA 22091. PUB TYPE Collected Works - Conference Proceedings (021) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS Adults; Chi.dren; *Dance; *Dance Education; Health Promotion; *Injuries; *Medical Services; Physical Therapy; Physicians; *Sports Medicine IDENTIFIERS Dance Companies; United States; USSR ABSTRACT The information shared in this document representsa dialogue between the United States and the Soviet Unionon the discipline of dance medicine, which involves thecare of injured dancers as well as prevention of injuries. Anintroduction including a preface, opening remarks, and an overview of dancemedicine comprises section 1. The second section containspresentations: "Anatomic, Physiologic, and Developmental Concerns:Dance Injury"; "Orthopaedic Aspents of Uance Medir,ine"; "StressFractures in the Dancer"; "Dance Medicine in the Scviet Union"; "The Roleof Physical Therapy in Dance Medicine"; "Worksiop: Physical Therapyand Dance"; "Treatment and Rehabilitation of Common Dam'sInjuries"; "Strapping for Prevention of Lower Extremity Injuries"; "ThePsychological
    [Show full text]
  • English National Ballet 2019-2020 Season Ballet.Org.Uk
    Amended: June 2019 English National Ballet 2019-2020 Season ballet.org.uk • English National Ballet says ‘Thank You’ as it celebrates its 70th Anniversary • Akram Khan to create second full-length production for English National Ballet • Le Corsaire returns with performances at Milton Keynes Theatre and the London Coliseum • Christopher Wheeldon’s Cinderella to be performed in Manchester and Southampton • The Company’s first full Season after moving to their new home at London City Island • Mayor of London awards £1million grant through his Good Growth Fund to support English National Ballet’s ‘Bridging Neighbourhoods – Growing Talent’ project • English National Ballet appoints first Medical Director to maximise the benefits of the new building’s state-of-the-art fitness and rehabilitation facilities English National Ballet today announces plans for its 2019-2020 Season and updates on their new home at London City Island: 2020 marks English National Ballet’s 70th Anniversary with celebrations taking place throughout the 2019-2020 Season that give opportunities for the Company to say, ‘Thank You’ to its audiences, fans, friends and partners. The 70th Anniversary will be celebrated with three special Gala performances at the London Coliseum featuring extracts from a diverse range of repertoire spanning English National Ballet’s history. Tamara Rojo CBE, English National Ballet’s Artistic Director said: “Our 70th Anniversary Gala performances are a rare opportunity to showcase in one place a huge variety of brilliant work from our extraordinarily rich history. This will be a Gala that celebrates the sheer love of dance, both on and off the stage, that has been part of our vision from the beginning.
    [Show full text]
  • A SEASON of Dance Has Always Been About Togetherness
    THE SEASON TICKET HOLDER ADVANTAGE — SPECIAL PERKS, JUST FOR YOU JULIE KENT, ARTISTIC DIRECTOR 2020/21 A SEASON OF Dance has always been about togetherness. Now more than ever, we cannot“ wait to share our art with you. – Julie Kent A SEASON OF BEAUTY DELIGHT WONDER NEXTsteps A NIGHT OF RATMANSKY New works by Silas Farley, Dana Genshaft, Fresh, forward works by Alexei Ratmansky and Stanton Welch MARCH 3 – 7, 2021 SEPTEMBER 30 – OCTOBER 4, 2020 The Kennedy Center, Eisenhower Theater The Harman Center for the Arts, Shakespeare Theatre The Washington Ballet is thrilled to present an evening of works The Washington Ballet continues to champion the by Alexei Ratmansky, American Ballet Theatre’s prolific artist-in- advancement and evolution of dance in the 21st century. residence. Known for his musicality, energy, and classicism, the NEXTsteps, The Washington Ballet’s 2020/21 season opener, renowned choreographer is defining what classical ballet looks brings fresh, new ballets created on TWB dancers to the like in the 21st century. In addition to the 17 ballets he’s created nation’s capital. With works by emerging and acclaimed for ABT, Ratmansky has choreographed genre-defining ballets choreographers Silas Farley, dancer and choreographer for the Mariinsky Ballet, the Royal Danish Ballet, the Royal with the New York City Ballet; Dana Genshaft, former San Swedish Ballet, Dutch National Ballet, New York City Ballet, Francisco Ballet soloist and returning TWB choreographer; San Francisco Ballet, The Australian Ballet and more, as well as and Stanton Welch, Artistic Director of the Houston Ballet, for ballet greats Nina Ananiashvili, Diana Vishneva, and Mikhail energy and inspiration will abound from the studio, to the Baryshnikov.
    [Show full text]
  • 1 Chun Wai Chan Was Promoted to Principal Dancer on December 23
    FOR IMMEDIATE RELEASE Ashleigh Aiken 713.535.3224 [email protected] Images: http://bit.ly/2DhnOuR HOUSTON BALLET ANNOUNCES AN EXCITING PROMOTION DURING THE COMPANY’S HOMETOWN TOUR Chun Wai Chan was promoted to Principal dancer on December 23, 2017 HOUSTON, TEXAS [January 15, 2018] — Houston Ballet has announced that Artistic Director Stanton Welch AM has promoted Chun Wai Chan to Principal dancer. Formally a First Soloist, Chan was promoted on the evening of December 23, 2017 after starring in Stanton Welch’s The Nutcracker as the Nutcracker Prince. This well-deserved promotion concluded Houston Ballet’s performances at the Smart Financial Centre during the company’s Hometown Tour. “Dreams do come true,” said Chan. “I have wanted to be a Principal dancer for a long time, but never expected it to happen this soon. Everyone’s thoughts and words are the warmest gift for this Christmas.” Chan was born in Guang-Dong, China and received his professional dance training under Guang-Zhou Art School from 2004 to 2010. His honorary awards include 1st place in the 2006 CSTD International Ballet Competition in Australia, Finalist in the 2007 Beijing International Competition, 2nd place in the 2009 National Ballet Competition “Tao Li Cup” in China, Finalist in the 2010 Prix de Lausanne and received a full scholarship to study with Houston Ballet’s second company (HBII). While attending HBII in 2011, he was awarded the “Houston Ballet Academy Award.” Chan has performed all over the world and in many major cities throughout the United States. He has appeared in the Ninjinsky-Gala XLI in Hamburg, Germany, the 2015 Fall to Dance Festival in New York City Center, and was as a guest artist with Victoria Ballet in 2015 for the role of the Prince in The Nutcracker.
    [Show full text]
  • Royal Opera House Performance Review 2006/07
    royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 1 Royal Opera House Performance Review 2006/07 The Royal Ballet - The Royal Opera royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 2 Contents 01 TH E ROYA L BA L L E T PE R F O R M A N C E S 02 TH E ROYA L OP E R A PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 3 3 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 01 TH E ROYA L BA L L E T PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 4 4 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 GI S E L L E NU M B E R O F PE R F O R M A N C E S 6 (15 matinee and evening 19, 20, 28, 29 April) AV E R A G E AT T E N D A N C E 91% CO M P O S E R Adolphe Adam, revised by Joseph Horovitz CH O R E O G R A P H E R Marius Petipa after Jean Coralli and Jules Perrot SC E N A R I O Théophile Gautier after Heinrich Meine PRO D U C T I O N Peter Wright DE S I G N S John Macfarlane OR I G I N A L LI G H T I N G Jennifer Tipton, re-created by Clare O’Donoghue STAG I N G Christopher Carr CO N D U C T O R Boris Gruzin PR I N C I PA L C A S T I N G Giselle – Leanne Benjamin (2) / Darcey Bussell (2) / Jaimie Tapper (2) Count Albrecht – Edward Watson (2) / Roberto Bolle (2) / Federico Bonelli (2) Hilarion – Bennet Gartside (2) / Thiago Soares (2) / Gary Avis (2) / Myrtha – Marianela Nuñez (1) / Lauren Cuthbertson (3) (1- replacing Zenaida Yanowsky 15/04/06) / Zenaida Yanowsky (1) / Vanessa Palmer (1) royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 5 5 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 LA FI L L E MA L GA R D E E NU M B E R O F PE R F O R M A N C E S 10 (21, 25, 26 April, 1, 2, 4, 5, 12, 13, 20 May 2006) AV E R A G E AT T E N D A N C E 86% CH O R E O G R A P H Y Frederick Ashton MU S I C Ferdinand Hérold, freely adapted and arranged by John Lanchbery from the 1828 version SC E N A R I O Jean Dauberval DE S I G N S Osbert Lancaster LI G H T I N G John B.
    [Show full text]
  • And Then There Were Two Jan01
    Website of the Telegraph Media Group with breaking news, sport, business, latest UK and world news. Content from the Daily Telegraph and Sunday Telegraph newspapers and video from Telegraph TV. And then there were two In 1998, six of the Royal Ballet's male stars left to form the pioneering K Ballet. Two of them - Michael Nunn and William Trevitt - tell Ismene Brown how their optimism turned sour By Ismene Brown 12:00AM GMT 23 Jan 2001 'ROYAL Ballet reels as top dancers break away," said the headline in The Daily Telegraph. Ballet dancers rarely make the news pages, but, at the end of 1998, there was something strangely potent about the idea of six leading men at our national flagship company leaving to set up their own company. They called themselves K Ballet, after their leader, the Royal Ballet's virtuoso Tetsuya Kumakawa, whose fame in Japan had created the opening. Ballet boys: Michael Nunn [left] and William Trevitt, who were eclipsed by the star status of fellow K Ballet member Tetsuya Kumakawa It was the lowest point in the Royal Ballet's annus horribilis, with the Opera House shut for development, the dancers under threat of mass redundancy, chief executives entering and exiting, and the new Sadler's Wells Theatre, where the company was dancing in exile, not finished. Royal Ballet director Anthony Dowell reacted to the resignations as to a severe personal slight. But storms pass, and somehow ballet life goes on. The Royal Ballet survived its painful loss by using its reputation to attract visiting guests, while older resident males found themselves unexpectedly appreciated again.
    [Show full text]