Ellie Swiatkiwsky interviewed for 'Cupcakes & Conversation'

Cupcakes & Conversation with Ellie Swiatkiwsky, Melbourne Ballet Company

What motivates you at 8am on a Monday morning ?
The thought of a wonderful week, doing exactly what I love to do... how fortunate!

What are you looking forward to dancing this year ?
This year I'm looking forward to dancing at The Juilliard School* in New York. I'm not sure what pieces in particular I will be working on... but whatever they are I'm looking forward to it!

Who would you most like to dance with & what would you dance ?
I want to dance with my Dad on my wedding day... in the future :)

If you could dance anywhere in the world (not only in a theatre), where would you dance ?
I would choose somewhere outside in an exotic country with a big, spacious view. And I would dance with a partner so I had someone to enjoy and remember it with.

How do you prepare your pointe shoes ?
I wear Grishko pointe shoes. I sew the ribbons and elastics, glue a toe pad on the pointe (to prevent slipping) cut the upper arch and massage them.

What is your daily routine at the moment ?
I'm currently doing the full-time course at Brent Street Studios in Sydney, Australia. I'm really enjoying it because I get to do a range of styles including ballet, hip hop, jazz, contemporary, tap, acrobatics, acting and singing which is great because I love it all! I'm in the studio from at least 9-4 but I usually chose to do extra classes out of those hours.

You can ask six famous people to dinner - who would you invite ?
Michael Jackson, Barack Obama, Anna Pavlova, Johnny Depp, Cameron Diaz and Beyonce.

What would surprise people about you ?
I have a very large appetite :)

Who inspired you to dance ?
When I was little it was more something that I loved doing so I didn't need inspiration to go. Now that I'm older my love for it has only intensified, although now I draw inspiration from people directly around me; my teachers, family and friends.

What is your best piece of advice ?
To just go for it, go for everything! And see how it all unfolds.

How do you prepare in the hours before a show ?
Make-up, hair, warm-up and a short ballet barre.

Which role has tested you the most & how ?
My most challenging role was when I became the assistant of a choreographer. It wasn't the actual job that was the major challenge, it was trying to balance everything else out, such as completing my Higher School Certificate and full time training, so I could excel at what I was required to do as assistant and more.

If you were asked to design your own ballet costume, what would you create ?
My own ballet costume would be a soft 'Juliet' inspired dress. Something that made me feel gorgeous and beautiful while dancing!

What do you look for in a dance partner ?
In a dance partner I want someone who loves dancing with me too. Someone who is willing to spend the time perfecting any creases in the movement. Communication between the two is very important.

What is your favourite quote ?
"The harder you work the luckier you become".

Do you have a ‘signature step’ – one that comes naturally to you ?
Probably very physical contemporary work, jumping, rolling and flinging myself around the studio or stage!

A phrase I use far too often is ... ?
"Are you serious?!"

What’s been your best on-stage moment so far ?
Performing a duet in the Botanic Gardens in Coffs Harbour, Australia, during the Utopian Dream Dance Festival. The stage was in this beautiful wooden gazebo and the audience were sitting in front of us on picnic rugs. It was natural and not too staged. I remember feeling that it was the best I had ever danced and I was so elated afterwards!

Do you have a secret skill which no-one knows about ?
My special skill is that I have supreme memory :)

In terms of your ballet career, where would you like to be in a year from now ?
In a year from now I hope to be pursuing my training at The Juilliard School.

Editor's note :

* Located at Lincoln Center in New York City, The Juilliard School is one of the world's most prestigious performing arts conservatories. 
The mission of The Juilliard School is to provide the highest caliber of artistic education for gifted musicians, dancers, and actors from around the world, so that they may achieve their fullest potential as artists, leaders, and global citizens.

Dylan Gutierrez interviewed for 'Cupcakes & Conversation'

Cupcakes & Conversation with Dylan Gutierrez, Joffrey Ballet

Photograph :  Maria Ponce (Joffrey Ballet)

What motivates you at 8am on a Monday morning ?
When I wake up in the morning I have got to have some coffee so that gets me awake, but I think what motivates me is the thought that no matter what ballet I'm doing -whether I like it or not – it can help me progress. There is something there to further my artistry, technique, stamina, or quality of movement; sometimes you just have to find it.

Who would you most like to dance with & what would you dance ?
I would love to dance the Black Swan Pas de Deux from Swan Lake, but one of my friends told me once that they think I would be a good as the "Lover" in Antony Tudor's Lilac Garden. It sounds like such a beautiful ballet and role to dance and I think I would love trying to develop me as the "Lover". There is no one in particular that I would like to dance with; of course you'd always like to have someone you have chemistry with but in the ballet world you don't get a choice sometimes so you have to make it work and I'm fine with that.

If you could dance anywhere in the world (not only in a theatre), where would you dance ?
I would love to go back to Covent Garden in London ! I trained at the Royal Ballet Upper School and our final performance in that Royal Opera House was one of my most memorable and favourite performances. I would love to go back in front of a crowd and on a beautiful stage like that again.

Southland Festival Ballet's 25th Anniversary Gala

Photograph :  Dave Friedman

What is your daily routine at the moment ?
I wake up at around 8 : 30 and make coffee and usually turn on VH1 Jumpstart because they play more mellow music for the morning. I check my facebook, email, and the CNN website (a new addition), and then I head to work. At the moment I'm rehearsing the second pas de deux from Gerald Arpino's Reflections and that is a beautiful ballet, and then usually I'll have lunch and then two more rehearsals - usually James Kudelka's world premiere for an hour and then Jessica Lang's world premiere for two hours. Then usually I will go out for a drink or two with the "Gents" who are my friends and who work with me at the ballet company - we like to have fun and blow off steam.

How do you prepare in the hours before a show ?
I usually go and get something to eat so I have the energy, then I'll get some Physical Therapy done on my knee because I struggle with Patella Tendonitis. Then I will head to my dressing room and listen to some music or mess around with the guys to keep myself relaxed, then at the half hour call I will put my make up on, get dressed, and head to the stage!

What are you looking forward to dancing in 2010 ?
I am, believe it or not, pretty excited for The Nutcracker because I think this year I'm going to have more opportunities to dance bigger parts, which is really exciting. As far as the regular season I am really excited to dance (if I'm chosen for it) Yuri Possokhov's new ballet that he is coming to set. I'm interested in what he'll do for The Joffrey. Also I am very excited for Jerome Robbins The Concert and Balanchine's Stravinsky Violin Concerto.

Photograph :  Johan Persson

You can ask six famous people to dinner - who would you invite ?
I don't know really, I mean that's kind of an expansive question, because I'm not sure "famous people" would be the most interesting to have for dinner. I usually go for dinner with my friends and a dinner with them is always conversation about furthering the art form and different opinions on things going on in the world. I would rather have a stimulating conversation with them than have six famous people around.

What would surprise people about you ?
I am very much "what you see is what you get" but I think people would be surprised to know that I am of Mexican and New Zealand descent. My father is from Districto Federal in Mexico and my mother is from Auckland, New Zealand.

Who inspired you to dance ?
My Mother and Father inspired me to dance. My mom was a dancer and is my ballet teacher - she trained me since I was little. There is one dancer who inspired me to dance above all other dancers I admire, and she is Susan Jaffe. She gave a talk at the first summer program I ever went to and I was 10 years old and had a melt down because so many things she said were things that I felt about myself, and it was amazing. Now, every time I see her and when we talk she always brings up the time when I went up to her crying and told her she inspired me !

What is your best piece of advice ?
I think it would be to know your ability and know your worth and what you are capable of as a dancer, and to always try and bring integrity to the things you dance. Try to do them the way they were choreographed or in the style they were choreographed . If your peers or coaches are around saying "no that’s not how it was originally done and the choreographer would have wanted it this way," then you take that in, apply it, and then put your own personality and self into it without losing the style or steps.

Guest Performance at Los Angeles Ballet Acedemy

Photograph :  Iker Gutierrez

Which role has tested you the most & how ?
I think the pas de deux in Natalie Weir's Unwritten tested me the most because it was all about stamina. I danced the first four sections of that ballet and all of it was lifting - the first group section, a throw and lift with a boy, the pas de deux, and then the second group section. I was so tired but I made it through every time and my partner and I held it down.

A phrase I use far too often is ...
Dude what's up?

Who would play you in the film of your life ?
No-one, but I would play someone else in a film about them.

What is your favourite quote?
"When the violinist is done playing his violin, he puts it away".
It's fun to joke around with friends and do random funny dance steps outside of the workplace sometimes, but most of the time it’s good to not be trying make people see that you are a ballet dancer.

What’s on your iPod ?
A lot of Rap/Hip Hop, Electronic, and alternative rock. At the moment I am about to play Busy P.

What makes you a good dance partner ?
I think I’m a good partner because when I’m partnering a girl I’m not worrying about myself at all. If my foot points with hers fine, but I’m more worried about if she looks good, if she's on her leg, does SHE feel comfortable; I’m all about her. The best review I have ever gotten as a partner is when they didn't mention me. They said that my partner winded around Dylan Gutierrez like a length of silk but that was about it, pas de deux is a dance of two but she is the most important and should be the one that is noticed. Everything the man does should be seamless.

Do you have a secret skill which no one knows about ?
It's not really a secret but I have played drums since I was 10 and my teacher has told me several times that if dancing didn't work out I could have been a musician.

Describe yourself in just three words.
Fun, Happy, and Loving.

In terms of your ballet career, where would you like to be this time next year ?
I'd like to be doing everything I've been doing.... better than I usually do.

Vicki Paterson interviewed for 'Cupcakes & Conversation'

Cupcakes & Conversation with Vicki Paterson, Corp de ballet, The Estonian National Ballet

Photograph :  Patrick Baldwin

What motivates you at 8am on a Monday morning ?
I get Monday's off, so I don’t think I have seen 8 am on a Monday morning for a while.

What are you looking forward to dancing in 2010 ?
We have just finished staging Coppelia which is so much fun. Also next season we are doing Manon which is going to be just amazing!

Who would you most like to dance with & what would you dance ?
I would enjoy dancing with anyone who enjoyed dancing with me too. I would love to dance The Nutcracker Pas De deux as I it was the first ballet I ever saw and it is still my favourite Ballet.

How do you prepare your pointe shoes ?
I darn the toe and tear the satin away from the toe, this just makes them last a little longer and then just jump around on them for a while to soften the sides.

What is your daily routine at the moment ?
I don’t really have a routine; I like everyday to be a different day.

You can ask six famous people to dinner - who would you invite ?
Whitney Houston of course! Julia Roberts, Zac Efron, Adam Brody, Tyra Banks and to be fair Eva Longoria for my boyfriend to talk too…

Photograph :  Patrick Baldwin

What would surprise people about you ?
That I am actually a really sensitive person even although might not come across as one.

What is your best piece of advice ?
“ What’s for you won’t go by you.” Something my mum would always say to me.

How do you prepare in the hours before a show ?
I like to get to the theatre really early so I can take time on my makeup and also so there is not a mad rush to get hair done. Then I sit in my changing room and have a good chat with the girls who share with me, I have a coffee, then I go to stage and get warmed up and prepared.

Which role has tested you the most & how ?
We staged a new piece this year is called Symphony no 2. It is a neo-classical piece. The rehearsals were tedious but it was worth it just to get on stage and perform it. I have never really had the chance to perform a neo-classical piece, I have always done purely classical but I really loved learning this piece, it was a great experience.

What do you look for in a dance partner ?
Definitely good communication skills and someone that is willing to compromise

What is your favourite quote ?
“The past his history, The future is a mystery, but today is a gift that’s why we call it the present.”

Do you have a ‘signature step’ – one that comes naturally to you ?
I would say pirouettes come most naturally to me, I was forever getting told when I was younger to stop spinning around in ballet class. But I guess it helped!

A phrase I use far too often is ... ?
I say, ‘Oh my god’ all the time for no reason! I also say ‘literally ‘far too much.

What’s been your best on-stage moment so far ?
The last performance of Swan Lake this season. It was an incredible feeling.

Do you have a secret skill which no-one knows about ?
I am really good at athletics and used to be a runner before I went to dance school

In terms of your ballet career, where would you like to be in a year from now ?
Maybe somewhere a little hotter.

Photograph :  Patrick Baldwin

The Royal Ballet's James Wilkie

James Wilkie has been interviewed for Wiltshire Life, in their popular My Wiltshire column.  Regular readers will recall that I singled James out for praise in the Royal Ballet's recent new work As One.

Double click on the image to make it larger - and please do use the link to visit the Wiltshire Life website if you'd prefer to have a copy of the magazine.

Ellen Bar, Soloist with New York City Ballet, interviewed for 'Cupcakes & Conversation'

Cupcakes & Conversation with Ellen Bar, Soloist, New York City Ballet

'with my boyfriend, co-director Jody Lee Lipes

on the set of our film, NY Export :  Opus Jazz'

Photograph :  Joe Anderson

What motivates you at 8am on a Monday morning ?
That would have to be a Tuesday morning, since Monday's are our day off. I don't really have trouble motivating to get to class and rehearsal; it's just a part of life. I save my self-motivational pep talks for harder things!

What are you looking forward to dancing this year ?
I love the Balanchine leotard ballet repertory that New York City Ballet is so famous for. I feel the most comfortable in that stuff, so Concerto Barocco and The Four Temperaments are two things that I'm looking forward to in this upcoming Spring season. I'm also looking forward to the premiere of Melissa Barak's new ballet as part of the Architecture of Dance Festival. She's a good friend and a really wonderful choreographer, so I'm excited for her.

Who would you most like to dance with & what would you dance ?
I'd like to do any part in Dances at a Gathering or The Concert, with a cast full of all my friends, including ones that aren't in the company any more.

Ellen Bar as The Lilac Fairy with Joaquin De Luz as The Prince (from Sleeping Beauty)

Photograph :  Paul Kolnik

If you could dance anywhere in the world (not only in a theatre), where would you dance ?
I'd dance Viennese waltzes with the Angle brothers in a grand ballroom, preferably in a castle in Austria.

How do you prepare your pointe shoes ?
I put glue in the tips, I step on the box, and I bang them against a wall to reduce the noise. Besides sewing them, that's about it.

What is your daily routine at the moment ?
Breakfast; ballet class; rehearsals. Some days I go to Columbia University, where I take academic classes in my spare time. I also produced a modern day film adaptation of a 1958 Jerome Robbins ballet, which just premiered on PBS Great Performances' series, called NY Export: Opus Jazz so I'm busy with that as well.

You can ask six famous people to dinner - who would you invite ?
Jerome Robbins, Wolfgang Amadeus Mozart, Julie Andrews, Warren Beatty, Larry McMurtry, and either Jenny Lewis or Neko Case. I think that would be a fun crowd.

Ellen Bar with Tyler Angle in I'm Old Fashioned

Photograph :  Paul Kolnik

What would surprise people about you ?
I love Korean ramen noodles, and the High School Musical series. I'm a sucker for movie musicals in general.

Who inspired you to dance ?
At first my mom – she was a ballet dancer in Odessa, and she is one of the best teachers in the world. Then it was all the dancers in New York City Ballet that I grew up watching; Kyra Nichols, Miranda Weese, Damien Woetzel, Peter Boal, the list could go on and on. Anyone dancing in City Ballet in the '90s, basically.

What is your best piece of advice ?
I believe in my friends and in their talent, so I'm usually telling people not to be hard on themselves and to just go for it. I don't usually listen to my own advice though.

'dancing the solo girl in Agon with Amar Ramasar and Seth Orza'

Photograph :  Paul Kolnik

How do you prepare in the hours before a show ?
I don't eat a heavy meal; I save that as the after-show reward. I like to warm up in a studio by myself, where I can concentrate. I don't know how people can warm up backstage while the performance is going on, it's too distracting for me. If I'm nervous, I usually just try to remind myself that I'm lucky to be doing what I'm doing, and that the most important thing is to have a good time.

Which role has tested you the most & how ?
Concerto Barocco (soloist) was a huge challenge for me, not in the individual steps, but because it's such a marathon and requires so much stamina. My debut was the first night of the season, too, so I wasn't in "season shape" yet. It was very intimidating to be dancing next to Wendy Whelan, because I've been admiring her since I was in the school. She's well established in the role and so it was my responsibility to "fit" into it with her. Luckily, she's one of the nicest, most supportive and most honest people ever, so it was a fun and positive experience.

If you were asked to design your own ballet costume, what would you create ?
I like simple costumes, like leotards and tunics; I like feeling unencumbered. So, probably something really boring, a leotard in a pretty color with a flattering cut.

What do you look for in a dance partner ?
I don't dance pas de deux’s very often, I usually dance on my own. I like dancing with partners who are much more experienced than me, who instead of getting annoyed about it, take the opportunity to teach me something new. When I did Episodes with Philip Neal, he made it this amazing learning experience, when he would have been well within his rights to just roll his eyes and tell me what to do. People who are really good at what they do, I'm talking exceptional, are usually like that; they've gotten beyond ego, and care more about the art than about acting important.

Ellen Bar as The Lilac Fairy in Peter Martin's Sleeping Beauty

Photograph :  Paul Kolnik

What is your favourite quote ?
"No one can make you feel inferior without your consent." Eleanor Roosevelt.

Do you have a ‘signature step’ – one that comes naturally to you ?
I'm a natural jumper, and that's what I feel most comfortable doing.

A phrase I use far too often is ... ?
"No good deed goes unpunished."

What’s been your best on-stage moment so far ?
That's a really tough question. Last year I debuted in Vienna Waltzes with one of my best friends, Jared Angle, and that was just pure delight. I love not having to worry about technique or pointe shoes; in something like Vienna, your only job is to enjoy the music and feel beautiful and elegant. In 2008 we went on tour to Copenhagen and Paris. It was my first tour back after a long injury. I would have felt lucky just to be able to go, but on top of that, I was given the opportunity to do some of my favorite roles ever. I danced the solo girl in Agon at Tivoli, and at the Bastille I danced the "Elegie" section of Tchaikovsky Suite #3 with Robert Fairchild (my favorite onstage love connection); and one of the principals in Episodes alongside Wendy Whelan, Maria Kowroski and Darci Kistler, who are all ballerinas I grew up admiring. I had Wendy's husband take a picture from backstage for my mom, I knew she was going to freak out when she saw me bowing alongside those incredible women!

'bowing in Episodes beside Wendy Whelan, Darci Kistler & Maria Kowroski'

Photograph :  David Michalek

Do you have a secret skill which no-one knows about ?
I'm a good cook, and I have a really good memory for wine.

In terms of your ballet career, where would you like to be in a year from now ?
I'd like to be doing exactly what I'm doing now; going to class and dancing with my best friends, performing roles I love at the company I love.

frame grab from NY Export : Opus Jazz

Photograph :  Jody Lee Lipes

danced by members of New York City Ballet

BALLET NEWS UPDATES

T-MOBILE BIG DANCE NEWS UPDATE

• BIG DANCE AWARDS £50,000 TO INSPIRING DANCE PROJECTS ACROSS LONDON

• SOUTHBANK CENTRE’S ‘DANCE ATLAS’ INSPIRES BIG WORLD DANCE

• BIG DANCE SCHOOLS PLEDGE MOBILISES SCHOOLS ACROSS THE WORLD

The T-Mobile Big Dance 2010 has awarded 50 grants to dance projects across the capital as part of its micro-grant scheme (see below for the full list). The successful projects will each receive £1,000 to help fund dance activities and events taking take place during the Big Dance week from 3 – 11 July 2010. Each grant will provide valuable support to artists and organisations.

Originally established by the Mayor of London’s Office in partnership with Arts Council England, The T-Mobile Big Dance 2010 is about promoting dance and increasing opportunities for more people to experience and participate in this extraordinarily wide-ranging artform and social activity.

London Mayor Boris Johnson says: 'Dance has reached the pinnacle of popularity, with celebs making ballroom cool again, awe inspiring street dance topping the TV talent shows, plus an astonishing array of styles on stage and brilliant choreographers working in the capital. We want to get as many people moving as possible – not just in July, but to 2012 and beyond - so give Big Dance a whirl.'

26 London boroughs will be benefit from the grants, by supporting London’s diverse communities.

Southbank Centre’s Dance Atlas launched on 1 April 2010. Members of the public as well as dance artists are invited to post videos of their favourite move onto the Dance Atlas from wherever they are around the world to contribute to an international collection of dance moves.

Luca Silvestrini, Artistic Director of Protein Dance will develop the choreography to the BIG WORLD DANCE inspired by the dance featured in the Dance Atlas to be performed by thousands of people on 10 July 2010. Silvistrini will draw on the material to create a dynamic and globally inspired routine. This choreography will be taught to thousands of people who will transform central London into a giant open air stage for an unmissable, show stopping dance on a gigantic scale, with the start line at Southbank Centre and the finishing line at Trafalgar Square.

The Big Dance Schools Pledge invites schools across London and around the world to take part in an extra 20 minutes of dance or physical activity each day from 5-9 July 2010. As part of the Big Dance Schools Pledge, all schools are encouraged to join worldwide to perform the Schools Pledge dance routine at 1pm on Friday 9 July as part of a Guinness World Record attempt. The choreography for this dance routine is available to download now and has been created by Hakeem Onibudo from Impact Dance. Available in four different skill levels, the routine has been designed to allow people of all ages and abilities to get involved

50 successful projects for the micro-grants:

Lauderdale House, Haringey
London Borough of Barking & Dagenham, Barking & Dagenham
Harlequins Rugby League Foundation and Combination, Richmond-upon-Thames
Carl Campbell Dance Company, Southwark
Etta Ermini Dance Theatre, Tower Hamlets
Combination Dance Company, Camden
Apsara Arts, Croydon
Montage Theatre Arts, Lewisham
Woodside School Sport partnership, Kent
Arts Depot, Barnet
Theatre Peckham, Southwark
Srishti Skills, Harrow
EPiC Arts, Tower Hamlets
Tropical Isles, Hackney
BOX SOCIAL theatre , Haringey
Thomas Goodwin& Petra Soor, exley
The Council of Asian people, Haringey
IRIE! Dance theatre, Lewisham
Shape, Wandsworth
Bromley Mytime, Bromley
Hypnotic, Brent
Hoxton Hall, Hackney/Newham
Annette Brandanger and Hayley Durwood, Southwark
Springs Dance Company, Lewisham
Entelechy Arts, Southwark
Camden School Sport Partnership, Camden
MIKS, Greenwich
Arte Latino Cultural Project, Greenwich
Chic Shake Shock, Greenwich
Community Link Up, Harrow
Granville Plus Youth Arts Centre, Brent
Union Dance Trust ltd., Westminster
Claremont Project, Islington
Chris Nash, Lewisham
Holborn Community Association, Camden
KNI Foundation, Waltham Forest
Hoop La la and Arabesque, Hackney
Dalston Tango, Hackney
Age Concern Hounslow, Hounslow
Rambert Dance Company, Hounslow
The Musical Museum, Hounslow
Battersea Arts Centre, Wandsworth
HIG HOOPS Hoola Hooping, Islington
Simon Rice, Camden
Pippa Emanuel, Wandsworth
Leanne Pero, Merton
Dream Arts, Harrow
London Borough of Hillingdon, Hillingdon
London Borough of Bromley, Bromley
Streatham Festival Association, Lambeth

 
I've decided to run again this press release from last year, just in case you haven't seen the link to the entire film, on the Chanel website.
 

CHANEL AND THE BALLETS RUSSES

Karl Lagerfeld, Creative Director of CHANEL, has designed costumes for 'The Dying Swan' and ‘Apollo’ as part of English National Ballet's Ballets Russes season at Sadler's Wells in June 2009. This year marks the centenary of the first performance by Serge Diaghilev's ballet at the Théâtre du Châtelet in Paris.

Karl Lagerfeld has always had a personal interest in ballet and admires the creativity of English National Ballet. He comments that "...as a child I was already impressed by old images of Anna Pavlova dancing the ballet" adding that "...the Ballet Russes were an influence for me".

The costume that has been exclusively created for ‘The Dying Swan’ will be worn by English National Ballet’s Senior Principal Dancer, Elena Glurdjidze. She says "we always say that the look is 50% of how you are going to dance, so it is very important to have a beautiful costume".

The tutu was made in the Lemarie Atelier, one of the specialized Parisian workshops which Chanel acquired in 1996. With the acquisition of six further Métiers d'Art – Desrues (costume jewellery maker), Massaro (shoe maker), Michel (milliner), Lesage (embroiderer), Goossens (goldsmith) and Guillet (floral finery maker) - Chanel has shown its attachment to companies which share the same core values of quality, exclusivity and innovation.

The costume took 3 women over 100 hours to create and is made from tulle and a variety of different feathers – over 2500 in total. It will have its debut on stage at Sadler's Wells on 16 June 2009. It will then be seen at a performance in St Paul's Cathedral on 30 June as part of the City of London Festival before going to Barcelona for performances in September at the Gran Teatro del Liceu.

During her final fitting, Elena danced 'The Dying Swan' for Karl in the Haute Couture Salon in Paris. Karl filmed the performance himself.

CHANEL has a long association with the ballet: Coco Chanel herself designed costumes for both 'Le Train Bleu' in 1924 and 'Apollon Musagete' in 1929. Indeed it was Chanel herself who, in Lagerfeld's words, "helped Diaghilev to stage [his ballet] again after World War I in 1919".

In addition to the exclusive costume for ‘The Dying Swan’, Karl Lagerfeld has designed the costumes for ‘Apollo’, also being performed as part of English National Ballets season of Ballets Russes.

These costumes were originally designed for the Monte Carlo Ballet in 1997 but have been reinterpreted and refitted for Thomas Edur and Agnes Oaks, the stars of the company. Their performance of ‘Apollo’ will be one of their last ever as they are due to retire this summer. They will be joined by fellow Senior Principle Dancers Daria Klimentova and Erina Takahashi.

Karl Lagerfeld explains why the costumes for these two dances are so varied: "The Dying Swan and Apollo are very different ballets. I didn't want to make something complicated for Apollo. I like it very clean, pure".

Thomas Edur and Agnes Oaks said of their fitting with Karl: “It was an extraordinary experience for us, we felt very honored to be invited to Chanel, to have these beautiful costumes fitted for us. To dance for Karl was very special, we have never danced in a situation like this before, and very rarely give performances like that”.

The entire film is available on Chanel.com

Ballet Nacional de España visit London next week

La Leyenda

Photograph :  Jesus Vallinas

The Ballet Nacional de España are performing a triple bill this coming week in London, and despite their company name & the fact that the company is made up in the same way as a ballet company, you can see from the stunning photographs that this show is not ballet in the traditional sense. 

Nevertheless, I have seen authentic Spanish Flamenco shows in the past which have been stunning in atmosphere and visual imagery, and I think this will also be a show worth catching if you can. 

What's more, some of the performances of Romance de Luna will be danced by Royal Ballet Principal dancer Tamara Rojo - who began her ballet training in Spain.  It will be very interesting to see her take on a traditional Spanish style in a Spanish company, here in London.

Here are all the details you need :

Dualia / Romance de Luna / La Leyenda

Tuesday 27 April – Sunday 2 May 2010

Tickets: £15 - £55

During its 30 years, Ballet Nacional de España has performed in some of the most renowned theatres in the world and received some of the highest accolades including the Medalla de Oro al Mérito en las Bellas Artes, awarded to director José Antonio in 2005 by the Spanish Ministry of Culture. For their performances at the London Coliseum, the company will perform two of their best loved works Dualia and La Leyenda with an additional piece, Romance de Luna, starring Royal Ballet principal Tamara Rojo to be performed on 27 April, 1 May at 8pm and 2 May at 4pm.

World Premiere at the Teatro de La Zarzuela of Madrid on 15th of March 2007

by Ballet Nacional de España.

Photograph : Josep Aznar

DUALIA

“Our intention with Dualia was to deal with Spanish dance and breath in the youth and freshness of this generation with such a rich repertoire, reflecting ourselves in the colours of Sorolla’s paintings, seeking the complicity of pair dancing, interpreting the sensuality of looks, caresses, kisses, reminding ourselves of the great dancers our country has produced, to try to portray our meaning and feeling through the rasping of the castanets. Thank you José Antonio, we hold your air within, this one is for you, maestro”. Carlos Rodríguez and Ángel Rojas.

Dualia

Photograph :  Josep Aznar

Cast

Introduction - capas

José M. Benítez, Eduardo Martínez, Isaac Tovar, Cristian García, Ángel Lara, Álvaro Marbán, Alfredo Mérida

First Movement

Elena Algado, Esther Jurado, Aloña Alonso, Tamara López, Jéssica de Diego, Maribel Alonso, Sara Calero, Carmen Coy, Lola Maeso, Yumi Saeki, Mª José Ramón.

Sergio García, José M. Benítez, José M. Buzón, Eduardo Martínez, Isaac Tovar, Jaime Cava, Francisco J. Caraballo, Antonio Correderas, Ángel Lara, Álvaro Marbán, Alfredo Mérida.

Second Movement

Tamara López – José M. Buzón (Days 27 and 29 April, 1 (matinée) and 2 May)

Aloña Alonso – Jaime Cava (Days 28 and 30 April, 1 (evening) May)

Third Movement

Miguel Ángel Corbacho, Jesús Carmona

Fourth Movement

Miguel Ángel Corbacho, Jesús Carmona

Elena Algado – Esther Jurado

Fifth Movement

Sergio García, José M. Benítez, José M. Buzón, Eduardo Martínez, Isaac Tovar, Jaime Cava, Francisco J. Caraballo, Antonio Correderas, Raúl González, Álvaro Marbán, Alfredo Mérida,.

Sixth Movement

Miguel Ángel Corbacho, Jesús Carmona

Elena Algado, Esther Jurado, Aloña Alonso, Tamara López, Jéssica de Diego, Maribel Alonso, Sara Calero, Carmen Coy, Lola Maeso, Yumi Saeki, Mª José Ramón.

Sergio García, José M. Benítez, José M. Buzón, Eduardo Martínez, Isaac Tovar, Jaime Cava, Francisco J. Caraballo, Antonio Correderas, Cristian García, Álvaro Marbán, Alfredo Mérida,.

La Leyenda

Photograph :  Jesus Vallinas

ROMANCE DE LUNA

Cast

Tamara Rojo and Miguel A. Corbacho

La Leyenda

Photograph : Jesus Vallinas

LA LEYENDA

Of the artists and audiences who frequent today’s theatres, very few actually saw Carmen Amaya in a live performance. Those who did have that privilege define the experience with a single word: “strength”. Her dancing was, in fact, strong, intense, fast, stern. And all of this comes across in the pictures that have gradually forged this myth of Flamenco art, this universal symbol of Spanish temperament: Carmen on stage, arms back and head forward, as if ready to charge; Carmen dressed like a man; Carmen in typical flounced costume, flaunting her bare, incredibly muscular arms; Carmen kicking the train on her dress to heaven on high…

Those who like José Antonio knew her personally outside the clamour of the stage, however, can also attest to the fragility and humanity of this high-strung woman who was barely five feet tall. La Leyenda (“The Legend”) springs from these memories in a modest personal tribute, a piece created by José Antonio with affection and admiration.

The proposal harbours no biographic or mimetic intention – Carmen was so utterly unique that any attempt at imitation would be futile -, but simply designs to portray, in images, an allegory of certain moments of her life and art, her strength and frailty, her grandeur and solitude, a dichotomy to which she and only she could be the antithesis.

In this awareness, the choreographer has had to resort to duality, gemination, to splitting the woman into two personalities, both opposite and complementary: Carmen, the woman in flesh and blood and Carmen, the immortal artist who ventured from Barcelona’s “tablaos” to the fame of the American stage; only to suddenly and unexpectedly depart, leaving behind the afterglow of her endless train for us to embrace, forever. Rosalía Gómez.

Cast

Characters

Ella Mujer: Cristina Gómez

Ella Inmortal: Elena Algado

1.- Introduction

Elena Algado

Women: Jéssica de Diego, Esther Esteban, Tamara López, Maribel Alonso, Mercedes Burgos, Sara Calero, Carmen Coy, Frida Madeo

Men: Jesús Carmona, José M. Benítez, José M. Buzón, Eduardo Martínez, Isaac Tovar, Francisco J. Caraballo, Jaime Cava, Antonio Correderas, Álvaro Marban, Alfredo Mérida

2.- Tangos

Cristina Gómez, Elena Algado

3.- Embrujo del Fandango

Cristina Gómez

4.- Rondeña

Rondeña Mujeres

Esther Jurado, Tamara López , Jéssica de Diego

Rondeña Hombres

Jesús Carmona (Days 27 and 29 April, 1 (matinée) and 2 May), José M Benítez (Days 28 and 30 April, 1 May (evening)), Eduardo Martínez, José M. Buzón, Álvaro Marban

Guitarists; Diego Losada, Enrique Bermúdez, Jonathan Bermúdez.

Singers; Sebastián Cruz (guest flamenco singer) Momi de Cádiz

Percussion; Amador Losada (guest percussion)

5.- Soleá

Miguel A. Corbacho, Isaac Tovar , José M. Benítez (Days 27 and 29 April, 1 (matinée) and 2 May)/ Jesús Carmona (Days 28 and 30 April, 1 May (evening))

6.- Alegrías

Cristina Gómez, Elena Algado

Guitarists; Diego Losada, Enrique Bermúdez, Jonathan Bermúdez,

Singers; Sebastián Cruz (guest flamenco singer) Momi de Cádiz

7.- Evolution

Aloña Alonso, Jéssica de Diego, Esther Esteban, Tamara López, Maribel Alonso, Mercedes Burgos, Sara Calero, Frida Madeo

José M. Benítez, José M. Buzón, Eduardo Martínez, Francisco J. Caraballo, Jaime Cava, Antonio Correderas, Álvaro Marban, Alfredo Mérida

8.- Memories (Ensueño)

Cristina Gómez, Elena Algado

9.- Rumba

Jéssica de Diego, Tamara López, Esther Esteban, Maribel Alonso, Mercedes Burgos, Frida Madeo

Miguel A.Corbacho, Jesús Carmona, José M. Benítez, Eduardo Martínez, Isaac Tovar, Francisco J Caraballo, Jaime Cava

10.- Seguiriya

Cristina Gómez, Elena Algado, Miguel A. Corbacho

Jéssica de Diego, Esther Esteban, Tamara López, Maribel Alonso, Mercedes Burgos, Sara Calero, Carmen Coy, Frida Madeo

Jesús Carmona, José M. Benítez, José M. Buzón, Eduardo Martínez, Isaac Tovar, Francisco J. Caraballo, Jaime Cava, Antonio Correderas, Álvaro Marban, Alfredo Mérida

11.- Epilogue

Please note that the company reserves the right to make changes to the cast.

BALLET NACIONAL DE ESPAÑA

Today, the Ballet Nacional de España (BNE) is facing a new creative period, with various projects and will take advantage of the opportunity to spread, preserve, and promote the extensive heritage of their already-historic repertoire under the direction of José Antonio, commissioned by the Ministry of Culture in 2004, being his second time as Director of the Ballet.

Founded by the Theatre and Entertainment General Direction of the Spanish Ministry of Culture in 1978, with the name of Ballet Nacional Español and with Antonio Gades as its first Artistic Director (1978-1980), the BNE has been directed by Antonio (Ruiz Soler) (1980-1983), María de Ávila (1983-1986), José Antonio (1986-1992), Aurora Pons, Nana Lorca y Victoria Eugenia (1993-1997), Aída Gómez (1998-2001) y Elvira Andrés (2001-2004).

The BNE is, among the projects of the National Institute for the Performing and Scenic Arts, one of the most known in the world, as ambassador of the Spanish culture. The Ballet has evolved in accordance with the new times and has known how to preserve its interest in all styles of Spanish dance, performing choreographies such as those of Escuela Bolera, flamenco and stylized Spanish dance. On the other hand, it has combined tradition and modernity, not forgeting main aspects as training and performing new projects.

During its 30 years, it has performed, in the most renowned theatres in the world, emblematic works as José Granero's “Medea”, Mariema's “Danza y Tronío”, Alberto Lorca's “Ritmos”, José Antonio's “Fandango de Soler”, Antonio's and José Antonio's versions of “El Sombrero de Tres Picos”, Pilar López's “El Concierto de Aranjuez”, and Antonio Gades's “Bodas de Sangre” and “Fuenteovejuna”.

The Ballet Nacional de España has been internationally acclaimed by audience and critics, obtaining various awards, such as Critics´ Prize for the Best Foreign Show during the 1988 season at the New York Metropolitan, the Japanese Critics´ Prize in 1991, the Critics´ Prize for the Best Spectacle at the Bellas Artes Theatre in Mexico City in 1994, a prize awarded by the Spanish newspaper, El País (Tentaciones), for “Poeta”, in 1999, and the Critics’ Prize as well as the Prize awarded by the audience at the VI Festival de Flamenco de Jerez de la Frontera (Spain), in 2002, for the choreography of “Fuenteovejuna” by Antonio Gades. In 2008, the BNE has obtained the prize “XVIII Teatro de Rojas (Toledo)” at Caprichos, Golpes da la Vida and Cambalache as well choreographies, awarded by the audience

Dualia was choreographed by two of flamenco’s hottest stars Rojas and Rodriguez, and explores the sensuality of looks and caresses through movement and music. La Leyenda (The Legend) was choreographed by the company’s artistic director José Antonio as a tribute to the famous flamenco star Carmen Amaya who died in 1963. The piece portrays images from her life – from the slums of Barcelona to the glamour of performing on the American stage in the 30s and 40s.

Tamara Rojo won the 2010 Olivier Award for Best New Dance Production with choreographer Kim Bandstrup for a collaboration at the Royal Opera House called Goldberg: The Brandstrup Rojo Project. The Spanish Prima Ballerina began her training in Madrid and joined The Royal Ballet as a Principal in September 2000.

BALLET NACIONAL DE ESPAÑA

Director
José Antonio

Principal Dancers
Elena Algado - Miguel A. Corbacho

First Dancer
Cristina Gómez - Esther Jurado - Jesús Carmona - Sergio García

Soloists
Aloña Alonso – Esther Esteban - Jéssica de Diego - Tamara López
José Manuel Benítez - José Manuel Buzón - Eduardo Martínez – Isaac Tovar

Ballet Corps
Maribel Alonso – Mercedes Burgos – Sara Calero – Lucía Campillo - Carmen Mª Coy – Frida Madeo - Lola Maeso Virginia Moro – Sara Nieto - Mª José Ramón - Yumi Saeki - Inmaculada Sánchez - Francisco Javier Caraballo - Jaime Cava - Antonio Correderas - Cristian García - José Manuel García – Alejandro García -Raúl González – Jonathan Guijarro – Antonio Jiménez - Ángel Lara - Álvaro Marbán - Alfredo Mérida

Ballet Masters
Elna Matamoros - Tino Morán - Raúl Tino

Master Rehearsal Director
Maribel Gallardo

Rehearsal Director
Juan Mata

Singers
Isabel Soto - Manuel Palacín – Momi de Cádiz

Guitars
Diego Losada - Enrique Bermúdez - Jonathan Bermúdez

Percussion
Samuel Flores

Pianists
Juan Álvarez - Juan José Sánchez

Director Assistant
Primitivo Daza

Carlos Acosta Premieres

If you haven't yet bought your tickets for Carlos Acosta's new show, more details have been announced.  The show runs at the London Coliseum from Wednesday 28th July - Saturday 7th August 2010.  There are only 8 performances and tickets are available from £10.

These performances are likely to be his most ambitious and revealing to date.  Premieres will see Carlos perform five works for the first time and on the largest stage in London.

The show includes :

-  a new commission by Danza Contemporanea de Cuba's George Cespedes

-  a Carlos debut in Russell Maliphant's Two (which was made famous by Sylvie Guillem) and is now reworked for Carlos

-  Zenaida Yanowsky will dance with Carlos in a work by Edwaard Liang

-  a new work choreographed by Carlos featuring a musical commission by Cuban violinist Omar Puente

-  a new mixed media collaboration with Ahh and the Pegasus Choir; this will be Carlos's physically most revealing piece
-  Zenaida Yanowsky dancing Kim Brandstrup's Footnote to Ashton

You can also call the box office on 0871 911 0200

Sara Mearns interviewed for Cupcakes & Conversation

Cupcakes & Conversation with Sara Mearns, Principal, New York City Ballet

Photograph :  Kyle Froman

What motivates you at 8am on a Monday morning ?
Well, Tuesday is like our Monday; Monday is a dark day for us. But at 8am on Tuesday, I am still dreaming! I am a get up at the last minute and get out of the house fast kind of gal.

What are you looking forward to dancing this year ?
I am involved in three out of seven new ballets going this spring season, that is really exciting! Also Mozartiana and Barber Violin Concerto are going this season.

Photograph : Kyle Froman

Who would you most like to dance with & what would you dance ?
I feel like that dream has already come true. I performed Swan Lake with Jared Angle last season on the New York City Ballet stage. It was the highlight of my career thus far.

If you could dance anywhere in the world (not only in a theatre), where would you dance ?
I heard it’s like a dream to dance outside in Athens. Outside theaters are always fun! Performing in Paris was amazing, we performed both at the Bastille and the Opera Garnier.

Photograph : Kyle Froman

How do you prepare your pointe shoes ?
I recently started pulling out half the shank because it gives me more support in the correct place when I am on pointe. Some girls get the shoemakers to do it but I like to do it myself! I also cut the fabric off the tips of the shoe so it’s not as slippery.

What is your daily routine at the moment ?
Strangely enough, I don’t have a daily routine. I try to get in some kind of therapy, whether it be my chiropractor or physical therapy, and then I either go to the gym or Pilates, and of course class, and then whatever rehearsals I have. But every day is different! It’s hard to plan in our line of work.

You can ask six famous people to dinner - who would you invite ?
Makarova(my idol), Johnny Depp (I mean, who wouldn’t want that beautiful man across the table from you!), Paula Dean (she is just too funny and her food is sinful) Ellen DeGeneres (freakin hilarious and real!), Oprah (yes, I am obsessed) and Rafael Nadal (one of the most hardworking athletes I have ever seen).

Photograph :  Gwyneth Muller

What would surprise people about you ?
I am really hard on myself in rehearsals. I don’t take compliments very well.

Who inspired you to dance ?
Well, when I was little, I didn’t really have someone that inspired me. But now I would have to say the people I work with every day. The fact that I get to dance with Wendy Whelan; enough said.

What is your best piece of advice ?
Don’t lose your inspiration for this art form. It is so beautiful and sometimes it can be masked with drama and competition but step back and remember why you love it and wouldn’t trade it for anything.

Photograph : Gwyneth Muller

How do you prepare in the hours before a show ?
I guess I don’t really have a certain routine that I go through. I may have a snack, not a meal. I like to sew my shoes for the show before I start getting ready, it calms me and I think about the night to come. Physical therapy might be in store as well!

Which role has tested you the most & how ?
I would have to say Odette/Odile (from Swan Lake). It tests your ability to completely let yourself go and lose yourself in the moment. Obviously technically it is very challenging and then it has the acting component on top of that. I get very emotional after it is all done, realizing that I gave my soul to the stage and have nothing left.

If you were asked to design your own ballet costume, what would you create ?
I don’t think designing costumes is in my future. I love being a part of the creative process but I will leave the designing to the professionals!

Photograph :  Kyle Froman

What do you look for in a dance partner ?
The ability to let go and have fun! Also when we are out on stage, that he is really there with me, when I look into his eyes, no one exists. Then it translates to the audience.

What is your favourite quote ?
I have two for you...
"If better is possible, good is not enough"
"To give anything less than your best is to sacrifice the gift"

Do you have a ‘signature step’ – one that comes naturally to you ?
A step up turn... "lame ducks" are pretty natural to me.

A phrase I use far too often is ... ?
"Fierce."

Photograph : Kyle Froman

What’s been your best on-stage moment so far ?
Wow, see that’s a hard one. I have a lot of memorable performances, but I don’t want to put the name "best" on any of those. I’m very critical of myself but I will never forget some performances and usually it’s because of the person I was dancing with and the ballet I was performing. To name a few...Swan Lake, Mozartiana, Barber Violin Concerto and Davidsbündlertänze.

Do you have a secret skill which no-one knows about ?
I make bangin chocolate chip cookies!

In terms of your ballet career, where would you like to be in a year from now ?
Honestly, I can’t think that far ahead...it is so unpredictable and that’s what I love about what I do...I never thought I would dancing and performing the ballets I get to today, so I am just thankful to be able to do what I love every day. I’m sure it will be exciting wherever, or whatever I am doing a year from now!

Photograph : Kyle Froman

Review of La Danse : The Paris Opera Ballet

La Danse : The Paris Opera Ballet

Released in the UK on 23rd April 2010
Running time 159 minutes

Still Photograph :  Soda Pictures

La Danse is a film that goes everywhere at the Paris Opera Ballet, one of the world’s greatest companies. Seven ballets are used as the basis of the film, showing you classes, rehearsals and performance footage. The ballet’s are : Paquita (Pierre Lacotte), The Nutcracker (Rudolph Nureyev), Genus (Wayne McGregor), Medea (Angelin Preljocaj), The House of Bernarda Alba (Mats Ek), Romeo & Juliet (Sasha Waltz) and Orpheus and Eurydyce (Pina Bausch). As you can see the selection is predominantely contemporary, something the Artistic Director picks up in one of her many meetings with staff and dancers when she says that she is “unsettled” as very few young people attend contemporary classes and yet they are the very classes where they could learn the technique. The company set their work three years ahead so that they can be rights cleared.

Frederick Wiseman’s film needs no explanation – and none is given – and so you find yourself staring down many a long, empty corridor or drainpipe, occasionally rising to the lofty heights of the beguiling Paris skyline and the beekeeper tending his hives on the roof.

If you are familiar with the Company then this approach of dumping you right in the action (or a long corridor) will work for you; if you are not then the subtitles are there to help with the French language but the rest of the work is largely left up to you. What will you get out of it ?

Still photograph :  Soda Pictures

The Étoiles (stars) featured are : Émilie Cozette|Aurélie Dupont|Dorothée Gilbert|Marie-Agnès Gillot|Agnès Letestu|Delphine Moussin|Clairemarie Osta|Laetitia Pujol| Kader Belarbi| Jérémie Belingard|Mathieu Ganio|Manuel Legris|Nicholas Le Riche|José Martinez|Hervé Moreau|Benjamin Pech|Wilfried Romoli|Isabelle Ciaravola|Mathias Heymann.

The film also features some of Les Premiers Danseurs (The First Dancers), who are : Nolwenn Daniel|Ève Grinsztajn|Mélanie Hurel|Myriam Ould-Braham|Stéphanie Romberg|Muriel Zusperreguy|Yann Bridard|Stéphanie Bullion|Christophe Duquenne|Karl Paquette|Stéphanie Phavorin|Emmanuel Thibault.
You may recognise some of the dancers names, for example Manuel Legris, who was seen recently in the UK dancing spectacularly well at the Nureyev gala.

The ballets and their choreography might be less familiar, but that’s what makes this film different, and worth watching. Wayne McGregor is a choreographer most people are familiar with and here you can see him in the rehearsal process, marking the timing with clicks and strange vocal sounds to keep the dancers on the music. He works with a female dancer with beautiful feet, as they practice a pas de deux over and over again.

For a lot of the time, there is no music, you just arrive in the middle of a class, or rehearsal - Laetitia (Pujol) being told “no arabesque!”, the aim of the choreographer being that “the final result has to be a gift to the public.”

Still Photograph :  Soda Pictures

I found the dancers wearing mostly very unattractive practice clothes and thought how wonderful the dancers in the UK dress for class and rehearsals by comparison. Their building is cluttered around the edges – though the auditorium and entrance are spectacular, in the studios my eye was continually distracted by the endless lines of detritus marking the perimeters.

The Artistic Director admits that the company is hierarchical in one meeting, talks to a dancer worried about her workload in another (and mentions that she has lost weight at the end of it), then we are off to the costume department where they are sewing, pining, cutting, dyeing and ironing. There is even a close up shot of a worker painstakingly applying jewels to a tutu with tweezers. On then to the canteen for lunch, where we are shown several plates of food, inexplicably not forgetting the baguette shredding machine !

The Artistic Director has many meetings where we burst in, in the middle of proceedings. In one such meeting she is explaining that people don’t understand the troupe, that to be a dancer you have to be “half nun, half dancer”, and that “the dancer is the race car and the driver”. Then she attends a company meeting with the dancers to discuss reform of the retirement system and how the dancers should regard the changes.

The film is a mash-up of a dancers daily life at the Paris Opera Ballet, and you get the sense that it’s very much like any other company – protective of its hard won reputation and employing dancers who will work extremely hard, often under a critical gaze, and come out smiling at the end of the day.