By Rain Francis.

Rudolf Nureyev was one of the single most influential people in the history of dance. This year marks 20 years since his untimely death, but also 75 years since his birth. In celebration of this great man, special events, gala performances and tributes are taking place worldwide in 2013.

There has been so much written about him, and he has become something of an enigma. But what was he really like? We ask two professional dancers who knew him personally, Frederic Jahn and Patricia Ruanne.

Jahn and Ruanne are both involved with The Nureyev Foundation, and worked with Nureyev for many decades during their illustrious careers.

Tell us, how did your involvement with The Nureyev Foundation come about?

Patricia Ruanne
In 1986, I was asked by Rudolf to stage his Sleeping Beauty in Istanbul. This led to my appointment as ballet mistress for The Paris Opera Ballet, at the time when Rudolf was director of the company. I was specifically brought in to help Sylvie Guillem in Rudolf’s new production of Cinderella. Initially I was responsible for all the principals in all of his productions, extending later to other selected choreographers and full company staging.

Frederic Jahn
We, and other principals of The English National Ballet (then London Festival Ballet), created Rudolf’s Romeo and Juliet. He was filming Valentino at the time, so we would start working after nine every night, when he returned from the studios. He was plotting the ballet, and we all changed characters to help him set it. This eventually taught us every role in the ballet, and later he gave Patricia and I sole responsibility for this production.

Will you be involved with any of the events or production in this year of celebration?

Frederic Jahn
In Toulouse, France, we will be doing a Nureyev Gala programme. It will be a selection of his works, including the Balcony Pas De Deux from Romeo and Juliet, the third act of Don Quixote and La Bayadere Act 3.

Rudolf Nureyev with Patricia Ruanne and Frederic Jahn. Photo courtesy of Patricia Ruanne and Frederic Jahn.

There has been much written about Rudolf Nureyev, but how would you describe him?

Patricia Ruanne
Passionate, incredibly hard-working, relentless in the studio but at the same time very tolerant of people’s short-comings, as long as they kept working to improve. He had no tolerance at all for those who gave up or rejected the opportunity to change their habits to their advantage.

He had an endless curiosity about everything related to theatre, from how a costume is made, to which lamps give which effects, to how a conductor controls the orchestra. This acquired knowledge stood him in excellent regard from the point of view of all backstage staff – the man knew what he was talking about.

Rudi was quite childlike in some ways; uninhibited in his enthusiasms, wonderful with children, animals and other people’s parents. He had a great sense of humour and a tangible interest and appreciation of his colleagues.

He was very generous with assistance and information for all levels of the company. He was very demanding of the people who worked closest with him, but never more than he was willing to invest himself. Stimulating, exciting to work with, an unforgettable personality.

What is your favourite of his ballets and why?

Frederic Jahn
Romeo and Juliet was my favourite of his ballets. He made this ballet for a company, and not as a vehicle for himself. Nureyev was a mega-star when he was alive. He was the most photographed person in the sixties; Margot Fonteyn and Nureyev were household names. When he did his own productions he marketed himself in them, hence the numerous variations in Sleeping Beauty. The public and the theatre agents got over and above their money’s worth when a Nureyev production was presented.

In Romeo, he attempted his own choreography for the first time. For Juliet, it was Martha Graham on pointe; extremely difficult choreography. For the corps de ballet, there were real punch-ups created by a fight director. Rudolf did so little for himself and gave the production to the company, so much so that the first night, ballet critics called the ballet, Tybalt and Mercutio. It wasn’t until the theatre critics came that all was revealed. They thought it was a masterpiece – particularly a section in the ballet where Mercutio fakes a false death, which leads his friends to laugh at him, when he truly is dying after his fight with Tybalt. This was his concept, and it’s subsequently been copied in theatrical productions.

His research was impeccable, to the extent that practically every line of the play is interpreted in his ballet. He was right in not making Romeo and Juliet into a romantic ballet – it’s not. It’s about two feuding families, the offspring of which fall in love, in an era of great violence, intolerance and disease.

In what other ways did Rudolf have an influence over dance and theatre?

Frederic Jahn
This story was told by Eugene Poliakov. He was Rudolf’s ballet master at the Paris Opera, as well as the director of Teatro Comunale in Florence, Italy. I was his Ballet Master, and Poliakov and I shared an apartment when he came down to Florence once a month.

These were in the days before Rudolf defected and was still with the Kirov. He was dancing Siegfried in Swan Lake, and in those days all the men wore bloomers over their tights. It was not a particularly attractive look, as it cut the line of the leg. Rudolf was in his dressing room after finishing the first two acts, and refused to do the third act of Swan Lake if he had to wear bloomers over his tights. The management were furious but over a barrel, but they let him do it, as he was already an up-and-coming star in the Kirov.

After that incident, the fashion changed in that theatre, and without doubt, the rest of the theatres in Russia. This change was only in Russia; the West was already showing gents’ legs.

For more information about Rudolf Nureyev and the list of tribute events taking place this year, visit www.nureyev.org.

Photo (top): Rudolf Nureyev dancing with Frederic Jahn, courtesy of Frederic Jahn and Patricia Ruanne. 

State Theatre, Melbourne
March 22, 2013

By Rain Francis.

In a dusty old box in a storage unit somewhere there lays a copy of American Ballet Theatre’s Don Quixote on VHS. Though its format is now teetering on extinction, the battered little tape is anything but forgotten. Filmed in 1984 and starring the incomparable Mikhail Baryshnikov and Cynthia Harvey, it was my entertainment of choice in the hours between school and ballet practice. I knew every nuance of it like the back of my hand and never got bored with watching it.

Hearing that The Australian Ballet was staging Rudolf Nureyev’s version of Don Quixote this year, my expectations were sky-high. Thank goodness I wasn’t disappointed.

The structure of the ballet is perfectly balanced; the fun and dynamics of Act 1 and 3 are enhanced by a hypnotic, dreamy Act 2. Principal Artist Amber Scott was as close to flawless as a human being can get; a smart choice for the Queen of the Dryads. Corps de Ballet member Benedicte Bemet as Amor was a standout, exquisitely bird-like and cherubic.

In the lead roles of Kitri and Basilio respectively, Principals Leanne Stojmenov and Ty King-Wall shone. They weren’t able to top my memories of Harvey and Baryshnikov, but taking this production purely on its own merits, it would be impossible to find fault with these two outstanding current artists.

Coryphée Garry Stocks was hilarious as the ridiculously foppish Gamache, but it was Soloist Brett Simon’s Don Quixote who really stole the show for me. I was actually in awe to discover at the end that the title role was played by a relatively young soloist and not a veteran of the stage. Simon has a truly unique gift to convey both emotional depth and story. His interpretation of this rich and important character felt like his own, rather than a reproduction of a past artist’s, and this made him the only aspect of this production to truly exceed my expectations.

This year marks 75 years since Nureyev’s birth and 20 years since his untimely death. Don Quixote, with all its colour, flamboyance and happy energy is such a positive tribute to this magnificent artist.

Photo: Lana Jones and Daniel Gaudiello of The Australian Ballet in Don Quixote. Photography Georges Antoni. Make up by Napoleon Perdis

By Rain Francis.

Rudolf Nureyev was one of the single most influential people in the history of dance. This year marks 20 years since his untimely death, but also 75 years since his birth. In celebration of this great man, many special events, gala performances and tributes are taking place worldwide in 2013. There has been so much written about him, and he has become something of an enigma. But what was he really like? We ask two professional dancers who knew him personally, Frederic Jahn and Patricia Ruanne.

Jahn and Ruanne are both involved with The Nureyev Foundation, and worked with Nureyev for many decades during their illustrious careers. In Patricia’s case, this relationship began in 1964, when Raymonda was presented at the Spoleto Festival in Italy, during the epoch when Margot Fonteyn’s husband was shot. For Frederic, it began in 1969, when Rudolf staged Don Quixote for The Australian Ballet.

How well did you know Rudolf Nureyev?

Frederic Jahn
I began to know Rudi better when we were working on Romeo and Juliet. I had worked with him before, as a very young corps de ballet member of The Australian Ballet. I was cast as the Old Don in Don Quixote, as Helpmann’s second cast, so I was privy to a lot of personal information, which was a tremendous learning curve in stagecraft.

Rudolf advised me to go to Europe, indicating that I should benefit from a wider professional platform than could be found in Australasia. This interest in a young dancer’s future was typical of the generosity he showed to fellow artistes. In my mind, I didn’t understand why he should single me out, but he clearly recognised some potential in me that I didn’t know I had. These ‘good old days’ were the platform of our relationship.

We discovered that most of the time he was by himself in London when he was choreographing Romeo and Juliet. Everybody thought that being a celebrity, he was wined and dined every night, when in fact he was just in his flat by himself. We would drop by and go to lunch or dinner. We established a close relationship, but I don’t know if we could say we were real friends. I felt he had trouble trusting people, and rightly so, as many used him for their own political ambitions, and still continue to do so.

I once dressed him in Italy; the dressers were scared of him so the management asked me if I would do it. I was the interim Ballet Master in Naples for the time Nureyev was there. I felt I was a friend, and it felt just as if you were helping a chum next to you do up his costume. The performance was already 20 minutes late, and a public of 3000 excited Italians were all clapping in unison to get the open-air show going. Italians can be very rowdy. He wasn’t going to be rushed, and the more noise they made, the gigglier he became. The management was knocking at the door, and I had to keep telling them he needed a few minutes more, at which point he said, “Ricky, have you heard the story about Bear and Rabbit sitting on edge of the wood?” I said I hadn’t, and he proceeded to tell me this scatological tale. We both left the dressing room giggling like schoolgirls, passing the fuming theatre management. Needless to say, when he came on stage, the audience was in a frenzy. He had in fact calculated that being late would drive the audience to this point, and he would give a performance that would be, for many people, a life-long memorable event. I felt that incident bonded us, and became the origin for many dinnertime anecdotes.

Rudolf Nureyev and Patricia Ruanne

Patricia Ruanne
I came to know him as well as he would allow. We had a good working relationship as dancers, and certainly he never gave me personally any ‘grief’ as a partner, which was not always the case with other dancers!

This agreeable understanding intensified once I went to join him in Paris. There was much discussion about the development of his dancers and I began to learn things on an entirely different level. Equally, he was always generous enough to listen to my thoughts on a subject, acknowledging that being on pointe was one asset he had never mastered. His demonstration of professional respect and affection to both myself and also to Frederic when he was there was naturally very helpful towards the Paris Opera dancers’ perception of us.

He frequently asked me to be hostess to his host at his home in Paris, so I met some fascinating people and we had a lot of fun. He couldn’t bear pretentious posturing; some folk were never invited back, or we would retire to the kitchen on the pretext of checking whether his cook was drunk yet, and try to dream up some plausible excuse for getting rid of someone who was boring him to tears. His proposals were generally along the lines of something dreamed up by Sweeney Todd; rather gory, but very funny. Lord knows what his guests made of the shrieks of laughter echoing from the back pantry!

He trusted me quite early on with the knowledge of his illness, and I spent every Sunday with him once he was obliged to be hospitalised towards the end of his life – something I remain glad to have been able to do.

What do you think is the biggest misconception about him?

Frederic Jahn
That he was bad tempered and rude and had no respect for others. He was not. It takes two to tango. Rudolf reacted to how people reacted to him, full stop.

Patricia Ruanne
I agree. I have seen him explode, but it was never without just cause. He had no time for laziness, indifference or lack of commitment to our profession. ‘Wasting time’ appalled him, given the brevity of a dancer’s performing life and he was incapable of understanding a lack of enthusiasm for anything related to the stage.

What was his greatest legacy?

Patricia Ruanne
This is an almost impossible question to answer. For my generation – and those who were able to see him perform at his best – there will forever remain the image of just how much can be accomplished by sheer hard work, dedication and never falling into the trap of believing your own publicity.

Personally, I think the strongest link to future generations will be the fact that he was also a great teacher, and instilled this care for others into so many younger dancers, some of whom are now directing companies. Watching them coach dancers in roles they once performed themselves, one can see the influence of Nureyev quite clearly.

He once said to me, when I was struggling with an exceptionally difficult company who appeared incapable of coping with his challenging choreography, “Are they doing the best they can? If so, and even if it’s not the standard you would like to see, you have to love and respect them for giving all that they are capable of.” I think that says a lot about the kind of man he was, and I try to apply this great advice always.

What can students today learn from him?

Patricia Ruanne
Don’t waste time – there’ll never be enough of it. Never give up on yourself. Always work to the best of your ability, but don’t let yourself sink into a depression when in a bad patch. Just keep at it – it will come back if you don’t frustrate yourself mentally. Keep your sense of humour and care about yourself.

Rudolf did not have a perfect physique and had to overcome many technical problems. Nonetheless, he had the most sensational career. It’s a perfect example of belief in self, dedication and determination.

For more information about Rudolf Nureyev and the list of tribute events taking place this year, visit www.nureyev.org.

Photos courtesy of Frederic Jahn and Patricia Ruanne. Top photo: Rudolf Nureyev and Frederic Jahn in rehearsal.

By Rebecca Martin.

Two of Stuttgart Ballet’s rising stars, Daniel Camargo and Elisa Badenes, journeyed to Melbourne to perform at The Australian Ballet’s 50th Anniversary Gala late last year. They performed the first piece of the night, choreographed by Stuttgart Ballet’s own Demis Volpi. It was a challenging contemporary piece that highlighted the dancers’ exquisite bodies and technique.

Ultimately though, it was their performance later in the evening of the Don Quixote Act III pas de deux that blew the audience away and exhibited why Stuttgart Ballet is one of the world’s greatest companies.

Dance Informa caught up with Daniel and Elisa upon their return to Germany following a tour to China with Stuttgart Ballet.

Tell us a little about your dance training.

Daniel Camargo
I began my dance training in my native country Brazil at the Guaira Ballet School in Curitiba. In 2005, I participated in the Youth America Grand Prix and met Tadeusz Matacz, Director of the John Cranko School, who invited me to come to Stuttgart. At the John Cranko School I studied with Petr Pestov, a great teacher who influenced me very much. In 2009, I joined the Stuttgart Ballet.

Elisa Badenes of Stuttgart Ballet in Don Quixote.

Elisa Badenes
I started at age 11 at the Conservatorio Profesional de Danza de Valencia in my home country of Spain. My teacher was Rafael Darder.  In 2008, I participated in the Prix de Lausanne and received a scholarship to the Royal Ballet School where I studied for one year. In 2009, I auditioned for the Stuttgart Ballet and joined the company.

What was it like to perform for The Australian Ballet?

Daniel Camargo
Amazing. The entire company was very nice and welcoming. Of course it is always interesting to see how different companies work. I found the Australian Ballet to be like a big family with lots of positive energy.

Elisa Badenes
It was very nice and a lovely experience. Everyone was working so hard and it was clear from the atmosphere that it was a very important evening for the company. The staff and the dancers made our stay really enjoyable and comfortable.

What did you think of Australia and of the dancing?

Daniel Camargo
Melbourne was fantastic and in general the country reminded me of the USA in terms of the “wide open spaces.” Everything seemed very new and the mix of architectural styles was impressive. The people are very friendly. 

Elisa Badenes
I always wanted to travel to the “other side of the world,” so this was a dream come true for me! Everything was exciting. We really loved the people.  Unfortunately we didn’t have much time to travel around but when we left we had a very positive overall impression of Melbourne. The level of the dancers was very good and it was especially nice to see how supportive the audience is of the dancers.

What is your favourite piece to perform?

Stuttgart Ballet’s Daniel Camargo in Don Quixote

Daniel Camargo
So far, definitely the full length Don Quixote!

Elisa Badenes
It’s hard to say…. I just love all the pieces I have danced so far.

Do you prefer traditional ballet or modern pieces?

Daniel Camargo
Both. I love the traditional pieces, the classics, as well as contemporary works. It is the most challenging to be involved in the creation process for brand new works, but it is very exciting.

Elisa Badenes
I simply can’t choose because the biggest pleasure is to be able to do both. I can’t imagine dancing just classical or just modern. I love dancing different styles and different works. That is one of the big pleasures of our job, that we are changing roles, characters and styles.

What would you do if you weren’t a dancer?

Daniel Camargo
Sports – soccer, skateboarding or snowboarding.

Elisa Badenes
I could imagine studying, but it would surely involve the arts or a profession where one has contact with many people.

Top photo: Stuttgart Ballet Soloists Daniel Camargo and Elisa Badenes. Photos courtesy of Stuttgart Ballet.

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.

This year is the 75th anniversary of ballet legend Rudolf Nureyev’s birth, and 20 years since his death. How much do you know about one of the most celebrated dancers of the 20th century?

1. With which ballet did Nureyev make his directorial debut?

a) The Afternoon of a Faun

b) Petrouchka

c) Pineapple Poll

d) Don Quixote

2. Nureyev’s first performance in Britain was held to support which organisation?

a) The Royal Academy of Dance

b) The Royal Ballet School

c) The Royal Ballet

d) The Royal Opera

3. Giving his mother a shock, Nureyev was born prematurely in a

a) boat

b) train

c) car

d) plane

4. Nureyev danced with many of the best ballerinas of his time, but with whom did he say he danced with “one body, one soul?”

a) Eva Evdokimova

b) Margot Fonteyn

c) Gelsey Kirkland

d) Antoinette Sibley

5. Nureyev danced with Miss Piggy on the Muppet Show (check it out on YouTube – it’s a classic!). Which ballet did they perform a parody of?

a) Cinderella

b) The Nutcracker

c) Swan Lake

d) Manon

6. In which company was Nureyev director, dancer and chief of choreography during the 1980s?

a) The Royal Ballet

b) The Paris Opera Ballet

c) Dutch National Ballet

d) American Ballet Theatre

7. Which ballet by Sir Frederick Ashton was premiered by Fonteyn and Nureyev, and would become known as their signature piece?

a) Marguerite and Armand

b) Baroque Pas de Trois

c) Romeo and Juliet

d) Les Sylphides

8. To which country did Nureyev defect in 1961?

a) America

b) United Kingdom

c) Austria

d) France

9. In the 1970s, Nureyev toured the USA in a production of which musical?

a) Fiddler on the Roof

b) Cats

c) Kiss Me Kate

d) The King and I

10. Nureyev played a violinist in the 1983 film Exposed, alongside which Hollywood actor?

a) Harvey Keitel

b) Marlon Brando

c) Robert De Niro

d) Russell Crowe

Answers:
1 – d; 2 – a; 3 – b; 4 – b; 5 – c; 6 – b; 7 – a; 8 – d; 9 – d; 10 – a

Photo: Rudolf Nureyev by Jack Mitchell. Photo source http://onlyartimages.blogspot.com/2011/04/rudolf-nureyev.html

State Theatre, Arts Centre Melbourne
October 31 2012

By Rebecca Martin.

The Australian Ballet has come a long way since it took to the stage hot on the heels of the Borovansky Ballet back in 1962.  Our national ballet company may only be 50 years old, but it has a rich history of new and old works, and has consistently been comprised of talented and versatile performers.

It is surprising then, that The Australian Ballet chose to commemorate 50 years by holding a gala of international performers rather than showing off our own fantastic company.  Perhaps it was designed more as a treat for audiences to expose them to what the rest of the world has to offer.

The first act of the night comprised a series of modern and traditional pas de deux, starting with Overture, an exhibition piece choreographed by The Australian Ballet’s Artistic Director, David McAllister. It saw the full company on stage in classic white tutus for the women and white tights for the men.  I found myself bursting with pride during that piece as I watched the dancers smiling and resplendent in their strong technique and assured artistry.

Stuttgart Ballet’s Demis Volpi first choreographed a piece for the Noverre Society’s Young Choreographers – which is that company’s version of the AB’s Bodytorque – in 2006 and has been a choreographer on the rise ever since.  His piece, Little Monsters kicked off the international part of the gala, and highlighted the intricate, quirky, physically challenging, and emotionally thoughtful trademarks of Volpi choreography.

The National Ballet of China gave us the Act II Pas de Deux from Giselle.  While ably danced, this pas de deux is one that doesn’t stand well when taken out of context from the rest of the ballet.  The Love Pas de Deux from Carmen Suite was next, performed by Mizuka Ueno and Naoki Takagishi from the Tokyo Ballet.  The role of Carmen is an exciting and seductive one, yet Ueno failed to set the stage alight in her portrayal.

Daniel Carmago and Elisa Badenes of Stuttgart Ballet. Photo by Jeff Busby

Enter, Julie Kent from American Ballet Theatre.  Undoubtedly the star everyone had come to see, she performed the bedroom Pas de Deux from Manon with all the joy of a young woman in love.  Her technique and lines are flawless, and she was ably partnered by The Australian Ballet’s own Adam Bull, who clearly shared Kent’s joy.  The pas de deux was over far too quickly and left us wanting more.

The virtuosic Tchaikovsky Pas de Deux was next and was brilliantly performed by local dancers Lana Jones and Kevin Jackson.  Jones has the right amount of ballon and quick foot work to excel in this piece, and Jackson was all technical perfection and brightness on stage as always.  This was a definite highlight.

The stars of the night, however, were undoubtedly Elisa Badenes and Daniel Camargo from Stuttgart Ballet who returned to the stage after Little Monsters to dance the famous Wedding Pas de Deux from Don Quixote.  Both only corps de ballet members, Badenes and Camargo showed the audience why Stuttgart Ballet is truly one of the greatest companies in the world.  Camargo was flawless in his execution of the many jumps and turns, and was a strong partner.  Meanwhile, Badenes had glorious long legs around her ears and held every balance of the difficult pas de deux with aplomb.  The one-handed presage lifts drew gasps from the audience (myself included) when Badenes hovered at the end of Camargo’s arm in a perfect split in seconde.

After witnessing such a spectacular performance, it was disappointing then that the second act brought us a lackluster performance of Etudes.  The ballet itself has some wonderful moments, particularly the opening scene and the diagonal jetes later in the piece.  The piece seemed to drag on a little and the company looked tired by the end.

Nonetheless, the gala was a fabulous night of diverse dancing and reminded us of the high caliber of our national ballet company.  Bring on the next 50 years!

Top photo: Artists of The Australian Ballet, 50th Gala, photo by Jeff Busby.

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

Sydney Opera House has unveiled a vibrant and eclectic program for Spring Dance 2012 – Australia’s only international festival of contemporary dance – curated by Rafael Bonachela.

Brimming with energy, and with an international flavour, the two week festival will be a celebration of movement, infused with Rafael’s spirit and his passion for dance. The festival, which will take over Sydney Opera House’s Western Foyers, includes an evening of four world premieres, three Australian premieres and offers up an assortment of dance and music styles to Spring Dance audiences.

Running from 20 August – 2 September, this year’s festival will get off to a sizzlingly sensual start when Sydney Opera House welcomes back Sidi Larbi Cherkaoui. He will perform on stage for the first Australian presentation of Dunas, created and choreographed with renowned flamenco dancer María Pagés who will perform in Australia for the first time.

TAO Dance Theatre. Photo by Matthew George Johnson

The French choreographer Mourad Merzouki and his troupe of 11 dancers from the favelas of Rio de Janeiro will take Sydney by storm with their energetic fusion of hip hop, capoeira and samba with their double bill Agwa and Correria. By contrast, Beijing’s TAO Dance Theatre will also make their Australian debut, presenting the elegantly pared-back dances Weight x 3 and 2, set against the music of legendary minimalist composer Steve Reich.

Sydney Opera House and Sydney Dance Company will shine a light on female choreography with the world premiere of Contemporary Women – a series of four innovative works created by female Australian choreographers and performed by Sydney Dance Company’s dancers. The pieces, currently in development, will be further illustrated by a specially commissioned film and photography exhibition in the Western Foyers by Peter Greig.

Also celebrating home-grown talent will be Clouds Above Berlin choreographed and performed by Antony Hamilton and Melanie Lane; and iOU dance solo series which will showcase the best of Sydney’s independent dance scene.

Sidi Larbi Cherkaoui and María Pagés’ Dunas. Photo by David Ruano

Spring Dance curator Rafael Bonachela said, “From the intellectual and innovative to the joyous and lyrical, there will be so much on offer at this year’s Spring Dance. For dance aficionados there will be some beautiful yet rigorous work presented by some truly inspirational artists. And for those people walking the streets of Sydney who don’t yet know that they love contemporary dance – we’re going to find them and welcome them to our community of dance lovers!”

Executive Producer Jonathan Bielski added, “We invited Rafael to lead Spring Dance not just because he is an artist of international acclaim, which he is, or because he is the most charming man in Sydney, which he most certainly is, but because he is a gifted programmer of other artists’ work and this talent is rare.”

Spring Dance will be accompanied by a series of on-site events including post show Q&As and artist-led masterclasses. The Australian Ballet’s Artistic Director David McAllister will lead a free outdoor ballet class and there will be a free jazz class taught by Rafael Bonachela and Ramon Doringo.

For the first time, the festival will be documented by a photographer in residence, Justin Ridler – keep an eye on the Spring Dance blog to stay up to date with his behind the scenes images.

There will be a one-off free film screening of Rudolf Nureyev and Robert Helpmann’s 1973 performance of Don Quixote for The Australian Ballet, introduced by David McAllister, offering a rare opportunity to revisit the first official public performance in the Sydney Opera House Opera Theatre.

The documentary film Never Stand Still, made at the Jacob’s Pillow festival in Massachusetts, will be screened at the Drama Theatre, offering an insightful glimpse into the world of dancers and choreographers. Tickets are $15.

Tickets for Spring Dance performances are only $35 and can be purchased via sydneyoperahouse.com or by phone on 02 9250 7777.

Top image: Mourad Merzouki’s Agwa and Correria

With Perth playing host to the Australian Dance Awards later this year and the MoveMe dance festival making its debut onto Perth’s cultural calendar, 2012 is shaping up to be an exhilarating year for dance in Western Australia. This year’s event marks the first time that the Australian Dance Awards have been held in WA.

The Australian Dance Awards, presented by Harlequin Floors with Ausdance WA will be held on Saturday 1 September 2012 at the Heath Ledger Theatre STC. This national event takes place each year to recognise and honour professional dance artists who have made an outstanding contribution to Australian dance.

Ausdance WA is pleased to announce that Ruth Osborne has been named as Director of the Awards. Ms Osborne is nationally respected for teaching and her choreographic work. Her professional dance career extends over 40 years and includes performing, teaching, choreographing, directing, collaborating and mentoring, and Osborne has served on numerous arts-related boards.

The Awards will commence with a red carpet, VIP event in the theatre foyer followed by the presentation of awards in ten catergories. Dance performances take place throughout the evening, which will showcase some of the best of the Australian and Western Australian dance works.

Performances confirmed for the Dance Awards gala so far include an excerpt from Helix, performed by Daryl Brandwood, directed and choreographed by Barry Moreland and presented by The HELIX Project; a pas de deux from Don Quixote presented by The Australian Ballet; and an excerpt from Shiver, performed by Jacqui Claus, Lewis Kilpatrick, Leanne Mason and Gerard Van Dyck, choreographed by Danielle Micich and produced by Performing Lines WA. An excerpt from Try Hard, performed by over 30 young dancers from STEPS Youth Dance Company, choreographed by STEPS Artistic Director Alice Lee Holland, Adam Wheeler and Shona Erskine will also grace the stage.

Ausdance WA has been working diligently, along with STRUT dance to ensure that the Perth community is engaged and excited about dance, planning the MoveMe dance festival to take place in the lead up to and following the Dance Awards gala.

The MoveMe dance festival will take place over six days from 28 August to 2 September and many of the events are now confirmed. It promises to be an inspiring and moving celebration of dance.

“It’s our plan to delight Perth audiences and those who will be travelling from the eastern states to attend the Awards,” says Agnes Michelet, Director, STRUT dance. “MoveMe dance festival will open at the Perth Institute of Contemporary Arts (PICA) on Tuesday 28 August. Jonathan Burrows and Matteo Fargion return to Perth for the event with an exclusive Australian premiere of Cheap Lecture and The Cow Piece. When Jonathan and Matteo last visited in 2009, performances were hugely popular. These renowned international artists have a gorgeous and fun relationship with their audience and we expect that with one exclusive performance, tickets will sell out quickly.”

Audiences are expected to be seduced when Sidi Larbi Cherkaoui’s, Faun and Didier Theron’s, Harakiri, perform on a double bill across two nights at the State Theatre Centre of Western Australia (STC) as part of MoveMe festival.

And from a national perspective, there is an enviable cast of contemporary dancers assembled for WA creator, Alice Lee Holland’s tiny little tragedies in the Studio Underground, including the critically acclaimed Paul White.

“To close the festival, there will be an insightful panel discussion based on Jonathan Burrows’ A Choreographer’s Handbook who will lead the free forum along with Chrissie Parrott and Sue Peacock, also at the STC”, says Michelet.

“This will be the first time this significant national arts event has been presented in Western Australia,” adds Michelle Saunders, Director, Ausdance WA. “Hosting the Awards in conjunction with the MoveMe dance festival presents a wonderful opportunity to showcase the beauty and vibrancy of our city to our interstate visitors. It will be an exciting time and I sincerely hope that the Perth community and our members take the opportunity to get involved and to be moved by dance during this momentous time.”

Tickets for the Awards are available through BOCS Ticketing. For the Short List of Nominees visit www.ausdancewa.org.au.