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Tamara Rojo Artistic Director of the English National Ballet Tamara Began Dancing in Madrid at the Víctor Ullate School, Where
Tamara Rojo Artistic Director of the English National Ballet Tamara began dancing in Madrid at the Víctor Ullate School, where she took part in an extensive repertoire of classical roles. She won a Gold Medal at the Paris International Dance Competition and the Special Jury Prize unanimously. Galina Samsova asked her to join the Scottish Ballet and she later received a personal invitation from Derek Deane to join the English National Ballet, where she became director after six months. She danced the whole range of leading roles with the company, including Juliet (Romeo and Juliet) and Clara (The Nutcracker), which Derek Deane created expressly for her. Tamara joined The Royal Ballet as Principal Dancer at the invitation of Sir Anthony Dowell. She is also a regular guest of the Mariinsky Ballet, La Scala Ballet, Tokyo Ballet, New National Theatre, Tokyo, the Cuban National Ballet, the National Ballet of China, the Lithuanian National Ballet, the Mikhailovsky Ballet, the Royal Swedish Ballet and the Finnish National Ballet. She has also performed at the prestigious World Ballet Festival in Tokyo and at galas all over the world. In 2010 she was recognised for her artistic excellence with the Laurence Olivier Award for the Best New Dance Production with Goldberg: the Brandstrup - Rojo Project. She has been awarded the Prince of Asturias Prize, the Gold Medal for Fine Arts and the Encomienda de Numero de Isabel la Catolica. Other recognitions include the Prix Benois de la Danse, The Times Dancer Revelation of the Year, the National Dance Critics Award, the Barclay’s Award for Outstanding Achievement in Dance, the Positano Dance Award, Léonide Massine Premi al Valore, the Italian Critics Award, the International Arts Medal and the Madrid Performance Award. -
YAGP 2021 Brazil Scholarships&Acceptances RK 3.26
Scholarships and Acceptances Presented at YAGP 2021 Tampa Finals Alberta Ballet School, CANADA Summer Name Nationality School Constanza Medina Salcedo Mexico Ballet Clásico Aguascalientes Tsumugi Tomioka USA Hariyama Ballet Kelly Fong USA Li's Ballet Studio Peri Ingram USA Indiana Ballet Conservatory Audrey Williamson USA Ballet Center of Fort Worth Ava Thomas USA Marina Almayeva School of Classical Ballet Isabella Graves USA Huntington Academy of Dance Claire Buchi USA Peninsula School of Performing Arts Jayden Towers USA Fort Lauderdale Youth Ballet Annabelle Gourley USA The Ballet Clinic Savannah Rief USA Florida Schoolfor Dance Education Chloe Kinzler USA California Dance Academy Lyla Davey USA Huntington Academy of Dance Patricia Hohman USA West Point Ballet Alexa Pierce USA Pennsylvania Ballet Conservatory Nicholas Isabelli USA Emerald Ballet Academy Maria Nakai USA Hariyama Ballet Jaida Soleman USA Dance Center of San Antonio Nily Samara USA Bobbie's School of Performing Arts Charley Toscano USA North County Academy of Dance Leon Yusei Sai USA Southland Ballet Academy Noah Lehman USA Master Ballet Academy William Kinloch USA Ocean State Ballet Bella Dinglasan USA Southland Ballet Academy Sabrina Dorsey USA Master Ballet Academy Charlotte Bengfort USA Southland Ballet Academy Kate Deshler USA Jacqueline's School of Ballet Mia Anastasia Petkovic USA Ballet West Academy Lidiia Volkova USA Next Step Dance Performing Arts Julian Pecoraro USA University of North Carolina School of the Arts Luke Jones USA Ballet Center of Fort Worth Ashton Cook USA Elite Classical Coaching Olivia Newell USA Jacqueline's School of Ballet Ben Zusi USA Southold Dance Theater Joshua O'Connor USA Cary Ballet Conservatory Joshua Howell USA The Ballet Studio Tara McCally USA Feijoo Ballet School 1/13 Ballet School of the Basel Theater, SWITZERLAND Full Year Name Nationality School Sophie DeGraff USA WestMet Classical Training Laina Mae Kirkeide USA The Ballet Clinic Audrey Beukelman USA Denver Academy of Ballet Isabella McCool USA St. -
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. -
Support Materials
720 352 2903 LEMON SPONGE CAKE CONTEMPORARY BALLET [email protected] 1. ABOUT THE ARTIST 720 352 2903 LEMON SPONGE CAKE CONTEMPORARY BALLET [email protected] ROBERT SHER-MACHHERNDL 720 771 0162 [email protected] www.lemonspongecake.org PROFILE Robert Sher-Machherndl, a native of Vienna, Austria, has enjoyed a distinguished career in the performing arts ranging from Principal Dancer, Choreographer, Master Teacher to Artistic Director. He is currently Artistic Director and Choreographer of Lemon Sponge Cake Contemporary Ballet, from 2000 to present. SELECT CHOREOGRAPHIES • 2020 Seriously Solo - Boulder JCC • 2019 Dexter - Trinity Laban Conservatoire of Music & Dance, London, UK • 2019 Juliet - Boulder JCC • 2018 Gone - Junction Place, Boulder • 2017 Grasping Aspects of Shekhinah - University of Colorado Boulder • 2017 Vertical Migration Experiment - Boulder JCC • 2016 White Fields - Public Art Commission, City of Boulder • 2016 White Mirror Second Look - Ellie Caulkins Opera House, Denver • 2015 White Mirror - Bowdoin College, Maine • 2015 Rush - National College Dance Festival, Kennedy Center for Performing Arts • 2015 Rush - Yerba Buena Center for the Arts, San Francisco • 2015 White Mirror - Public Art Commission, City of Denver • 2014 Solo - Ballet Next, Joyce Theater, New York City • 2014 Hanna - Vienna State Ballet /Jugendkompanie, Vienna State Opera, Austria • 2014. Leopoldstatdt 22 - Mizel Museum, Denver • 2013 Man Made Men - Dairy Art Center, Boulder • 2012 Scarlet - Dairy Art Center, Boulder • 2011 BluePrint - Newman -
Too Hot to Handel Cincinnati Ballet's the Nutcracker Les Ballets
Too Hot to Handel November 29, 30 2003 Cincinnati Ballet's The Nutcracker December 5-14 2003 Les Ballets Africains February 27 2003 Dance Theatre of Harlem March 4-7, 2003 DETROIT Home of Michigan Opera Theatre David DiChiera, General Director DAIMLERCHRYSLER DaimlerChrysler Corporation Fund Copyright 2010,2003-04 Michigan Dance Series Opera Theatre No one can guarantee success. But knowing how to rehearse for it certainly helps. With over 250 relationship managers dedicated to one-on -one service, a full array of the latest financial products, and an emphasis on helping local businesses succeed, the Standard Federal Commercial Banking team makes sure your needs are always front and center. For more information, call 1-248-822-5402 or visit standardfede ralbank.c om . True Possibility. Standard Federal Bank ABN AMRO standardfederalbank.com ©2003 Standard Federal BankNA Copyright 2010, Michigan Opera Theatre Sur ender to Love DETROIT OPERA HOUSE . HOME OF MICHIGAN OPERA THEATRE ]B~VO 2003-2004 The Official Magazine of the Detroit Opera House BRAVO IS A MICHIGAN OPERA THEATRE PUBLICATION Winer CONTRIBUTORS Dr. David DiChiera, General Director Matthew S. Birman, Editor Laura Wyss cason Michigan Opera Theatre Staff PUBLISHER ON STAGE Live Publishing Company TOO HOT TO HANDEL. .4 Frank Cucciarre, Design and Art Direction Program ............ .5 Blink Concept &: Design, Inc. Production Artist Profiles .................. ... ...... .6 Chuck Rosenberg, Copy Editor Toby Faber, Director of Advertising Sales Rackham Symphony Choir ..... .. .............. .7 Marygrove College Chorale and Soulful Expressions Ensemble 7 Physicians' service provided by Henry Ford Medical Center. Too Hot to Handel Orchestra ... .... .... ........ 7 THE NUTCRACKER .9 Pepsi-Cola is the official soft drink and juice provider for the Detroit Opera House. -
Madeleine Onne Appointed Artistic Director of the Finnish National Ballet
Madeleine Onne appointed Artistic Director of the Finnish National Ballet Madeleine Onne has been appointed as the new Artistic Director of the Finnish National Ballet. The Board of the Finnish National Opera and Ballet made their final decision in a meeting held today, Tuesday October the 10th. The Board invited the personnel groups of the Opera and Ballet to share their views on the appointment, and their statements were unanimously positive. Onne will start her new position in August 2018. Madeleine Onne, originally from Sweden, is currently the Director of the Houston Ballet Academy in the United States. Onne has extensive knowledge and skills in both classical ballet and modern choreographies. She worked as a ballet dancer at the Royal Swedish Ballet in Stockholm from 1978 to 2002. After her career as a dancer, Onne has been the Artistic Director of both the Royal Swedish Ballet and Hong Kong Ballet, for a total of 15 years. The Artistic Director of the Finnish National Ballet is responsible for the artistic planning of the repertoire, as well as leading and developing the operations of the FNB. The Artistic Director reports to the General Director. Onne’s earlier leadership roles have provided her with extensive experience in creating and implementing strategy as well as in managing people. - Our aim was to find an individual with both an international career as a ballet dancer and experience in managing a ballet organisation. Other key requirements included a broad professional network and the ability to co-operate effectively with both internal and external contacts. Madeleine Onne combines all this, and she also has a truly charming personality, says Päivi Kärkkäinen, the General Director of the Finnish National Opera and Ballet. -
MAKS Air Show
AUGUST 08 2007 www.passportmagazine.ru MAKS Air Show Across Siberia by Train Prepare for Kremlin Zoria Military Festival Retail therapy without the pain advertising Content 4 Editor's choice Children of Terpsichore 4 Made in the USA 8 Like Russian Aristocrats 8 9 St Petersburg Feature Ivan Slavinsky 9 Peter the Great's summer residence 10 Astoria, the feel of history 12 13 Cover Story MAKS air show 13 16 Travel London through russian eyes 16 Bicester Village 18 Into Siberia 20 29 Real Estate Paradise for sale 29 Savant Re-Brand 31 Swiss kick off new chamber with real estate discussion 32 News 34 35 Business The Russian middle class 35 38 Art The 1920's and 1930's in the Soviet period of art 38 40 Hospitality News Gourmet shashlyk in "Cafe Kranzler" 40 Golden Apple Restaurant Pasta Festival 40 Swissotel Krasnye Kholmy sells events at Boutique 40 Dяgilev celebrates New Year in August 40 41 Wine & Dine Moscow's Ferrari 41 Lorenzo Strappato, Executive Chef of Bellezza 42 Recipe 43 46 Community St Catherine's: Representing American Orthodoxy in Moscow 46 Postcard from Belarus 48 The end of everything 49 Stalin's bunker – a surprise under an athletic field 50 52 Out & About Open air in Paradise 52 Moscow Oblast Governor's Show-Jumping Cup 52 Dewar's Russian Polo Cup 53 RBCC Apple Bar&Restaurant networking meeting 53 Cox hits 75 not out 54 GEOS 54 Ex-pat football 54 56 Last Word Victor Shenderovich 56 08 2007 Letter from the Publisher August is a ‘happening month’ and we have lots in this issue to tempt you to see and do things out of the ordinary. -
January 2020 Resident Choreographers
® Global Resident Choreographer Survey JANUARY 2020 Summary Dance Data Project® (DDP) has conducted an initial examination of resident choreographer positions globally within the ballet industry. DDP found that among the 116 international and U.S. ballet companies studied, a significant majority have hired men as resident choreographers. The study reveals that 37 of the 116 ballet companies surveyed globally employ resident choreographers. Twenty-eight of these 37 companies have placed exclusively men in this position (76%). DDP found that 22 of the 69 U.S. ballet companies surveyed employ resident choreographers. Sixteen of these 22 domestic companies have hired exclusively men in this position (73%). DDP also found that 15 of the 47 international ballet companies examined employ resident choreographers. Only 2 of these 15 companies have hired exclusively women (13%), although one international company employs four resident choreographers (1 woman, 3 men). © DDP 2020 Dance DATA Global Resident Project] Choreographer Survey Introduction A note about resident choreographers: The position of resident choreographer is one of the most secure opportunities for the otherwise freelance choreographer. The position offers a contract with a steady salary, the possibility of benefits, a group of dancers with whom to workshop, time, access to set, costume, lighting designers and a regular audience. Most ballet companies do not employ resident choreographers, given the expense of an additional employee and funding regular commissions. Quite often, an artistic director serves as a de facto resident choreographer, regularly creating for the company and producing new works. DDP reviewed as many prominent dance publications1 as possible and consulted several leaders of ballet companies and dance venues in the U.S. -
Eva Evdokimova (Western Germany), Atilio Labis
i THE CUBAN BALLET: ITS RATIONALE, AESTHETICS AND ARTISTIC IDENTITY AS FORMULATED BY ALICIA ALONSO A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY by Lester Tomé January, 2011 Examining Committee Members: Joellen Meglin, Advisory Chair, Dance Karen Bond, Dance Michael Klein, Music Theory Heather Levi, External Member, Anthropology ii © Copyright 2011 by Lester Tomé All Rights Reserved iii ABSTRACT In the 1940s, Alicia Alonso became the first Latin American dancer to achieve international prominence in the field of ballet, until then dominated by Europeans. Promoted by Alonso, ballet took firm roots in Cuba in the following decades, particularly after the Cuban Revolution (1959). This dissertation integrates the methods of historical research, postcolonial critique and discourse analysis to explore the performative and discursive strategies through which Alonso defined her artistic identity and the collective identity of the Cuban ballet. The present study also examines the historical context of the development of ballet in Cuba, Alonso’s rationale for the practice of ballet on the Island, and the relationship between the Cuban ballet and the European ballet. Alonso defended the legitimacy of Cuban dancers to practice ballet and, in specific, perform European classics such as Giselle and Swan Lake. She opposed the notion that ballet was the exclusive patrimony of Europeans. She also insisted that the cultivation of this dance form on the Island was not an act of cultural colonialism. In her view, the development of ballet in Cuba consisted, instead, of an exploration of a distinctive Cuban voice within this dance form, a reformulation of a European legacy from a postcolonial perspective. -
Summer Guest Faculty 2021
Summer Guest Faculty 2021 JARED REDICK Interim Dean of Dance, University of North Carolina School of the Arts Interim Dean of Dance Jared Redick began his ballet training with his mother Julia Cziller Redick in Reston, Virginia. He is a graduate of the high school ballet program at University of North Carolina School of the Arts (UNCSA), where he studied with founding Dean of Dance Robert Lindgren. Redick went on to train at Mikhail Baryshnikov’s School of Classical Ballet (ABT) and at the School of American Ballet. His performance career launched with the San Francisco Ballet, followed by dancing as a soloist with the Miami City Ballet, the Suzanne Farrell Ballet and Boston Ballet. In Boston, he danced a diverse repertoire including principal roles in works by Petipa, Cranko, Balanchine, Elo, Kylian, Forsyth, Tudor, Ashton, and Tharp. Following his retirement from the stage in 2009, Mr. Redick continued his work with the Boston Ballet as Principal of their South Shore Studio in Norwell, Massachusetts. As a dance educator, he took his expertise nationally and internationally to institutions including the Royal Danish Ballet School, Tivoli Ballet Theatre, Houston Ballet School, Orlando Ballet School, Nashville Ballet School, Charlotte Ballet, and Yale University. He served as guest ballet master with the Finnish National Ballet, Houston Ballet, Nashville Ballet and Cincinnati Ballet. Mr. Redick is a recipient of the National Foundation for Advancement in the Arts for Exceptional Artistic Achievement, and in 2012 was appointed Associate Fellow of Pierson College at Yale University. Since 2013, he has been a judge and master teacher for the Youth America Grand Prix (YAGP). -
Kirov Academy of Washington D.C
V.1.01 W A S H I N G T O N, D. C. KIROV ACADEMY OF WASHINGTON D.C. “Creating a World of Beauty through Heavenly Art” 2 3 [ Our Vision ] CONTENTS The Kirov Academy is dedicated to artistic and academic excellence and to the investment of a moral education in our 2 Table of Contents students. Founded on universal principles of love, respect, 3 Our Vision and service, The Kirov Academy believes in the importance of the arts and culture in creating a world of beauty and 4 Founders effectuating positive change. 5 Advisory Board 6 History of Kirov Academy 8 Ballet Curriculum Our mission is to inspire students to excel by drawing on the exceptional traditions of the past, and by applying their own 12 Music Curriculum unique talents to become the best they can be. 16 Academy Curriculum 18 Student Life 20 Summer Program 22 Admissions 23 Scholarships 24 Awards 26 Alumni 4 5 [ Founders ] CREATING A WORLD OF BEAUTY THROUGH HEAVENLY ART Sergei Dorensky Sergei Dorensky is known as one of the most outstanding pianists and teachers of the former Soviet Union. Sergei Dorensky has been awarded numerous international prizes over the years and eventually went on to develop his career outside the Soviet Union. Sergei Dorensky was also named “People’s Artist of Russia” in 1989 and received the Order for Merit to the Fatherland in 2008. The vision of the Founders of the Academy, the late Rev. Dr. Sun Myung Moon and Dr. Hak Ja Gary Graffman Han Moon, can be understood in the calligraphy. -
The International Dance School Directors' Committee to Standardise
The International Dance School Directors’ Committee to Standardise Audition Procedures (“C-SAP”) Over twenty international ballet companies alongside professional ballet schools endorse guidelines for pre- selection for auditions. INTERNATIONAL - The International Dance School Directors’ Committee to Standardise Audition Procedures (“C- SAP”) is excited to announce the creation of a standard set of guidelines for pre-selection for auditions. In response to concerns over varied and conflicting audition requirements being requested of graduating students, Artistic Directors of a number of professional dance schools sought to explore the possibility of creating a standard set of guidelines for pre-selection for auditions. With this goal in mind, they created C-SAP. In consultation with companies, this committee created guidelines to address the needs of students and companies. These guidelines, now known as the International Audition Pre-Selection Guidelines or IAP Guidelines, have been endorsed by over twenty international professional ballet companies, as well as a growing number of professional ballet schools. Organisations endorsing the IAP Guidelines agree to use them for their pre-selection process and to publish them on their websites. The IAP Guidelines stipulate the following for an audition: video, CV, headshot and dance photos. The video content is defined and includes restrictions on technical editing, length of various parts of the video, footwear, and attire. The guidelines also set out the order in which the various parts of the video are to appear. By standardising the contents of an application for pre-selection for an audition, the graduating student is able to make one video that will serve for all applications to endorsing companies and professional schools post- graduation programs.