Sydney Recital Hall
April 13, 2013

By Elizabeth Ashley.

Combining the Moscow Novaya Opera Company and orchestra with four soloists from the Imperial Russian Ballet, Operamania was devised by former stage director of Novaya Opera, Valery Raku. It offers “a kaleidoscope of many of…the most loved pieces from opera, ballet and symphonic music and reflects their depth and diversity.” The pieces flow without pause from one into the next, incorporating a variety of moods – from tragedy to comedy to lyricism.

The crowd in the Angel Place Recital Hall is decidedly Russian and decidedly enthusiastic. From the opening selections from Bizet’s Carmen, one cannot help but be drawn into the spectacle – the voices are powerful and impressive, the accompanying video series of paintings from diverse Russian artists provides a colourful and ever-changing backdrop.

As with any compilation it’s no easy task to create context. An audience invariably searches for a story. The stage director, Alexey Veiro, explains the creative process of attempting to create story lines out of seemingly incompatible components. “At rehearsals we were able to find a variety of musical numbers and their relationships with some new meanings. We managed to build a performance in which the numbers are related one to the other, and each character is interacting with others.”

Thus we flow from Carmen to a piano medley of Chopin, Liszt and Rachmaninov accompanied by a lyrical pas de deux in the style of Les Sylphides. Yaroslava Arapanova and Alexander Volkov are leading soloists of the Imperial Russian Ballet and, as with all the dance layered within Operamania, their technique and lyrical quality is outstanding. It is not an easy feat to perform on a small slab of stage in front of a full orchestra where the cellists are perilously close to the pointe shoes. It is even more difficult to create context out of nothing, but these dancers know how to create a moment.

Three pas de deux from Tchaikovsky’s Nutcracker Suite work well in the Operamania context, as they are taken from a ballet divertissement within the ballet, which is not related to the main action. The “Spanish Dance” and Russian “Trepak” folk dance are both perfect vehicles to demonstrate the virtuosity and passion of Anna Pashkova and Igor Davydov.

Part II of the programme opens with music from 19^th century French composer Camille Saint-Saëns and choreographer Mikhail Fokine’s Dying Swan, created for Anna Pavlova in 1905. The exquisite Arapanova portrays this solo – an intense and moving two and a half minutes that evokes the fragility and pain of a dying bird. A further highlight from Part II is the Sleeping Beauty grand adage pas de deux, danced to the tragic strains of oboes in Tchaikovsky’s score, where we are again mesmerised by the lyrical Russian dancers.

Despite the interaction and variety I was nevertheless left with an overriding sense of the comic, which clashed with the pathos of arias such as Nessun Dorma – umbrellas bedecked with gold stars twirling around a tragic soul was just a little too much for my sensibility.

As the show draws to a close with a Strauss Polka, the audience rises to their feet clapping under the conductor’s direction. It has been an evening of high drama, brilliant dancing and Russian style.

By Rebecca Martin.

The Imperial Russian Ballet’s lead dancers will be returning to Australia in April as part of OperaMania – a fusion of ballet and opera. OperaMania features ten singers from Moscow Novaya Opera, a 44 piece symphony orchestra and four Imperial Russian Ballet soloists.

Ballerina Yaraslova Araptanova trained at the Perm Ballet School in Russia before joining the Perm Opera and Ballet Theatre firstly as a soloist for nine years, then as a lead soloist. She was then invited to work in the Imperial Russian Ballet as a lead dancer alongside her husband Alexander Volkov. They have both enjoyed great success with Australian audiences on more than one occasion and look forward to returning to our shores with OperaMania, where they will perform two adagios from Tchaikovsky’s The Sleeping Beauty and Nutcracker. Yaroslava will also dance the legendary Dying Swan by Saint-Saens.

This will be Yaroslava’s third tour to Australia, but on this trip she is hoping to find time to visit one of our wildlife parks and to meet with the Australian public. In anticipation of their tour, Yaraslova and Alexander spoke to Dance Informa from Moscow…

Yaroslava Araptanova performing in ‘Swan Lake’ with The Imperial Russian Ballet.

What has been your favourite role to dance so far?

Yaraslova
I love all of my roles. It’s just that some are performed more often. I dance almost the entire classical repertoire. I really like performances where the drama is brighter and where throughout the performance the character of my role develops.

Alexander
I really like the role of the Poet in the one-act ballet by George Balanchine, La Sonnambula, directed by Bart Cook and Maria Caligari from the world famous New York City Ballet. The music is by Vittorio Rieti and uses themes from various operas of Bellini. In the duet Balanchine shows a psychological relationship between the Poet and La Sonnambula (the sleepwalker). It ends sadly when the Poet is stabbed, but the audience is much more struck by how the fragile singer La Sonnambula is able to raise the Poet from the floor and hold him in her arms.

From the classical repertoire, I especially like the role of Prince Siegfried in Swan Lake and the brilliant work for the character of Carabosse in The Sleeping Beauty. Of character dances I enjoy the Spanish roles, such as Basil in Don Quixote.

What role would you most like to dance and in which theatre?

Yaraslova
That would be Giselle. My dream is to perform the entire ballet. I have danced fragments and single acts, but I have not done the whole ballet. I look forward to any new role. It is always a great gift. With a new role there is the birth of a new character who uncovers something new in me – it’s hard to compare it with anything.

Alexander
In the course of my work my dream has been to teach. I have a huge repertoire and I bow to the entire group of my brilliant, great teachers. I could speak about each of them without end. I have studied in Japan and in America. I want to pass on the experience I have gained as I have something to share.

Yaroslava Araptanova performs in ‘Swan Lake.’

What is the hardest thing about being a dancer?

Yaraslova
I think it is the discipline – every day maintaining your diet, the work regime and rest. On tour every day we have make-up, costumes, performances and travel, and all by the clock.

What is the best part?

Yaraslova
That would be the gratitude of the audience. It’s a good performance when the viewers are pleased and you understand that your labour is in demand. Flowers and creative fulfillment!

How do you spend your time when not dancing?

Yaraslova
On the road, when there’s free time, I try to see the country and get to know new culture, monuments and museums. At home, my baby Yaroslav is my most important treasure. I study arts part-time at a university, specifically how to run a ballet troupe. In the future, I want to teach. I have a lot to share but I need a degree and am working on it now. And both at work and in leisure, I spend time with my husband of the past nine years.

Have you danced in any other opera productions before?

Yaraslova
In operas there are dance segments. Many operas include ballet scenes. There are always a lot of people with the choir and soloists, so you have to be very careful not to get lost on stage and avoid crashing into the crowd. If a ballet is inserted into an opera to add meaning, they adorn the action. In some operas ballet divertissements can be seen. In previous centuries, this tradition was extensive.

Participating in the Perm Opera and Ballet Theatre production of The Seven Deadly Sins by Kurt Weill and Bertolt Brecht with director Radu Poklitaru was an extraordinary experience. We were on the stage with opera singers who did the dance moves. I not only danced, but also recited phrases. He presented sounds and movements in a modern style. In the Imperial Russian Ballet we do a ballet cantata Carmina Burana by Carl Orff, staged by Mai Murdmaa.

See OperaMania in Adelaide, Perth, Sydney, Newcastle, Melbourne, Canberra or Brisbane. Visit www.operamania.com.au for more information and tickets.

Interview translation by Tatiana Cherkasskaya.

Photo (top): Yaroslava Araptanova. Photo by Nadya Pyastolova. Photos courtesy of Emma Collison Publicity.

Capitol Theatre, Sydney
January 29 2012

By Kristy Johnson.

The 29th of January saw the triumphant return of the Paris Opera Ballet to the Capitol Theatre in Sydney for the first time since its Australian debut in 2007. The legendary ballet company lived up to its reputation in the production of Giselle.

Founded in 1661, the Paris Opera Ballet holds an unbroken tradition of showcasing brilliant performances, producing what you would call ‘perfect dancers’ and exceptional choreographers. Quite arguably the best in the business, they provide a benchmark for ballet viewing.

Giselle, the quintessential romantic ballet, tells the tale of an innocent country girl. When betrayed by her lover, the girl dies and joins other ladies similarly deceived in a spirit world where she is able to save her lover’s life through her love for him.

Set to a score by the Sydney Lyric Orchestra, the production remained close to its traditional values in set design, costumes and the ambience of the evening. Every audience member was on their feet to sing the Australian and French national anthems, prior to the opening scene.

The first scene opened to a leafy autumnal glade, providing a sense of warmth and homeliness that was quite inviting. As the tale unfolded, we saw the second half delve into the spirit world amongst a dark set and ghost-like dancers.

Professional ballet dancers are known to make the most difficult of movements appear effortless, and there was nothing you could fault in the dancing of the Paris Opera. Soloists were right on the mark with incredible elevation, execution and technique. There were often gasps from the crowd at the expertise shown by the dancers.

It seems impossible to think of anything negative or critical of the performance. In fact, I can’t even pinpoint one aspect. It was simply breathtaking, and ballet at its best.

Queensland Ballet’s Artistic Director Li Cunxin has announced two exciting additions to the company in 2013. Matthew Lawrence, former Principal at the Birmingham Royal Ballet, will join the Company as Principal Dancer, and Huang Jun Shuang, former Principal at the Houston Ballet, will join the company as Guest International Principal for eight months.

Mr Cunxin is delighted to share this news with audiences. “Both Matthew and Huang are extremely talented dancers. It is a real coup for the company to attract two international stars of such high calibre to Queensland Ballet, and will only strengthen our standard. We’re very excited that Matthew and Huang will be joining Queensland Ballet’s family.”

Matthew Lawrence dances as Albrecht in ‘Giselle’. Photo by Andy Ross

Huang’s position as Guest International Principal is the beginning of a new international guest artist program, funded by the Jani Haenke Charitable Trust.

“We are enormously grateful to the Jani Haenke Charitable Trust for their generous funding of this exciting venture. This new program will bring incredible versatility to the company and to our audiences. Jani’s passion and support of the arts was phenomenal, and the funding of this program builds upon her legacy to provide meaningful support to arts organisations and many other worthy causes,” said Mr Li.

Janice Helen (Jani) Haenke (1940–2009) grew up in Ipswich, Queensland. Jani trained as a librarian and worked at various institutions in Australia and the United Kingdom. Jani devoted herself to patronage of the arts and architecture, and to campaigning on environmental issues. The Jani Haenke Charitable Trust was established to support organisations that provide spiritual care, conservation and preservation of the environment, arts and cultural organisations and overseas aid.

Mr Cunxin is full of admiration for Matthew Lawrence. “Matthew has exceptionally strong classical technique, is a fabulous partner and has great experience in diverse classical and contemporary repertoire. Not only will he bring maturity, experience and strengthen the standard of male dancers in the company, he will be an inspiration and mentor to our younger dancers. Matthew also makes a very handsome prince!”

Born in New Zealand, Matthew Lawrence trained at the Australian Ballet School in Melbourne. After graduating, he joined The Australian Ballet and in 2003 Matthew was the inaugural winner of the Telstra People’s Choice Award, and went on to become a Principal artist at the company. Matthew was nominated for two Green Room Awards for Best Male Dancer. In 2008 Matthew joined Birmingham Royal Ballet as a Principal dancer.

The breadth of roles he has performed has proved him a hugely versatile artist. Matthew’s repertoire includes leading roles in Romeo and Juliet, Giselle, Cinderella, The Nutcracker, Swan Lake, Don Quixote, The Sleeping Beauty and many other classical and contemporary works by renowned choreographers. Matthew’s talents are equally sought after as a guest artist, dancing at the World Ballet Festival in Japan with the Royal New Zealand Ballet, and at the Cranko Festival in Stuttgart.

Huang Jun Shuang will perform with Queensland Ballet until the end of the Elegance season (2 – 4 August, 2013). “Huang is one of the most exciting emerging international stars. He is technically brilliant and has won many awards. The company can only benefit from having such a stand-out dancer on the international stage join the company,” comments Mr Cunxin.

Jun Shuang Huang trained for seven years and was an honour student at the Shanghai Dance School in China. In 2007 Huang joined the Guangzhou Ballet Theatre as a Principal dancer before joining Houston Ballet as a Principal dancer in 2010. Huang was a junior third winner of the 2005 Asia-Pacific Ballet Competition, a Junior Silver winner in the Taoli Cup Dance Competition (China’s top dance competition) in 2006, a Bounty Award winner at the Varna International Ballet Competition in 2008, and a Gold Medal winner in the senior division at the Helsinki International Ballet Competition in Helsinki, Finland in 2009.

Haung’s repertoire includes principal roles in Swan Lake, La Bayadère, La Sylphide, Coppélia, Le Corsaire and Don Quixote. Huang has also toured the United States and Switzerland as a guest artist.

For information about Queensland Ballet’s 2013 season visit www.queenslandballet.com.au

Top photo: Dancer Huang Jun Shuang

By Rain Francis.

Earlier last year, Ballet Theatre of Queensland took an exciting new turn. The state’s leading youth ballet company appointed not one but two new Artistic Directors, Timothy Brown and Libby McDonnell.

The passionate young leaders have been close friends and collaborators for many years. Between them they have a wealth of experience, as both performers and creators. This, combined with their youthful exuberance and vision, made them a perfect fit for the company, which has produced some of Australia’s most renowned and acclaimed dancers.

After auditioning and assembling a new cast, Timothy and Libby’s first project has been to create a brand new ballet, from one of the world’s most beloved stories. Every Sunday since May 2012, this passionate pair has been working with some of Australia’s most talented and dedicated young dancers, rehearsing this exciting new ballet. Peter Pan will launch at the Playhouse, QPAC this January.

Timothy Brown and Libby McDonnell with senior BTQ cast members

When creating Peter Pan, did you start from scratch or work with an existing show?

The ballet plot is based on the original Peter Pan story written by J.M Barrie. However, the interpretation of the story (we have a few new twists), how it is told choreographically and how it looks and feels visually is our own, new work. We have carefully selected our music from many sources and created a never before heard compilation for BTQ’s Peter Pan.

With such a wonderful story to work from, I’m sure there have been some fun moments during creation. Can you tell us a funny story from rehearsals?

During our intensive rehearsal week in the September school holidays, each day the dancers had a dress up in a fun theme. One of our dancers (on crazy hat/hair day) concealed a water bottle in her hair. It was the tallest beehive we have ever seen. She managed to wear it the entire day – it was an impressive effort.

Other great moments are rehearsing the sword fight scenes with our two guest artists Boris Bivona and D’Arcy Brasier – watching these two fight it out with our special rehearsal swords (made from foam) is pretty conducive to a belly laugh or two.

Our ‘Lost Boys’, some of our junior dancers, are a constant source of humour in the rehearsal studio…The list is really endless!

What can audiences expect from this production of Peter Pan?

Queensland’s most talented young dancers performing a two act story book ballet. Stunning new costumes, on a gorgeous new set design. There will of course be imaginative choreography and many fabulous characters to fall in love with. It will be sprinkled with moments of beauty, laughter and adventure. Audiences will see our talented young company – through the magic of ballet – bring the story of Peter Pan to life. And you might just see a few fairies if you’re lucky!

Peter Pan takes place from January 23 to 25, at the Playhouse, Queensland Performing Arts Centre. For tickets visit www.qpac.com.au or call 136 246.

Photo: Timothy Brown and Libby McDonnell with senior BTQ cast members.

By Rain Francis.

The West Australian Ballet recently announced a new Artistic Director, the Belgian dancer/ ballet master/ director, Aurelien Scannella. Current AD Ivan Cavallari, who has held the post since 2007, will officially hand over the reins in January as he begins directing Ballet du Rhin in France.

Scannella acknowledges the contribution made by his predecessor, noting that the company has undergone a “real revolution/evolution” under Cavallari and General Manager Steven Roth. “My biggest challenge,” Scannella says, “will be to keep on developing that positive growth.”

WAB Chair John Langoulant called Scannella a “clear choice” for the role, and it’s easy to see why – if this list of company affiliations is anything to go by. Scannella has worked with Ballet Preljocaj, Scapino Ballet, National Ballet of Portugal, Dutch National Ballet, Ballet d’ Europe, Béjart Ballet Lausanne, Bordeaux Opera Ballet, Lyon Opera Ballet, Finnish National Ballet, Royal Swedish Ballet, Hong Kong Ballet, National Ballet of Estonia and National Ballet of Prague.

In fact, Australia is one of the few places where he has never either danced or worked as a freelance ballet master. It is something he is excited about, having met lots of Australian dancers and choreographers around the world over the course of his career and having made “many Australian friends.”

“I really look forward to being back in Perth and to start working with the company in our fabulous brand new Ballet Center in Maylands,” Scannella adds.

To direct “an artistically diverse company such as the West Australian Ballet” has long been one of his career goals. Born in Mons, Belgium, in 1974, Scannella studied at the Royal Ballet School of Antwerp. At 18 he was accepted into the Royal Ballet of Flanders, before winning a soloist contract with the Ballet of the Deutsche Oper am Rhein in Dusseldorf, three years later. He spent the next 13 years as an international freelance artist before retiring from the stage in 2008 to become a sought-after ballet master.

And now, his vision for the WAB includes four major points: to continue to present full-length story ballets, to tour internationally, to have a maximum of new works created for the company and to promote Australian and international choreographers.

WA Ballet performed ‘Neon Lights’ in October at Sydney Theatre to celebrate the company’s 60th anniversary.

To have one of the country’s top posts held by a non-choreographer is good news for our wealth of choreographic talent. “I want to make Perth a place of creation,” explains Scannella. “Many different Australian and international choreographers will be commissioned to create full-length and short pieces for West Australian Ballet.”

And it’s not just new creations that he’ll be bringing to the table. Although he says that full-length story ballets will remain a large share of the company’s repertoire, Scannella plans to bring in works by international masters such as Nacho Duato, William Forsythe, David Dawson, Heinz Spoerli and Angelin Preljocaj. “Those amazing choreographers never came to Perth and I want the dancers to get the chance and opportunity to work with them,” he says.

While audiences can look forward to such exciting new imports from 2014, Scannella’s first project as Artistic Director will be to deliver the 2013 seasons, curated by Cavallari. The first will be a triple bill, including works by Glen Tetley, Daniel Roberts and Cass Mortimer Eipper.

“Basically, I am taking over a company which is already running very well,” says Scannella. “[Cavallari] brought fantastic ballets to Perth, such as Onegin, La Sylphide and Voluntaries.”

So how will the significant work of the departing Italian director be built upon? Scannella believes that our country can afford to have three “big and beautiful” national ballet companies. “I love the idea that Australia would give the same chances to the three neo-classical companies of the country – The Australian Ballet, Queensland Ballet and the West Australian Ballet,” he explains. “The same chances to each artist, each director and each public, no matter where they live.”

One thing is for sure, WAB is about to head in an exciting new direction. At just 38, but with diverse experience, Scannella brings to the company a vibrant youthfulness and a sense of possibility; a fitting attitude for his new home, which he calls “a young and dynamic city”.

“Perthʼs public is very loyal and supports its ballet company the best they can,” Scannella continues. “I need some time to get to know the city and the people, but I already have a very positive feeling!”

Photo: Aurelien Scannella, courtesy of WA Ballet

By Rain Francis.

In the Australian Ballet’s 50^th year Dance Informa is celebrating the company by highlighting three of the Ballet’s Principal Dancers each edition. This edition Dance Informa spoke with Leanne Stojmenov, Yosvani Ramos and Lucinda Dunn.

To catch up on last edition’s interviews with Rachel Rawlins, Kevin Jackson and Amber Scott click here.

Leanne Stojmenov

Playing one of the seven dwarfs in her first ever ballet concert in Perth, four-year-old Leanne ran to the middle of the stage and shushed the audience, in preparation for her fellow dwarves’ performance. Now, having been in The Australian Ballet for over a decade, she has become one of Australia’s best loved ballerinas.

Australian Ballet Principal Dancer Leanne Stojmenov. Photo by James Braund

When did you become a Principal Artist and what was your first role?

I was promoted to Principal Artist in 2011, and my first role as Principal was the third movement of MacMillan’s Concerto. It was a very athletic and challenging role.

What has been a highlight of your career so far?

Dancing my first principal role, ‘Kitri’ in Don Quixote, alongside my fiancé Marc Cassidy.

What role is high on your wish list?

Giselle!

What is something that most people don’t know about the life of a dancer?

When dancing the lead role in a full length ballet I can go through two pairs of pointe shoes. I am forever sewing new shoes.

When you are not dancing, what would you prefer to be doing?

Sitting on the shores of Lake Wanaka, NZ, with a thermos of coffee and a beautiful sunset.

If you weren’t a dancer, what would you be?

A vet. I love animals. My cat is my therapy.

Do you have a favourite TV series or book?

My favourite TV series is Mad Men. A book that I often read is The Inner Athlete. My ballet teacher recommended I read it when I was training.

Who is your favourite choreographer?

That is such a hard question. There are so many incredible choreographers past and present and we are so lucky at The Australian Ballet to have such a wide repertoire to give us a taste of everything. If I had to choose one, it would be Sir Kenneth MacMillan.

What is the most challenging thing about your job?

Missing my family.

What advice can you give to budding dancers?

Don’t be scared to be yourself. Being yourself is what you have to offer.

What do you love most about your job?

Performing really is wonderful. It is such a personal experience but at the same time you are performing to so many people.

Yosvani Ramos

Born in Camagüey, Cuba, Yosvani joined The Australian Ballet in 2008 as a Principal Artist, after spending nine years in London with English National Ballet.

Australian Ballet Principal Dancer Yosvani Ramos. Photo by James Braund

What’s your first memory of dance?

My first memory of dance is seeing the Cuban prima ballerina Alicia Alonso on TV doing the Black Swan fouettés. I thought it was the most amazing thing I’d ever seen.

What was your first role as Principal?

Franz in Coppelia in 1999, with the English National Ballet. I was 20 years old.

What has been a highlight of your career so far?

Creating the role of ‘Kay’ in English National Ballet’s The Snow Queen. It’s not every day that you get the chance to create a role in a brand new, full-length classical ballet. We rehearsed for six months and it was great to work so closely with the choreographer.

Which character in a ballet do you most associate with and why?

‘Romeo’ in Romeo & Juliet. He is a lot like me; a hopeless romantic. I feel very comfortable in that role.

Which roles are high on your wish list?

‘Lenski’ in Onegin and ‘Colas’ in La Fille Mal Gardée.

What is something that most people don’t know about the life of a dancer?

That is not at all like in the movie Black Swan. We are normal people and we love doing normal things.

Principal Dancers Leanne Stojmenov and Yosvani Ramos in The Australian Ballet’s ‘Coppelia’. Photo by Branco Gaica

When you are not dancing what would you prefer to be doing?

Spending time at home watching DVDs, or travelling around the world.

Do you have a favourite book? Movie? TV series? Band?

My favourite book is The Secret, movie is Pretty Woman and TV series is Grey’s Anatomy. In terms of music, I’m more into solo artists rather than bands.

Who is your favourite choreographer?

Sir Kenneth MacMillan.

What is the most challenging thing about your job?

Working hard and pushing myself every day, but at the same time staying healthy and injury-free.

Do you have a quote or affirmation that helps you through?

Tomorrow will be a better day.

What advice can you give to budding dancers?

Enjoy yourself and make the most of everything. After all it is quite a short career, so make every second count.

What do you love most about your job?

Being in front of thousands of people and becoming someone else for a few hours. Also that amazing feeling you get when you feel you are in complete control of your body while dancing.

Lucinda Dunn

Surprisingly, one of Australia’s most loved ballerinas has never danced the roles of Odette/Odile, despite having been in many performances of Swan Lake. However, after a 21-year career with The Australian Ballet, Lucinda has too many highlights to list.

Australian Ballet Principal Dancer Lucinda Dunn. Photo by James Braund.

Describe your journey with The Australian Ballet so far.

I joined The Australian Ballet 21 years ago in July 1991. I became a Senior Artist in 1995 and a Principal Artist in 2002. I was promoted to Principal in September 2001, to take effect in the new year, but after that announcement Robert Curran and I were dancing Giselle together. We had a wonderful partnership from then on. My first role in the 2002 season was Beyond Forty, in which I danced Suite en Blanc and the Act IV pas de deux from Swan Lake.

When you are not dancing, what would you prefer to be doing?

Spending time at the playground with my two young daughters.

Which character in a ballet do you most associate with and why?

Sleeping Beauty. With two young children, some days I’d like to sleep for 100 years! And doesn’t everyone want to be a princess?

What’s your first memory of dance?

Running across the stage in a turquoise tutu as a ‘baby wave’ when I was four.

What is something that most people don’t know about the life of a dancer?

When it’s good, it’s good. When it’s bad, it’s bad.

If you weren’t a dancer, what would you be?

I haven’t worked that out yet!

Lucinda Dunn and Paul Knobloch in The Australian Ballet’s ‘Nutcracker’. Photo by Branco Gaica.

Do you have a favourite book? Movie? TV series? Band?

Book: Love, Wisdom, Motherhood by Jessica Rowe

Movie: Tinkerbell at the moment!

TV: 24

Band: Gypsy Kings

Who are your favourite choreographers?

Marius Petipa, George Balanchine and Christopher Wheeldon.

What is the most challenging thing about your job?

Being injured and not dancing. Also, the concentration and energy needed every minute.

Do you have a quote that means a lot to you?

The more sweat shed in practice, the less blood shed in battle.

What advice can you give to budding dancers?

Try to improve yourself daily.

What do you love most about your job?

Self-satisfaction as the curtain comes down.

Top photo: Dancers Leanne Stojmenov and Yosvani Ramos in The Australian Ballet’s Coppelia. ©Branco Gaica

By Grace Edwards.

Partnering with The Australian Ballet and The Australian Ballet School, Channel Ten will launch the premiere of its new children’s series, Once Upon A Dream, on October 16^th, which will air Tuesdays and Wednesdays at 4pm. Over six episodes, the documentary-style series reveals what it takes to be a part of our national ballet company, taking viewers behind the scenes of The Australian Ballet’s production of Swan Lake. In anticipation of the series’ launch, Dance Informa’s Grace Edwards spoke to Australian Ballet soloist, Rudy Hawkes, who features extensively in the series, about what it takes to become a dancer.

Can you take us through your first memory of dance? What happened and what it was like?

It was my mum’s idea – she had always had a passion for ballet and asked if I wanted to go along. I had no idea what I was in for, so my first memory was me jumping around a class full of girls and getting really tired. I remember really enjoying it and wanting to do more, which I think took my mum a bit by surprise! It was a good surprise though, because I was a really hyperactive kid and she wanted something to tire me out.

When did you make the transition mentally from dancing for fun and deciding this was the career for you?

I was fairly into it when I moved to Melbourne to attend the Australian Ballet School. It was probably about half way through my first year of ballet school that I decided I wanted to make dance my career – watching the men of the Australian Ballet Company and seeing what they were doing every day for a job and getting paid for it inspired me. They were all fantastic dancers and I thought, “Yeah, that’s what I want to do, that’s where I want my dancing to take me.”

Australian Ballet Soloist Rudy Hawkes. Photo by James Braund

Growing up, was there ever a time when you thought, ‘Can I do this? Is this the right career for me?’

Yes definitely, there was always doubt, but I definitely wasn’t one to think, “Oh, am I going to be a doctor or am I going to be a dancer?” I was never that good at school or focusing my attention to books, so it was either I really try hard at dancing or knuckle down and do school work properly. I decided to knuckle down and become the best dancer that I could, so there was never really doubt about that, I suppose.

In Once Upon A Dream we get to go behind the scenes of the Australian Ballet, witness the dedication of the dancers and the team that supports them. Who are the unsung heroes of the ballet, in your opinion?

Our coaching staff and dancing staff put so many hours into making everything look right and they don’t always get the mention that I think they deserve. There are so many unsung heroes – once you get to the theatre, it’s the backstage crew that make things come alive, and wardrobe too. That’s why I think Once Upon A Dream will be interesting because it doesn’t just show the ballet dancers in costume, it shows everything else too, like the medical team who look after us if we get injured, and the choreographers. I think it will be a good insight into our little world.

What is the most challenging aspect of life as a professional dancer that you think audiences often don’t see?

It’s all pretty challenging – rehearsing every day, and even class! We always do ballet class in the morning just to keep moving and keep our technique strong. I was struggling a bit today. Things that you can do one day, the next day make you feel completely silly or uncoordinated, for instance, realising you can’t turn more than three times because you’re falling over yourself. It’s an on-going battle to keep your body doing what you want it to do and training it so that when you’re on stage it comes naturally. At the end of the day, the goal is to make everything look effortless. The audience might not realise how hard some of this stuff really is.

What do you love most about life as a performer?

Performing! You get a chance to transport the audience into a new world, help them escape the daily grind, go somewhere else and hopefully enjoy themselves. In doing that, I also get to escape by becoming a different character and to feel free whilst dancing. You feel alone in your own world even though there are many people watching you.

We look forward to seeing you on our screens Rudy. No doubt there will be a lot more people watching you soon!

Top photo: Rudy Hawkes performs in The Australian Ballet’s Nutcracker. Photo by Jess Busby 2010.

Arts Centre Melbourne, State Theatre
September 19 2012

By Tamara Searle.

‘The most we can ask of any revival is that it not embarrass history too much’
Arlene Croce. Critic from The Past is Prologue.

The Australian Ballet presents the premiere of a version of Swan Lake by resident choreographer Stephen Baynes. It takes a certain combination of maturity and creative vision to choreograph a version of the hyperbole that is Swan Lake. Over decades we have witnessed Baynes’ creative vision in his new works for the Australian Ballet. Baynes has created masterpieces of symbolism with dazzling, daring do, swooping twists and languid bodies tying in knots that then unravel. He is an expert at choreographing from the score. We hear new things in the music watching Baynes’ interpretation of classical scores. Taking on Tchaikovsky seems like it would be possible for few other than Baynes, and it’s not his first full length creation on The Australian Ballet, so he has maturity as a choreographer.  Nevertheless, this production of Swan Lake lacked the audacity necessary to reinvent a classic for a contemporary context.

In the program notes Baynes states that it was his intention to create a new version of a traditional production of Swan Lake that would offer an alternative in the repertoire to The Australian Ballet’s Graeme Murphy production. Leaving aside the fact that to create a new version that is a traditional production is oxymoronic, Baynes states there was no question that the Act 2 choreography should remain as the original Marius Petipa work. And yet, he does not go on to say why some choreography should remain the same and not other sections. Certainly the Petipa choreography is iconic; the first entrance of the white swan is inscribed in ballet goers’ imaginations, audiences love the sublime order of the corps de ballet in Act 2, the great exultation of the Act 2 pas de deux, the virtuosity of the Act 3 pas de deux, and the tragic conclusion of great romantic love in Act 4. But why bother remaking any of it, if not all of it?

It is the court scenes of Act 1 and 3 in which Baynes has sought his most substantial revisions and created new choreography. Here Baynes’ trademark lyricism injected into the court scenes doesn’t allow a juxtaposition between the dispassion of the court and the lyricism of the swans. The traditional choreography mostly sits awkwardly with Baynes’ revisions, neither illuminating the other, but making both uncomfortable bedfellows. The fourth act provided glimpses of what might have taken flight had a greater risk been taken. In Act 4 Baynes choreographed the swans at length, rarely referring to the Petipa choreography. Here in the yearning of the swans against the will of von Rothbart we saw Baynes begin to transcend previous productions.

Briefly the traditional story is that of a woman, Odette, who has a spell cast on her by the villain von Rothbart, to remain a swan unless someone vows to marry her for her. Siegfried falls in love with the swan woman Odette, but is deceived into declaring his love for another, von Rothbart’s daughter Odile, so Odette is condemned to life as a swan, or death.

Baynes’ Swan Lake opens (sadly without an overture; the discarding of a convention that provides for the audience a bridge to the other world) with the Prince having a memory of unhappiness in childhood over the death of his father.  This production attempts narratives of psychological realism for the characters of the Prince and his Mother. The unhappy fate of Prince Siegfried remains a theme across the ballet. Baynes returns to Siegfried’s fate, rather than Odette’s fate, as a central narrative thread. In Baynes’ production, von Rothbart’s entrance with Odile is re-imagined as the entrance into the court of a gang of gothic new romantics, ready to seduce and deceive the Prince into declaring his love for one other than Odette. Baynes has shifted the divertissement Spanish dancers in Act 3 to become gypsies in Von Rothbart’s company.  In a somewhat strange addition the Queen is also seduced by exotics from von Rothbart’s consort. But when von Rothbart mimes playing the violin as part of the mechanisms of seduction, the action becomes comic. If the love story and tragedy of Siegfried and Odette is to be felt by the audience, it requires a real villain, not a parody. And so these narrative turns run into trouble. Siegfried, Odette and Odile, and the Queen are epic heroes, and Swan Lake is an archetypal fairytale, a myth which lives in symbolism, not in the domain of realism. Attempts to infuse it with realism only reveal the insubstantiality of the story.

The performances by The Australian Ballet dancers on the evening of the 19^th of September proved their technique.  Notable dancers were Lisa Bolte as the Queen Mother and Chengwo Guo as Benno, who both interpreted their roles with artistry and intelligence.

This production of Swan Lake by The Australian Ballet is a re-staging rather than a display of new choreography, a remix rather than a reinvention. Of course there is no one true Swan Lake possible, there are only ever versions. This version attempts to find new narratives within the fairytale, without enough interrogation of their thought line. The residual question is what prompted Baynes to work with the material of Swan Lake, leaving so many sequences untouched, cobbling together an unfulfilled patchwork, when he could be creating entirely original masterpieces? Of course the box office generated by presenting a traditional Swan Lake, over a new work, is a likely consideration.

Photo: The Australian Ballet’s Ty King-Wall and Amber Scott in Swan Lake. Photo by Georges Antoni

In the Australian Ballet’s 50^th year Dance Informa is celebrating the company by highlighting three of the Ballet’s Principal Dancers each edition. Learn a little more about Australia’s 12 leading ballet dancers.

By Rain Francis.

Rachel Rawlins

When in her second year at the Australian Ballet School, Rachel Rawlins was invited to be an extra with the company. At the end of that year, she was offered a contract. She was promoted to soloist four years later and then danced with The Royal Ballet in 1999 for two years. On her return, Rachel started to perform more principal roles and was promoted to Principal artist in 2004.

What is your first memory of dance?

I was taken to an Australian Ballet production of Swan Lake in Canberra when I was about five. I think it was this performance that inspired my love and passion to pursue the profession.

Rachel Rawlins in Les Sylphides for The Australian Ballet. Photo by Alex Makayev

What has been a highlight of your career so far?

It is a highlight to have joined The Australian Ballet and become a Principal artist. Another career highlight is to have been a First Soloist with The Royal Ballet. International touring is always exciting, and I have danced in Asia, Europe, England and the United States. Being a part of the 12^th World Ballet Festival in Tokyo and watching so many international dancers performing together is a special memory. The ballets I have recently really enjoyed dancing have been Madame Butterfly, The Merry Widow and Onegin.

What is something that most people don’t know about the life of a dancer?

How many ups and downs there can be. Most people wouldn’t realise how long we spend talking about how to improve movements and technique.  Communication is an essential part of putting a ballet together and making partnering secure and smooth.

When you are not dancing, what do you like doing?

I like watching movies, going for walks, bike rides, the beach, spending time with my family and friends. I have two little nephews who are always entertaining.

Do you have a favourite movie?

I love movies. Three which have made an impact on me are In The Name Of The Father, Jesus of Montreal and Gone With The Wind.  At the moment I’m watching Silk and The Tudors.

Who is your favourite choreographer?

I think choreography is the most difficult art and I admire the courage of anyone who attempts it. I’ve just finished Onegin, so John Cranko, because of the three very different beautiful pas de deux for Tatiana.  Last year it was Stanton Welch’s choreography and Robert Curran’s partnering for making me fly in the heart-stopping pas de deux for Madame Butterfly. The Australian Ballet’s dancers are fortunate to have the opportunity to dance so many different works created by Australian and international choreographers.

What is the most challenging thing about your job?

Not to lose sight of the love for the art form while you are facing your daily difficulties and demons.

Do you have a quote or affirmation that helps you through, or that means a lot to you?

A few years ago I had very sore calves and a really bad flu during a season of Sleeping Beauty. Now whenever I feel a bit sensitive or low I always think, “Well you got through that, so you can get through this”.

What do you love most about your job?

Performing. You can share the experience and give pleasure to other people, while doing something you love to amazing music.

Kevin Jackson and Madeleine Eastoe in The Australian Ballet's Romeo and Juliet. Photo by Georges Antoni

Kevin Jackson

Perth-born Kevin Jackson joined the Australian Ballet in 2003 at age 18. His first big break was performing Balanchine’s Apollo in 2007. He was promoted to Principal artist in 2010, following a performance of The Nutcracker pas de deux with Rachel Rawlins.

When did you know you wanted to be a dancer?

When I was taken to my cousin’s dance school concert in 1989. I sat in the audience and as the lights in the auditorium went down and the overture began a rush of excitement waved through my body. I was completely captivated. I remember sitting there thinking to myself, I want to be up on that stage.

What was your first role as Principal artist?

Zeus in Tim Harbour’s Halcyon, in 2010.

What has been a highlight of your career so far?

Performing Prince Ziegfried in Graeme Murphy’s Swan Lake alongside Madeleine Eastoe and Lucinda Dunn, at opening night of our recent tour to New York City. It was a dream come true to be performing at New York’s famed Lincoln Center.

Which roles are high on your wish list?

Nacho Duato’s Remanso, Albrecht in Giselle and Crown Prince Rudolf in Kenneth MacMillan’s Mayerling. There are a lot more too!

What is something that most people don’t know about the life of a dancer?

The hours we spend outside of the studio; body conditioning, physiotherapy, full body ice baths. Also eating correctly for optimal energy during shows and the persistent thoughts of repertoire all day, every day, even in your dreams.

When you are not dancing, what do you like doing?

Watching movies with my beautiful partner and renovating our apartment.

If you weren’t a dancer, what would you be?

Most likely an actor, teacher or swimmer.

Do you have a favourite movie or TV series?

Movies – Strictly Ballroom and the new Batman trilogy. My favourite TV series are Family Guy and Modern Family.

Who is your favourite choreographer?

Graeme Murphy has been an incredible mentor and one of the driving forces behind my career so far. I owe a lot to him and Janet Vernon.

What is the most challenging thing about your job?

I dance an incredible number of shows per year. It is a challenge to stay balanced and calm when I’m learning four or five different roles at the same time. Staying mentally and physically fit when traveling for months at a time is extremely challenging too, but also one of the perks!

Do you have a quote or affirmation that helps you through, or that means a lot to you?

Step by step, act by act, show by show and attitude, attitude, attitude.

What advice can you give to budding dancers?

Dance from your heart and people will follow.

What do you love most about your job?

Taking audiences away from their life for a show and transporting them to places like fictional lands, back in time or to an abstract environment. On a more selfish level, inhabiting those places as a dancer is also pretty phenomenal.

Australian Ballet's Amber Scott in Stephen Baynes' Swan Lake. Photo by Georges Antoni

Amber Scott

After growing up on the Sunshine Coast in Queensland, Amber trained at the Australian Ballet School before joining the company in 2001. In 2003 she went on exchange to The Royal Danish Ballet. She was a guest artist on The Dancers Company (the regional touring arm of The Australian Ballet) tours of 2003 and 2004. In 2011 she became a Principal artist.

What was your first role as Principal?

I was promoted after performing the 2^nd Movement from Kenneth MacMillan’s Concerto at the Sydney season of the triple bill British Liaisons in 2011. Concerto was the opening piece in the triple bill so I had the interval to regain composure and then performed Christopher Wheeldon’s After The Rain. So technically, After The Rain was my first performance as a principal artist.

What has been a highlight of your career so far?

There have been so many special moments along the way. I am truly grateful and find it quite hard to choose one in particular. A few highlights are: performing Leigh Rowles’ Ascension alongside my brother in 2003, my first principal role, dancing Odette in Swan Lake when I was 21, performing Manon in 2008 and dancing the role of Tatiana in Onegin this year. Add to that dancing Graeme Murphy’s Odette in Swan Lake in Shanghai, Paris, Tokyo and New York, performing in the Stuttgart Ballet’s 50^th anniversary last year and being promoted to principal artist last year.

Which character in a ballet do you most associate with, and why?

I’m not sure if it’s because I have just played her but Tatiana (in Onegin) felt quite natural for me.  I also feel Odette in Graeme Murphy’s Swan Lake will always be an enduring association.

Which roles are high on your wish list?

Odette in the traditional version of Swan Lake, Giselle, Marguerite Gautier in Lady of the Camellias, Nikiya in La Bayadere and Kitri in Don Quixote.

What is something that most people don’t know about the life of a dancer?

We are on tour a lot of the year and can perform as many as 12 different productions a year. It’s also not as glamorous as some people think. After a show it’s usually an ice bucket, back into sneakers and onto public transport!

When you are not dancing, what do you like doing?

I love being outside in fresh air!

If you weren’t a dancer, what would you be?

A paediatrician.

Do you have a favourite book? Movie? TV series? Band?

Book: The Great Gatsby by F. Scott Fitzgerald

Movie: Stealing Beauty

TV Series: Downton Abbey

Band: The National

Who is your favourite choreographer?

Kenneth MacMillan

What advice can you give to budding dancers?

Be patient with your body and tenacious in your spirit. Work hard but intelligently. Be brave and curious as there is much to be learnt on the road to becoming a professional and that road can get bumpy. Like all worthwhile journeys it’s the unexpected challenges that knit together to form a memorable trip.

Next Edition we will hear from talented dancers Leanne Stojmenov, Yosvani Ramos and Lucinda Dunn.

Top photo:  Kevin Jackson and Madeleine Eastoe of The Australian Ballet. Photo by Georges Antoni