Cover: Lana Jones and Daniel Gaudiello Above: Daniel Gaudiello Photography Georges Antoni

2013 season

Melbourne 15 – 26 MarchArts Centre Melbourne, State Theatre with Orchestra Victoria

sydney 5 – 24 April Sydney Opera House, Joan Sutherland Theatre with Australian Opera and Ballet Orchestra

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Welcome to our 2013 season! Don Quixote would have to be one of the most loved ballets in our repertoire. Since 1970, when this internationally acclaimed Rudolf Nureyev production had its premiere at the Adelaide Festival – starring the man himself alongside ballerina Lucette Aldous, and with Sir Robert Helpmann in the title role – this ballet has become a signature work for our company and has inspired generations of young Australians to dance.

I first saw an extract of this ballet in 1970, on television in Perth, and it was the catalyst for me to annoy my parents for a year until they finally sent me to the local ballet school. This is a work that every dancer who joins our company aspires to. There are so many lovely roles in this action-packed ballet, from Basilio and Kitri to the dryads and gypsies. I know the company will delight in this sunny Spanish romp.

We are so thrilled to have Steven Heathcote back with us to perform the title role of Don Quixote. Steven has danced almost every male role in this ballet, and it is always a joy to have his charisma and artistry back on stage. He has also been sharing his insights with the dancers as a coach alongside Cynthia Harvey, a legendary Kitri. Her performance in this ballet alongside Russian superstar Mikhail Baryshnikov was a master class in sublime storytelling through dance, and is still cherished on DVD by dancers across the globe.

I am so pleased that we have such a strong array of dancers in the lead roles this season, many of whom are returning to the principal roles after debuts in 2007. We are also delighted to have two of the world’s most exciting dancers, Natalia Osipova and Ivan Vasiliev, performing in Australia for the first time during the Melbourne season. Joining us in Sydney will be the sensation of our 50th Anniversary Gala, Elisa Badenes and Daniel Camargo from the Stuttgart Ballet. Just as Nureyev inspired the company back in the 70s, having these great international dancers with us connects us to the wider dance community and pushes us to be our very best. I want to thank Joan and Peter Clemenger for once again so generously supporting these dancers’ visits.

It is hard to believe that it is 20 years since the ballet world lost one of its brightest stars. Rudolf Nureyev changed ballet in the late 20th century, both through his magnetic dancing and his masterful productions. Ballets like Don Quixote are a celebration of his genius.

David McAllister AM Artistic Director

note from the artistic

director

Lucette Aldous and Rudolf Nureyev, 1972 Photography Paul Cox

As we revive Rudolf Nureyev’s famed production of Don Quixote, we remember the heady days of the 60s and 70s, when Rudolf Nureyev and his celebrated partner Margot Fonteyn danced as guests with The Australian Ballet. The stars shed their light over the whole company, which was then in its infancy; the dancers were inspired to fresh heights of artistry, and the world noticed, particularly when Nureyev immortalised them in his and Robert Helpmann’s film of Don Quixote in 1973.

Thanks to the connections and foresight of its artistic directors, The Australian Ballet has from the beginning attracted the brightest of international stars. At the company’s inaugural performance – Swan Lake, 1962 – the lead roles were taken by the great Danish dancer Erik Bruhn and his exquisite partner, the Bulgarian ballerina Sonia Arova. Since then, although The Australian Ballet swiftly developed its own stable of celebrities, there has been a steady flow of extraordinary dancers appearing with the company, from Alessandra Ferri and Carlos Acosta

to Angel Corella, Irek Mukhamedov, Sylvie Guillem, Ethan Steifel, Julie Kent and David Hallberg. Last year, great dancers from around the world graced our stage for our 50th Anniversary Gala, and this year, our production of Don Quixote has attracted not one but two pairs of stunning international guests.

Conversely, The Australian Ballet’s own dancers have been much in demand overseas. Even before the company formed, Australian dancers such as Elaine Fifield, Marilyn Jones and Garth Welch had been making their names and careers in Europe. In the 1970s, Danilo Radojevic won a gold medal at the International Ballet Competition in Moscow, the only Australian ever to achieve this honour. In the same decade Kelvin Coe and Marilyn Rowe won silver at the same competition; they were the first Australians to dance with the Bolshoi Ballet. Following in their footsteps in the 1980s were David McAllister and Elizabeth Toohey, who captured Russian hearts with their performances as Basilio and Kitri in Don Quixote. More recently, our principal artists have wowed critics and audiences at the Fall for Dance festival in New York, at The Hong Kong Ballet, and at Stuttgart Ballet.

This two-way flow of talent between our company and the international ballet world has many benefits. It allows our dancers to experience other repertoire and environments without having to leave their home, as their predecessors were forced to do. When we host guest stars, it brings fresh inspiration to our dancers. Sparks from the outside world – new ways of doing things, new perspectives – are always necessary. They develop artistry. And when our dancers go overseas, taking their own amazing talents and perspectives to the world, it is as if we repay in some measure the great gift that Rudolf Nureyev gave us so long ago.

We would not have seen the stunning array of guest stars who have lit up our stages if it were not for the extraordinary generosity of The Joan & Peter Clemenger Trust, which most recently supported the appearance of the international dancers at our Gala, and will support the appearance of Natalia Osipova and Ivan Vasiliev in our Melbourne season of Don Quixote.

As ever, we thank our Principal Sponsor Telstra for its invaluable and ongoing support; we are also grateful to our Supporting Sponsors, SBS and STUDIO.

Valerie Wilder Executive Director

behind the scenes

Nicole Rhodes with artists of The Dancers Company in Don Quixote, 1998

Photography Jim McFarlane

Daniel Gaudiello and Lana Jones Photography Georges Antoni

Production and choreography Rudolf Nureyevafter Marius PetipaMusic Ludwig (Léon) Minkusarranged by John LanchberySet design Anne FraserCostume design Barry KayOriginal lighting Francis Croesereproduced by Graham Silver

CasT oF CHaRaCTeRsDon QuixoteSancho Panza, his squireLorenzo, the innkeeperKitri, his daughterBasilio, a young barberGamache, a rich noblemanFriends of KitriA street dancerEspadaOld gypsiesGypsy boyThe Queen of DryadsAmourDulcineaBridesmaidsTownspeopleMatadorsGypsiesDryads

aCT 1scene 1: The house of Don Quixote Don Quixote, an eccentric yet noble old gentleman, sits at his desk reading tales of brave knights and beautiful ladies. He becomes deluded, believing that he is the successor of the medieval knights-errant, and envisages his Dulcinea, the lady of his dreams. He vows to protect her. His fantasy ends abruptly with the return of his servant Sancho Panza, being chased by maids from whom he has stolen a chicken. But Don Quixote quickly resumes his thoughts of Dulcinea and promotes Sancho Panza to the position of his squire. Together they set out in search of chivalrous adventure.

scene 2: The Port of BarcelonaKitri is searching the crowded port for her lover Basilio, a gallant but poor young barber. They meet happily in the square but her father, the innkeeper Lorenzo, tries to force her to marry Gamache, as he is a rich nobleman. The townsfolks’ merrymaking is interrupted by the arrival of Don Quixote and Sancho Panza. Lorenzo offers the old knight hospitality at his inn but Sancho Panza suffers some rough teasing from

the crowd until his master rescues him. Watching Kitri dancing with Basilio, Don Quixote becomes entranced by her beauty and believes that she is Dulcinea, the lady of his dreams; he invites her to dance with him. The port becomes congested as the townsfolk dance, and in the confusion, Kitri and Basilio run away together to get married. Lorenzo and Gamache set out in pursuit, followed by Don Quixote with his squire, all of whom are bent on setting wrongs to right.

aCT 2scene 1: The Plain of MontielKitri and Basilio find shelter in a secluded spot under a windmill, but are captured by a troupe of gypsy players. Once they prove they have nothing of value, the gypsies alert them to the imminent arrival of Lorenzo and Gamache. When the pair arrive, they are robbed. The lovers plot with the gypsies to deceive the old knight and set him against Lorenzo and Gamache. But the plans go astray when Don Quixote is distracted by the windmills, which he mistakes for monsters. He attacks them, but with unhappy results. The gypsies laugh at his misfortune while the lovers escape, with Lorenzo and Gamache in hot pursuit.

scene 2: Dulcinea’s gardenHalf-unconscious from his injuries, Don Quixote imagines that he has been transported to a magic garden. As a reward for his valour and faithfulness, the Queen of the Dryads brings to him the grateful Dulcinea and he declares his love for her. His dream world fades and Don Quixote continues his quest for the lady of his visions.

aCT 3a tavern outside the townKitri and Basilio are celebrating their reunion with their friends when they are discovered by Lorenzo and Gamache, who are still being followed by Don Quixote and Sancho Panza. Lorenzo is determined to marry his daughter to the wealthy Gamache. In desperation, Kitri and Basilio decide to try playing a last trick. Basilio pretends to stab himself in jealous despair, while Kitri implores Don Quixote for help. Remembering his vow to right a wrong, he forces Lorenzo to bless the lovers, convinced that Basilio is dying. Gamache is furious and challenges the Don to a duel, but is defeated. As the lovers are united, Basilio makes a miraculous recovery – their scheme has worked. Don Quixote, having succeeded in righting a wrong, realises that he needs to continue on with his quest. Valiantly he sets out once more to perform deeds of chivalry to protect his beloved Dulcinea.

don quixote

The premiere of Don Quixote was an instant success. But beyond that, the production, choreographed by Marius Petipa to a beguiling score by Ludwig Minkus, launched an extraordinarily long life for one of the most-loved works in the classical ballet canon. The tale of the Don, the innkeeper’s daughter Kitri, and her lover, the barber Basilio, has been performed on one stage or another around the world for close to 150 years.

Petipa was not the first choreographer to use Cervantes’ novel as the basis for a ballet, but for him, the story had a special resonance. Early in his career, after dancing in France, Petipa moved to Spain, where he performed at the King’s Theatre in Madrid. He took classes in Spanish dance and choreographed a handful of Spanish works before going on a tour of Andalusia with Marie Guy-Stéphan, who entranced her audiences with fiery Spanish divertissements.

At a festive celebration in Sanlúcar, wearing a Spanish costume and performing a Tyrolean dance on stage, he was carried away by the moment and kissed his partner, Mme Guy-Stephan, even though he knew that in Spain it was an offence to kiss a woman on stage. Urged by the audience to dance an encore, he kissed Guy-Stephan again – this time twice! He was arrested by Madrid’s Chief of Police, but the director of the dance troupe intervened, saving him a night in jail.

His partner in Sanlúcar was not his only Spanish romance. When a French diplomat based in Madrid

heard rumours that his mistress was having an affair with Petipa, he challenged him to a duel. Petipa made a hasty exit from Spain, and soon after, in 1847, accepted an offer to join the Imperial Theatre in St Petersburg as a dancer. Yet Petipa never forgot his Spanish nights, “those fandangos which he danced at the fair of Sanlúcar” as the critic André Levinson wrote.

Throughout his long career in Russia, Petipa often introduced a pas espagnole into his classical ballets, among them the Spanish divertissement (played “tempo di bolero”) in Swan Lake, and the Chocolate divertissement, danced to the clicking of castanets, in The Nutcracker.

Soon after the Moscow premiere of Don Quixote, the production migrated to St Petersburg, where the Dryads of the Don’s dream first made their appearance. Then, in a condensed version presented by Anna Pavlova, it travelled around the world. This version was Australia’s introduction to the ballet. The Don Q Act III wedding pas de deux, a virtuosic party piece, was performed in Australia for the first time in 1940, with Tamara Toumanova as Kitri and Paul Petroff as Basilio. They thrilled the audience at a midnight charity performance in Sydney.

By the mid-20th century Don Quixote had been claimed by the British, in Ninette de Valois’ 1950 production at Covent Garden. It starred Margot Fonteyn, who

the don’s lonG journey

From illicit Spanish kisses to Russian successes, from a Viennese opera house to a sweltering Australian airport hangar

– Don Quixote has been around, as Valerie Lawson relates.

Robert Helpmann in Don Quixote, 1972 Photography unknown

Rudolf Nureyev and Lucette Aldous in Don Quixote, 1972 Photography Paul Cox

On a bitter cold night in Moscow, on the 26th of December 1869, the audience at the Bolshoi Theatre was transported to another season, another place, and another time. As the curtain rose, they saw a knight in 17th-century armour, about to embark on adventures through Spain in search of his ideal woman.

swished her frilled skirt and held her long hair above her head with both hands as she gave sultry glances at Don Quixote, played by Robert Helpmann. In New York art followed life when, in 1965, George Balanchine cast himself as the Don in his own production of Don Quixote. The woman he adored, the ballerina Suzanne Farrell, was his beloved on stage. But the man who made Don Quixote completely his own was Rudolf Nureyev.

His four-decade long dance with the Don began in St Petersburg in his early 20s, when he perfected that hushed moment when the audience holds its breath as the premier danseur steps onto the stage – in absolute silence. As Basilio, he walked slowly and deliberately to his spot “like a toreador approaching a bull”, in the words of his biographer Julie Kavanagh.

Nureyev brought sparkling audacity to the role, so much so that, in the view of the critic John Percival, it was tempting to look for an autobiographical element in his portrayal of the young man “who with nothing but native wit to help him manages to end up a winner while others who started with every advantage come a cropper”.

Nureyev almost always won his battles, on stage and off, but his initial plan to produce Don Quixote for The Australian Ballet fell apart in 1965. Knowing that Yuri Soloviev, his contemporary and rival, had notched up a huge success as Basilio in Russia, Nureyev chose The Australian Ballet as the company for his own Don Quixote. Joining the company in France in the early stages of its first major international tour, he began to rehearse the ballet. But after much deliberation about the cost of the production, estimated by the then-administrator of the Australian Ballet to be £40,000, Nureyev’s production of Raymonda replaced Don Quixote on the tour.

The following year, Nureyev staged his Don Quixote for the Vienna State Opera. He commissioned Barry Kay to design the sets and costumes and asked John Lanchbery to arrange Minkus’ score. Lanchbery adapted the music to suit the light-hearted story line devised by Nureyev and brought greater authenticity to the Spanish dances the Russian choreographed, such as the jota, fandango and seguidilla.

Interviewed for Show magazine by Laura Bell in 1971, Nureyev explained that he tried to keep the six main characters playing off one another as they do in commedia dell’arte. “I wanted the story not to be about Don Quixote but about how people react to him, how they take advantage of him and devise ways to mock and laugh at him. Yet they go crazy doing this – they are as fantastic as the knight is.”

The production came to Australia when Robert Helpmann, as director of the Adelaide Festival, programmed the ballet in 1970. The starry cast included Lucette Aldous as Kitri, Nureyev as Basilio, Helpmann as the Don, Marilyn Rowe as the Street Dancer, Kelvin Coe as Espada, Ray Powell as Sancho Panza, Colin Peasley as the foppish nobleman Gamache, and Francis Croese as Kitri’s father, Lorenzo. Both Nureyev and Helpmann were eager to bring the ballet to the screen and, with much of the $700,000 budget raised by the private Australian company International Arts, filming began. Horror stories abound of the 25-day shoot, which took place in a heatwave in a vacant airport hangar outside Melbourne. The rubber flooring, placed on top of cork, on top of cement,

peeled off in the heat, as did some of the glued-on costume bodices worn by the women (Nureyev didn’t want shoulder straps showing in the film).

In his memoirs, the editor of the film, Anthony Buckley, recalls the chaos of those days. After a day’s shooting “Nureyev would look at the film, swear a lot about the dancing, and not say a word to me or anyone else. Helpmann had very quickly taken a back seat and retreated. Nureyev would insist on endless takes. All his material had to be shot first. He only had a four-week period available for all his sequences to be completed. As his schedule became tighter, the shooting day would go well into the night.”

Nureyev arrived on the set on the day before principal photography began and flew out of Australia before filming was finished, asking Buckley to complete the editing in London, where he took up residence in Nureyev’s home near Richmond Park.

The film, released in 1973, was far from the last encounter between Nureyev and the Don. In 1987, as Basilio, he partnered Sylvie Guillem at La Scala in Milan. The ballet company’s director, Patricia Neary, was shocked to see him in rehearsals, so weak that a series of pirouettes left him winded and having to sit down. She asked: “How are you going to do this?” “Don’t worry I am going to do this,” he replied.

On the first night, Guillem carried the first two acts, yet in the last act “somehow he tapped some hidden reserve and brought the house down. People went insane”, Neary said. “He was fighting everything but still he was doing it.”

The spirit of Nureyev is still doing it. As he said shortly before his death in 1993, “as long as they are putting on my ballets, I will live on”.

Valerie Lawson is an author and dance historian

Garth Welch and Marilyn Jones, 1972 Photography Paul Cox

Lucette Aldous on the set of Don Quixote, 1972 Photography Paul Cox

Nureyev explained that he tried to keep the six main characters playing off one another as they

do in commedia dell’arte.

Colin Peasley as Gamache Photography Smith Cato Barr Studios

it quite a lot. I had to do so many shows there was no other way I could do it.” Harvey managed herself well: other Kitris around her “were dropping like flies”.

The dancer needs to adopt “this almost flamenco-style carriage” without affecting their ballet technique, says Harvey. The Spanish accent, what she calls the perfume of the place, needs to be present. Attention is paid to the use of Kitri’s fan – where to open it and how to coordinate it with the movement. Then the women need to know how to use their eyes, and on it goes. “To be honest, Kitri is not a deep-thinking character. It’s not as if you have to delve too far,” she says, but each dancer has a personality to bring to the part, “whether it be sweet or fun or naughty or cute. They will be able to display that in how they dance and how they relate to the other people on stage. What I will try to do is bring out those aspects of each of them.”

Stamina is a necessary attribute too, as from the moment the dancer sets foot on stage “it has to be energy full out. There’s no letting go”. Harvey makes the point that there’s no way a dancer knows how she will feel at the end of the exceptionally testing Act I until she’s done it in performance. The adrenaline that comes from being on stage isn’t present in the studio. “You get something extra from the audience, the orchestra and your peers,” she says. “Act I for me is the killer.” Audiences may think the Act III pas de deux, much loved as a gala showpiece, is harder, but Harvey says it’s actually easier to pull off in the context of the whole ballet. “By the time you get to Act III you’ve done the hard stuff. Now it’s the fun stuff.”

For Harvey, the “fun stuff” doesn’t mean pulling out meaningless pyrotechnics, particularly if the music is slowed down to fit them in. “You don’t need to do a triple pirouette. I’m just as impressed with a double pirouette if you do it with the music. I’m amazed when I see someone’s leg behind their ear, but if that’s all I remember when I leave the theatre, it’s not important. I want to remember the story, I want to remember their

vivacity. I want to remember being moved. It’s about serving the ballet, not about serving their indulgences.”

The exponents of the role Harvey most admires today are very different dancers – Aurelie Dupont from Paris Opera Ballet and Alina Cojocaru of the Royal Ballet. Of Dupont, Harvey says she has “a superb technique that she masks. You don’t think about the technique when she’s dancing – she tells the story. We used to be told before we went on, don’t be vulgar. And I’m sure that’s what Rudolf wanted as well. Kitri’s fun, but she’s not vulgar.”

Ballet captured Harvey early. She was only a toddler when she saw Nureyev dancing with Margot Fonteyn

on television. Apart from a stint with The Royal Ballet from 1986-1988, Harvey’s career was centred on ABT, which she joined in 1974. She made a breakthrough when promoted from the corps de ballet to soloist in 1978, a time when soloists were usually brought in from outside the company. Then Anthony Dowell, luminary of The Royal Ballet, asked her to dance Kitri with him at ABT the following year – a signal honour. It is a tribute to Harvey’s down-to-earth nature that the ranks of the corps she had so recently left were thrilled for her, sending her flowers. They saw it as one of their own getting a richly deserved break.

Harvey admits to having been in “a small state of panic” when she got the word in 1983 – she was by then a principal artist – that there was a telecast planned and Baryshnikov wanted her in it. It was only two weeks before the event, she hadn’t danced the role for some time, and was “sixth or seventh cast” when she did, Harvey says with disarming frankness. Natalia Makarova, Martine Van Hamel, Cynthia Gregory, Gelsey Kirkland and Marianna Tcherkassky were all on the ABT roster at the time, as was Yoko Ichino, who was dancing with Radojevic.

“I was very fortunate to be chosen by Misha, regardless of it being by default,” Harvey says with a laugh – apparently Kirkland was to have been in the telecast, but dropped out. “Later on [Baryshnikov] had to give a few press statements and he always said very nice things.”

And why would he not? Harvey was a spectacular Kitri, displaying the traits she so admires in Dupont: her superb technique was completely in the service of the character and the ballet. “We had fun,” she says. “That’s the whole premise of the production, in Rudolf’s and in Misha’s, the light-heartedness of it.”

Deborah Jones is a Sydney-based writer specialising in dance

the perfume of the placeCynthia Harvey, who has coached the role of Kitri in this season of Don Quixote, has special connections to the ballet’s greatest exponents, as Deborah Jones relates.

I’m amazed when I see someone’s leg behind their ear, but if that’s all I remember when I leave the theatre, it’s not important.

I want to remember the story, I want to remember their vivacity.

When American critic Anna Kisselgoff saw The Australian Ballet perform Don Quixote with Rudolf Nureyev during the company’s 1971 US tour, she pronounced it “a merry version, brilliantly danced”. The film of his production, made with The Australian Ballet and starring Nureyev and Robert Helpmann, meant dance fans the world over could see Nureyev’s unstoppable brio as the amorous but penniless barber Basilio. Giving as good as she got, Lucette Aldous’s Kitri was an earthy livewire, bursting out of her skin with high spirits.

A decade later, another film of Don Quixote caused a sensation in the ballet world. It was the brainchild of another multi-tasking superstar, Mikhail Baryshnikov, then artistic director of American Ballet Theatre and at the peak of his powers. His version differed somewhat from Nureyev’s and, if possible, gave Basilio – and therefore himself – even more swagger and charm. For the recording of a live performance in 1983, Baryshnikov, like Nureyev, needed a partner able to go toe to toe with him, a Kitri whose spark could equal his and at times better it. Nureyev had Aldous; Baryshnikov had Cynthia Harvey.

Thirty years on, Kitri is still part of Harvey’s life. Now a busy teacher and coach, based in England but working around the world, she was invited by The Australian Ballet’s Artistic Director David McAllister to help prepare a new generation of Kitris for the company’s 2013 season. It is her third time at The Australian Ballet; she first visited in 2008, although her Australian connections go back much further. The Australian Ballet’s Associate Artistic Director Danilo Radovejic was a member of ABT during Harvey’s time, and she danced with Steven Heathcote when he was a guest artist in New York. Her first Swan Lake was with Ross Stretton, later to become an artistic director of The Australian Ballet – “simply a great partner” – and she also danced with John Meehan, one of The Australian Ballet’s early great stars. Heathcote, with whom Harvey had “so much fun”, takes on the title role in Don Quixote this year, and has coached the latest

crop of men dancing Basilio, so there is no shortage of familiar faces.

This is more than just a pleasant way to work, however. Associations that connect one generation to the next are part of classical ballet’s DNA. Harvey, for example, was coached as Kitri by Baryshnikov and Elena Tchernichova, then ABT’s ballet mistress. Tchernichova was from the Kirov (now Mariinsky) Ballet, as was Baryshnikov and Nureyev before him. The Russians “have all that character dancing in their schooling; [Tchernichova] understood how the head tilted. Misha danced every role when he was teaching us the ballet – he would show us in slow motion how we had to move our arms and head and neck,” says Harvey. Later she was coached by Irina Kolpakova, who “had the whole tradition of Vaganova and the Kirov behind her. I’m coming from the same place as Rudolf.”

Harvey was explicitly pointed towards the dynamics shown by Kirov great Ninel Kurgapkina, evident in a brief clip that accompanied a Russian news report after her death in 2009 at the age of 80. The excerpt from Act I is “at the speed it should be danced and as I was taught”, says Harvey. Kurgapkina is important because not only was she Kitri to Nureyev’s first Basilio (she was nine years his senior), but she also later partnered Baryshnikov in the ballet. The thread goes back even further. Kurgapkina was one of the last pupils of pedagogue Agrippina Vaganova, who had a direct connection with Marius Petipa.

What does this mean for the women of The Australian Ballet, coached by Harvey? Certainly not that they should slavishly imitate others, but that they understand the style of the work and its essence. Initially Harvey likes to stay very quiet and watch what dancers can do and what difficulties there may be. “I can tell them where they can breathe and where they can rest, if there’s any rest at all, and also there are certain things I know that will help them not get injured in executing some of the jumps, because I’ve analysed

Cynthia Harvey as Kitri, 1980 Photography Jack Mitchell

Jessica Fyfe, Eloise Fryer and Halaina Hills

Lana Jones, Daniel Gaudiello and Steven Heathcote

Robyn Hendricks

Lana Jones and Daniel Gaudiello

Vivienne Wong

Photography Lynette Wills

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Born in New Zealand, designer Anne Fraser began her career in advertising before joining the Union Repertory Theatre (now the Melbourne Theatre Company), for which company she designed the original production of Summer of the Seventeenth Doll, as well as its subsequent London production. This was followed by Swan Lake for the Borovansky Ballet and The Gondoliers and The Mikado for JC Williamson. Productions of Symphony in Gold for The Australian Ballet and The Constant Wife for Williamson’s were followed by engagements with the South Australian Theatre Company and, as Head of Design, with the Old Tote Theatre Company.

While freelancing as a designer Anne Fraser worked for the Melbourne Theatre Company, the Victoria State Opera (The Return of Ulysses, Die Fledermaus and Eugene Onegin), the South Australian Opera (Cappiccio and Countess Maritza) as well as designing and setting up the Performing Arts Museum at the Victorian Arts Centre and designing the initial exhibition, They Call Me Melba. My Fair Lady and costumes for Andrea Chenier for the Victoria State Opera followed. In 1992 she designed Reg Livermore’s production of La traviata for the Victoria State Opera.

Anne Fraser’s design for The Australian Ballet’s La Sylphide won her the 1985 Green Room Award for Ballet Design. In 1993 she was made a Member of the Order of Australia for her contribution to theatre and design.

Rudolf Nureyev was the most famous and influential dancer of his generation, and his legacy can still be felt in today’s ballet world. He revolutionised male classical dancing and brought the danseur out of the ballerina’s shadow. As well as being an electrifying performer, he was a talented choreographer, producer and director; towards the end of his life he even tried his hand at conducting.

Nureyev was born on the Trans-Siberian railway in 1938, while his mother was en route to join his father in Vladivostock. He was from a poor peasant family in the Urals, but his drive and determination (along with the encouragement of his mother) took him to St Petersburg, where he successfully auditioned for the Leningrad School. Despite his late start – he was 17 when he joined the school – he progressed quickly and ended up under the tutelage of the legendary teacher Alexander Pushkin, who became his mentor and father figure.

Don Quixote played a fateful part in Nureyev’s career. In 1960 he was dancing with the Kirov, and Janine Runguet, who was arranging the Kirov’s tour to the West, saw his performance as Basilio. Astonished by his talent, she insisted, against considerable opposition (Nureyev had a reputation as a troublemaker) that he be allowed to join the tour. It was while he was in Paris with the Kirov in 1961 that Nureyev made his famous “leap to freedom”.

His career after his defection was prodigious. He worked with just about every choreographer of note, from Martha Graham and George Balanchine to Frederick Ashton and Kenneth MacMillan. He staged versions of the Russian classics, and guest starred all over the world. He choreographed, directed ballet films, and acted. Perhaps his most significant encounters in the West were with the legendary Danish dancer Erik Bruhn, who taught him delicacy of technique and expression, and with Margot Fonteyn. Nureyev’s partnership with Fonteyn, who was almost 20 years older than him when they met, was the most important of both their lives, and brought them global fame and adulation.

In 1983, Nureyev took up the directorship of the Paris Opera Ballet, where he galvanised the dancers and the repertoire. Despite increasing ill health, he danced almost to the end of his life.

With each performance of Nureyev’s Don Quixote, The Australian Ballet pays tribute to this extraordinary artist.

Melbourne-born Barry Kay received his first design commission from Victorian Ballet Guild in 1954 for Laurel Martyn’s staging of Ivanov’s Swan Lake (Act 2) and Alison Lee’s Spanish-flavoured work Maldicion. He later travelled to London, and quickly gained recognition there. In 1964 he began a lifelong association with Kenneth MacMillan, and also worked with Rudolf Nureyev, designing his initial production of Don Quixote (Vienna Staatsoper Ballett, 1966) and a stunning new production of Raymonda (Act 3).

During 1967 he worked again with MacMillan in Berlin, designing the decor and costumes for The Sleeping Beauty, which set new vistas in classic design, and also MacMillan’s original one- act Anastasia to a three-act ballet in 1971 for The Royal Ballet. As an Australian, Barry Kay’s greatest international success was Rudolf Nureyev’s new production of Don Quixote for The Australian Ballet (1970), which was filmed in 1972 and released the following year as a feature-length film. Barry Kay created new designs for the film and its success throughout the world confirms its place as an important milestone of cinematic ballet. In addition to designing for dance, Barry Kay worked in other branches of the theatre – The Aldeburgh Festival, The Royal Opera, The Old Vic Company and The Royal Shakespeare Company – evidence of the diversity of a most remarkable artist.

rudolf nureyev

Anne frAser bArry KAy

Choreographer

Set designer Costume designer

choreogrApher creAtives

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Lucinda Dunn, 2007 Photography Justin Smith

For generations, The Australian Ballet’s stars have exulted in Nureyev’s Don Quixote.

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Nicole Rhodes and Li Cunxin, 1998 Photography Jim McFarlane

David McAllister, 1999 Photography Branco Gaica

Adam Bull and Olivia Bell, 2007 Photography David Kelly

Lucinda Duinn and Robert Curran, 2007 Photography David Kelly

Kirsty Martin, 2007 Photography David Kelly

Lucinda Duinn and Robert Curran, 2007 Photography Justin Smith

Felicia Palanca, 1999 Photography Branco Gaica

Artists of The Australian Ballet in the film version of Don Quixote, 1972 Photography Paul Cox

Nicole Rhodes, 1998 Photography Jim McFarlane

Rudolf Nureyev and Lucette Aldous, 1972 Photography Paul Cox

Miranda Coney, 1993 Photography Earl Carter

Garth Welch and Lucette Aldous, 1972 Photography unknown

Don Quixote is a schizophrenic ballet. One moment it’s all Spanish(ish) fireworks, coquetry and camp: the next minute it sweeps us away, via a dream sequence, to a vision of delicate classicism. Amour sports with her cupid’s arrows amid gilded dryads, while the gently born Dulcinea enchants her knightly swain – it’s a journey sideways to the Parisian-inflected refinement of The Sleeping Beauty. For the ballerina dancing Kitri, this interlude is a chance to display her versatility: can she be both knockabout hoyden and Princess Aurora? For the audience, it’s a reminder of Petipa’s range as a choreographer, but it’s also something more. Without his dream sequence, the Don remains a figure of fun, a senile fool doddering on the edges of the action. With it, he is restored to dignity. His dreams, we are shown, are noble – a realm away from and above the rough and tumble of gypsies and villagers. In this moment he embodies the human tendency to dream of better things, which is perhaps always part-folly.

It’s a perfect example of the way dream sequences can transcend their own mechanics. As any hack writer will tell you, a dream is a handy device. It allows you to dodge logic, change the scenery, and wriggle out of narrative dilemmas. However, in its very suspension of the everyday, a visionary interlude lets in all kinds of interesting things – sensuality, fantasy, violence, grandeur. If you were a Freudian, you’d say that just like our real dreams, the dream sequence opens up the underground kingdom of the psyche.

Marius Petipa loved a good vision scene. As well as being a great artist, he was a crowd-pleaser (and a ballerina-pleaser, not above adding a variation to satisfy a star). His own visions were majestic, and he loved to heap up spectacle and variety. In Don Quixote, he uses the delusions of the old knight to switch from a lively folk scene to a courtly paradise. In The Sleeping Beauty, he has the Lilac Fairy bring the Prince an apparition of the sleeping princess, allowing the couple to dance together before they’ve even met. In The Pharaoh’s Daughter, an opium-smoking scene gives him free rein to bring mummies to life and transport an English lord back in time, fresh for romance (and lots of dancing) with an Egyptian princess. And in La Bayadère, an opium hallucination allows Petipa to create one of the eeriest and loveliest moments in the ballet canon.

La Bayadère, with its fevered exoticism and hectic plot (involving temple dancers, vengeful love, wrecked

temples and deadly snakes), clears for one raindrop-pure moment when the warrior Solor, mourning his murdered beloved, Nikiya, decides to drown his sorrows with opium. His narcotic state transports him to a Himalayan ghost world, the Kingdom of the Shades. In costumes based on a Gustave Doré engraving for Dante’s Paradisio, a corps of wraiths descends the mountainside in a series of twining lines and deep arabesques to frame the stage, where Solor is reunited with the ghost Nikiya. With its massed formations of white tutus, its precise patterns and classical lines, the Kingdom of the Shades scene is the apotheosis of Petipa’s Russian Imperial style – with a dash of French, ghost-loving Romanticism. And then – back to the Indian temple and a Cecil B de Mille-esque scene of mass destruction. Who could pull that off without the aid of opium?

Modern dance makers have been similarly enamoured of the dream sequence. Mikhail Fokine’s one-act fantasy Le Spectre de la Rose is entirely a dream, that of a young girl who falls asleep after her first ball with a rose in her hand. The rose comes to life as a sinuous young man, “awakening” the girl to dance with him (as in The Sleeping Beauty, the sexual metaphor, while subtly and sweetly deployed, is deliciously frank). Similarly, in John Cranko’s Onegin, a dream allows the expression of a young girl’s roused sensuality. In Pushkin’s poem, from which the ballet is derived, Onegin and Tatiana’s ill-timed passions for one another are unfulfilled; there is no love scene. Cranko uses Tatiana’s dream of Onegin to open up the text in an almost literal sense: the luminous blue of night pours through the windows, Onegin walks through Tatiana’s looking glass, and the stage is set for a typically Cranko pas de deux, heady with desire and exultation.

The same dilemma is solved in the same way by Petipa in The Sleeping Beauty. True, after the awakening kiss, the lovers get a nuptial pas de deux; but that’s a long time to wait for your leading couple to clinch. The sylvan vision scene lets the Prince learn Aurora’s charms in a secret-garden setting, a far more intimate moment than a fraught, spell-breaking kiss sandwiched between a fight scene and a wedding. The journalist Ismene Brown finds the sensuality of the vision scene explicit in Aurora’s movements: “… those large repeated leg lifts like signals of readiness for awakening, their erotic message underlined by contrast with the demure skipping of the nymphs attending her.”

What a dream lets in is not always so delightful. In Matthew Bourne’s version of Swan Lake, the swans (bare-chested men with punkish black stripes over their heads) come to torment the Prince as he lies in his asylum bed; it’s unclear whether they are real or his delusions, but either way, they cause his death. In Graeme Murphy’s version of the same ballet, the fragile Princess Odette is also in an asylum; she comforts herself for her husband’s infidelity with visions of guardian swans, who gather protectively around her as she dances with her imaginary prince. In this scene the lake is frozen, symbolising Odette’s stopped-clock, fractured mind. The ballet ends with her death by drowning, like the mad King Ludwig II in John Neumeier’s Illusions – Like Swan Lake, who has earlier dreamed of himself as Prince Siegfried.

In The Nutcracker, which begins with a cosy family Christmas party, the night and Clara’s dreams (and perhaps a touch of magic from the Hoffmann-ish figure of Herr Drosselmeyer) let in dancing snowflakes and sweets, a sugar-plum prince, and in some productions, a flying goose. But before Clara’s bold work with a slipper defeats them, they also let in rat hordes whose scuttling, sinister shadows never entirely leave the imagination, even as the Kingdom of Sweets unfolds its delights. In Graeme Murphy’s adult reimagining of the ballet, the battle with the rats is given an extra dose of dark: the rats are Bolsheviks, who kill Clara’s lover during the Russian Revolution. There is no banishing of this nightmare with a flung slipper. Clara’s loss and sadness is with her until her death.

Why, when ballet is so full of fancy – fairy-tale characters, ghosts, spells, enchanted birds – does it need the dream at all? Why doesn’t it cut, as it often does, straight to the weird and wonderful? Perhaps the best answer to this question is Giselle, and the way in which the chill, unearthly, wili-haunted atmosphere of the second act is given extra power by its contrast with the cheery, homely, rustic scenes of the first (a similar contrast is effected between the court and the woods in Swan Lake). Dreams and visions open seams in reality, letting in the kind of awe you feel when that Nutcracker Christmas tree grows to fill an Edwardian drawing room or those Bayadère ghosts descend the mountain in stately procession. In these moments, the daytime is ruptured, and night rushes through.

Rose Mulready is The Australian Ballet’s publications editor

and then i WoKe up…

Dreams and visions in ballet open doors to deeper levels. Rose Mulready walks through.

Amber Scott in Onegin, 2012 Photography Lynette Wills

Tim Harbour and Rachel Rawlins in Le Spectre de la Rose, 2006 Photography Justin Smith

Ako Kondo with The Dancers Company in Don Quixote, 2012 Photography James Braund

Artists of The Australian Ballet in La Bayadère, 2005 Photography Branco Gaica

Elisa Badenes was born in Valencia, Spain. From 2002 until 2007 she attended the Conservatorio Profesional de Danza de Valenzia. At the Prix de Lausanne in 2008 she won a scholarship for The Royal Ballet School, and she graduated from there one year later. At the Youth American Grand Prix, she won the Gold medal in the category Senior Women and the award for the Best European Dancer. In 2011 she participated at the competition for the Erik Bruhn Prize in Toronto, Canada and won the Audience Choice with her partner Daniel Camargo. They performed the pas de deux from the third Act of Don Quixote (Marius Petipa) as well as the pas de deux Little Monsters, which Demis Volpi created for them specially for this occasion In the 2009/10 season Elisa joined the Stuttgart Ballet as an apprentice; in the 2010/11 season she was taken into the corps de ballet. She is now a soloist with the company.

Natalia Osipova was born in Moscow in 1986. She graduated from the Bolshoi Ballet Academy in 2004 and joined Bolshoi Ballet the same year. In May 2010 she was named a principal dancer of the company.

Natalia has appeared as a guest artist with the Mariinsky Ballet (Kitri in Don Quixote, the title role in Giselle), Zurich Ballet (Sylph in La Sylphide), the Mikhailovsky Ballet (the title role in Giselle), the Novosibirsk State Ballet (Nikiya in La Bayadère, Kitri in Don Quixote, the title role in Giselle), Teatro alla Scala (Kitri in Rudolf Nureyev’s Don Quixote), Paris Opera Ballet (Doll in Petrushka, Clara in Rudolf Nureyev’s The Nutcracker), and American Ballet Theatre (title role in Giselle, Sylph in La Sylphide, Kitri in Don Quixote, Aurora in The Sleeping Beauty, and Juliet in MacMillan’s Romeo and Juliet).

She has won numerous awards, including the Benois de la Danse Award for Best Female Dancer in 2008, and starred in the Bel Air Classiques film of Alexei Ratmansky’s The Flames of Paris.

Natalia made her first appearance with American Ballet Theatre as a guest artist in 2009, dancing the title role of Giselle and the Sylph in La Sylphide. She was made a principal at ABT in 2010.

Since becoming a principal dancer with Mikhailovsjky Ballet of St. Petersburg in 2012, Osipova has made her debut as the title role in Laurencia and as Odette-Odile in Swan Lake.

Born in Western Australia, Steven Heathcote took up ballet lessons at the age of ten. He was accepted into The Australian Ballet School at the age of 16 and was offered a contract with The Australian Ballet in 1983.

Steven experienced a rapid rise to the rank of principal artist, a position he sustained for 20 years. He was invited to perform as guest artist with some of the world’s major ballet companies, including American Ballet Theatre, Birmingham Royal Ballet, the Royal Danish Ballet and the Mariinsky Ballet.

After retiring from the dance stage in 2007 as The Australian Ballet’s longest serving principal artist, Steven appeared in the 2009 feature film Mao’s Last Dancer and has been actively engaged in specialised coaching for dancers, public speaking, presenting and acting.

In 2010 Steven conceived and directed a new production of Handel’s Julius Caesar, for Victorian Opera. In 2012 he returned to opera as choreographer and assistant director to John Bell for the Victorian Opera’s new production of Stravinsky’s The Rake’s Progress.

Steven lives in Melbourne with his wife Kathy, a former dancer with The Australian Ballet and now a Kundalini Yoga teacher, and their two teenage children.

Daniel Camargo was born in Sorocaba, Brasil. He received his first ballet lessons at a private school and attended the Teatro Guaira Ballet School in Curitiba, Brasil from 2000 until 2005, when Tadeusz Matacz, Director of the John Cranko Schule, discovered him at the Youth America Grand Prix and invited him to continue his education in Stuttgart. He graduated in 2009. During the performance at the end of his last school year he danced the technically extremely demanding solo Notations I – IV, which Uwe Scholz created for Vladimir Malakhov in 1996. In the 2009/10 season Daniel Camargo was taken into the Stuttgart Ballet’s corps de ballet. In the 2010/11 season he won the German Dance Prize (Future). In 2011 he participated at the competition for the Erik Bruhn Prize in Toronto, Canada and won the Audience Choice with his partner Elisa Badenes. They performed the pas de deux from the third Act of Don Quixote (Marius Petipa) as well as the pas de deux Little Monsters, which Demis Volpi created for them specially for this occasion.

Daniel is now a soloist with the company.

Ivan Vasiliev was born in Vladivostok, Russia in 1989. He studied at the Dnepropetrovsk Ballet School in Ukraine and later at the Belorussian State Choreographic College in Minsk, graduating in 2006. In 2006 he was invited to join Bolshoi Ballet as a soloist, making his debut with the company, at age 17, as Basilio in Don Quixote. He was promoted to the rank of principal dancer in May 2010.

He has made numerous guest appearances and won numerous awards, including the British Critics’ Circle National Dance Awards for Best Male Dancer in 2010 and the Benois de la Danse prize for his performances in Le Corsaire and The Flames of Paris (2009); he also starred in the Bel Air Classiques film of Alexei Ratmansky’s The Flames of Paris, which was transmitted live into movie theatres across Europe and will be released on DVD.

Ivan made his first appearance with American Ballet Theatre as a guest artist in 2011, dancing Pyotr in Bright Stream. His 2012 season with ABT included the title roles in La Bayadère and Le Corsaire. He became a principal dancer with American Ballet Theatre for the 2012/13 season.

Since becoming a principal dancer with the Mikhailovsky Ballet of St. Petersburg in 2012, Vasiliev has made his debut in The Sleeping Beauty, Laurencia and Swan Lake.

nAtAliA osipovA ivAn vAsiliev elisA bAdenes dAniel cAmArgo steven heAthcote cynthiA hArvey frAncis croese

Guest artist Melbourne season

Guest artist Melbourne season

Guest artist Sydney season

Guest artist Sydney season

Guest artist and coach Guest teacher and coach

Guest artist and Lighting Designer

guests

Am

Lana Jones Photography Georges Antoni

Cynthia Harvey danced virtually every ballerina role with American Ballet Theatre and also had the distinction of being invited by Sir Anthony Dowell to be a principal ballerina of the Royal Ballet – the first American dancer to have that honour. She performed as a guest artist with Baryshnikov and Company, Nureyev and Friends and numerous major companies before retiring in 1996.

She is co-author of Physics, Dance and the Pas de Deux and is much in demand as a guest teacher and ballet mistress, teaching for such companies as American Ballet Theatre, The Australian Ballet, The Royal Ballet and The Royal Swedish Ballet.

She staged Giselle in 2009 for the Norwegian National Ballet Company, and in 2010 the premiere of her full-length production of The Sleeping Beauty for The Hong Kong Ballet was met with acclaim.

Cynthia has been on the board of DanceEast, the national agency for dance in England, and was a prominent member of the committee, composed of major ballet directors and ballet school directors from around the world. She stepped down as the standards assessor for The Council for Dance Education and Training in the U.K. in 2010. She has recently been made a member of the International Council of Dance.

Newcastle-born Francis Croese began his dance studies with Tessa Maunder before attending the inaugural year of The Australian Ballet School in 1964. During his 12-year dancing career Francis Croese achieved the rank of Senior Soloist and partnered many guest and Australian Ballet ballerinas including Margot Fonteyn, Marilyn Jones, Marilyn Rowe, Lucette Aldous, Antoinette Sibley and Kathleen Gorham.

Francis Croese was appointed The Australian Ballet’s assistant stage manager in 1976, stage manager the following year and stage director in 1983. During this time he worked closely with the company’s director of productions, William Akers, on all aspects of production and lighting design and in 1982 created the lighting for the Kozlovs’ production of The Nutcracker. In 1995, Francis Croese was appointed technical director. During his technical career he worked with many of the world’s leading set and lighting designers and in some of the world’s great opera houses. At the end of 2007, Francis retired from The Australian Ballet.

He has created lighting designs for The Australian Ballet, The Australian Ballet School, The Dancers Company, San Francisco Ballet’s UNited We Dance Festival, Japan Ballet Association and, most recently designed the lighting for Stanton Welch’s new production of La Bayadére for Houston Ballet.

The late John Lanchbery was commissioned by Rudolf Nureyev to arrange the score for his production of Don Quixote. Here, Lanchbery explains his approach to the music.

music noteOlivia Bell, 2007

Photography David Kelly

Conductor John Lanchbery, 1997 Photography Jim McFarlane

In Russia in the second half of the 19th century, the growth and popularity of the arts resulted in the immigration of a number of non-Russian musicians who served a useful purpose until such time as the great Russian school of composers came into force.

In the ballet of the time the music had above all to be melodic, easily remembered, and simple in its form and rhythmic pattern. The more symphonic approach to ballet music had to wait for Tchaikovsky and Delibes to pioneer it and for Diaghilev’s composers to develop it. The three official Russian ballet composers of the period (it was at this time a sort of government post!) were all non-Russian: Pugni, Minkus and Drigo (in chronological order).

Ludwig Minkus was born in Vienna in 1827 and went to Russia at the age of 25. He stayed there for 33 years, and then retired to his native land, where he died four years later. He wrote more than 20 ballets in Russia, of which Don Quixote, first produced in Moscow in 1869, was one of the best successes. His ballet music from first to last was uncomplicated,

unadventurous, and just occasionally uninteresting. His unending fund of melody was at its best in waltz-time, obviously because of his early life in Vienna; when in doubt he wrote in this rhythm, and it is fun to note that in his tragic ballet La Bayadère, a story of fatal snake-bite, unrequited love and a haunted temple in mythological India, the best musical moment is when a corps de ballet of beautiful Hindu lady-ghosts waltz around the stage to a Viennese 1-2-3.

Don Quixote is one of Minkus’ best scores, being cheerful, light-hearted and full of gay Spanish atmosphere (in addition to the usual quota of waltzes). The original music is so simple in places it is impossible to believe it was written only five years before Swan Lake, which was criticised at its premiere for being too symphonic.

Like the scores for all 19th-century ballets that have stayed in the Russian repertoire, Don Quixote has long ago been tinkered with, added to and subtracted from without mercy. When Nureyev commissioned me to do a completely new version of it for (coincidentally) the Vienna Opera House in 1966, I therefore suffered no pangs of conscience in trying to improve the hotch-potch which has survived as Minkus’ score. I adapted it to the lighter story line that Nureyev wanted, wrote a few numbers, brushed up all that we thought worth saving, but above all set out by completely reorchestrating the whole work to get away from the bread-and-butter scoring of Minkus. In particular, I tried to bring greater authenticity to the Spanish numbers, but in spite of this somewhat alarming catalogue of what I have done, I am sure that enough of Minkus’ own special genius, that of sparkling instant melody, shines through.

John Lanchbery, 1986

“Don Quixote is one of Minkus’ best scores, being cheerful, light-hearted

and full of gay Spanish atmosphere”

conductor

Nicolette Fraillon began her music studies on violin and piano at an early age. At 16 she conducted her first concert with the Victorian Junior Symphony Orchestra. She graduated on viola from Melbourne University in 1982, gaining an equal first place in her year in Performance. From 1984–87 she furthered her instrumental studies at the Hochschule für Musik in Vienna and from 1987–88 in Hannover. During her time in Germany and Austria Nicolette toured with many orchestras, including the Salzburger Chamber Ensemble and the Chamber Orchestra of Bassano, and was a member of the Haydn Quartet, based at the Esterhazy Palace in Eisenstadt.

In 1990 Nicolette moved to the Netherlands, where she became Assistant Musical Director for the 1991–92 season of Les Misérables in Amsterdam and The Hague. In 1992 she was admitted to the Netherlands Broadcasting Association’s International Conductors’ Masterclass, resulting in a performance with the Dutch Radio Symphony Orchestra in the Concertgebouw in Amsterdam. This led to an invitation to conduct for the Nederlands Dans Theater. She was then invited to become Music Director and Chief Conductor of the National Ballet of the Netherlands, working with such renowned choreographers as Hans van Manen, Toer van Schayk, Rudi van Dantzig and Krzysztof Pastor, and conducting numerous world premieres. During the following five years she worked with the North Holland Philharmonic Orchestra, the New Sinfonietta Amsterdam, Noord Nederlands Orchestra, the Gelders Orchestra in Arnhem, the Limburg Symphony Orchestra, the Residentie Orchestra in The Hague, the Kanazawa Chamber Orchestra (Japan) and the Finnish Ballet.

In 1998 she took up the position of Director at the School of Music, Australian National University, and continued her conducting work with the West Australian Ballet, the West Australian Symphony Orchestra, the Australian Youth Orchestra and the Canberra Symphony Orchestra.

She debuted with The Australian Ballet in 2002, conducting Spartacus, and was then invited by David McAllister to become Music Director and Chief Conductor, beginning in January 2003. Since joining the company, Nicolette has conducted all programmes for The Australian Ballet, including three overseas tours, and has been a guest conductor for San Francisco Ballet. Following The Australian Ballet’s 2005 tour to the UK, Nicolette was, in 2006, invited back to conduct The Sleeping Beauty with Birmingham Royal Ballet. In 2007 Nicolette guested with the New York City Ballet. In 2008 she returned to the Birmingham Royal Ballet for a Nutcracker season, then finished the year with a New Year’s Gala in Skopje with the Macedonian Philharmonic Orchestra. In early 2011, Nicolette guested with San Francisco Ballet, conducting their production of Giselle.

Music Director & Chief Conductor

nicolette frAillon

Rudolf Nureyev with artists of The Australian Ballet during rehearsal for the film Don Quixote, 1972

Photography Paul Cox

Newcastle-born Olivia Bell competed in the Prix de Lausanne competition and won a scholarship to the Paris Opéra Ballet School, where she graduated in 1995. Joining The Australian Ballet the same year, Olivia would go on to dance some of The Australian Ballet’s most coveted lead roles, hailed variously as “imperious and sinuous”, “truly exquisite”, and for her “cool, sensitive precision”. In 1996 she was awarded a Khitercs Foundation scholarship, enabling her to study abroad. Olivia’s acclaimed performances in everything from the most classical of ballets to contemporary pieces have shown her great versatility. A career highlight was her debut in the title role of Manon in 2008. Olivia was promoted to principal artist in 2007.

Repertoire highlights •Graeme Murphy’s Swan Lake 2002–10 •Jerome Robbins’ Afternoon of a Faun 2008 •Sugar Plum Fairy in Peter Wright’s The Nutcracker 2007, 2010 •Christopher Wheeldon’s After the Rain©, Continuum© and Mercurial Manoeuvres© •Terpsichore in George Balanchine’s Apollo 2007 •Zobeide in Schéhérazade 2006 •Jirí Kylián’s Petite Mort and Stepping Stones 2005 •Flavia in Spartacus 2003 •William Forsythe’s In the Middle, Somewhat Elevated 1996 and The Vertiginous Thrill of Exactitude 2000 •Grande Pas Classique 2008 •George Balanchine’s Agon 2004, Serenade, Symphony in C and Ballet Imperial

Guest appearances •The Dancers Company tour 2001

you may not know … An image of Olivia features on The Australian Ballet’s 50th anniversary collectors coin.

Adam Bull was born in 1981 and began training at Dance World 301 with Brian Nolan before joining The Australian Ballet School. In 2000 he represented Australia in the Paris International Ballet Competition, before graduating from The Australian Ballet School with honours in 2001. Adam joined The Australian Ballet in 2002, going on to dance soloist and principal roles in works by George Balanchine, Jirí Kylián, Graeme Murphy, Christopher Wheeldon, Stephen Baynes, Stanton Welch, Nicolo Fonte and Wayne McGregor. After just six months as a senior artist, Adam was promoted to the highest rank of principal in June 2008, capping off a string of critically acclaimed lead performances. Performances in principal lead roles in the company’s tours to Paris, London, Manchester and Japan have also been career highlights.

Repertoire highlights •Romeo in Graeme Murphy’s Romeo & Juliet 2011 •Danilo in Ronald Hynd’s The Merry Widow 2011 •Graeme Murphy’s Nutcracker - The Story of Clara 2009 •Prince Florimund in Stanton Welch’s The Sleeping Beauty 2009 •Des Grieux in Sir Kenneth MacMillan’s Manon 2008 •Prince Siegfried in Graeme Murphy’s Swan Lake 2008 •The Prince in Peter Wright’s The Nutcracker 2007, 2010 •Basilio and Espada in Don Quixote 2007 •Albrecht in Giselle 2006

Guest appearances •Fall for Dance Festival, New York 2011•Stuttgart 50th Anniversary Gala 2011 •The Dancers Company tour 2006

awards •Green Room Award “Year’s work” nomination 2009 •Benois de la Danse Best Male Dancer nomination for Graeme Murphy’s Swan Lake 2009 •Telstra Ballet Dancer Award nominee 2006 and 2004 •Green Room nomination for Albrecht in Giselle 2006 •The Australian Ballet Society Scholarship in 2001

you may not know ... “I have ticked off a lifelong dream of visiting the Antarctic continent, doing so in our summer break at the end of 2009. Landing at the same site as the famous Australian explorer Sir Douglas Mawson was an awe-inspiring and life-changing experience.”

A graduate of The Australian Ballet School, Perth-born Madeleine Eastoe joined the company in 1997 and danced many lead roles before being promoted to principal artist following her debut as Giselle in 2006. Madeleine has particularly enjoyed working one on one with choreographer Stephen Baynes to create the lead role in 2007’s Constant Variants, and dancing with guest artists such as Angel Corella in La Fille mal gardée and Cédric Ygnace in Giselle. A career highlight was dancing Odette on the opening night of Graeme Murphy’s Swan Lake in London, a role she reprised on the company’s 2007 Japan tour and 2008 Paris and Manchester tours. Madeleine has also toured internationally with The Australian Ballet to China, Singapore, New Zealand and the USA.

Repertoire highlights •Juliet in Graeme Murphy’s Romeo & Juliet 2011 •Peter Wright’s The Nutcracker 2007 •Kitri in Don Quixote 2007 •Stephen Baynes’ Constant Variants 2007 •Giselle in Giselle 2006 •The Sylphide in La Sylphide 2005 •Odette in Graeme Murphy’s Swan Lake 2005 •La Fille mal gardée 2004 •Juliet in John Cranko’s Romeo and Juliet 2003 •Clara in Graeme Murphy’s Nutcracker – the Story of Clara 2000

awards •Telstra People’s Choice Award 2006 •Green Room Award 2005 •Helpmann Award nomination 2003

you may not know … Madeleine is a big fan of Roger Federer.

Lucinda Dunn received her early training in Sydney with Janece Graham and Tanya Pearson before going on to win a Prix de Lausanne scholarship to study at The Royal Ballet School, London. While in London she also performed with Birmingham Royal Ballet. In 1991 Lucinda joined The Australian Ballet and was promoted to principal artist in 2002. She has also been awarded several scholarships to study overseas and has been partnered by many international guests of The Australian Ballet. A diverse and musical dancer with a strong technique, Lucinda excels in the pure classical ballets and enjoys portraying characters in story ballets, as well as the physicality of contemporary pieces.

Repertoire highlights In addition to the ballerina roles in all of the major classical ballets such as Giselle, Romeo and Juliet, Swan Lake and Coppélia, a particular career highlight for Lucinda was dancing the world premiere of Stanton Welch’s The Sleeping Beauty in 2005 and most recently, dancing Firebird and Nutcracker – The Story of Clara by Graeme Murphy. Other highlights include her performances on The Australian Ballet’s tours to London, Tokyo, Italy, Shanghai and New York, as well as dancing lead roles in contemporary works by Christopher Wheeldon, Jirí Kylián, Jerome Robbins, George Balanchine, Twyla Tharp, Nicolo Fonte and Stephen Baynes.

Guest appearances •The Royal Danish Ballet •Birmingham Royal Ballet •World Ballet Festival, Tokyo 2009, 2006 •Morphoses/The Wheeldon Company 2009

awards •Helpmann Award nomination for Best Female Dancer, 2011, 2010 •Australian Dance Award for Outstanding Performance 2008 •Helpmann Award nomination for Dance Performer of the Year 2007 and 2004 •Mo Award nomination for Dance Performer of the Year 2006, 2005 and 2001 •Green Room Award for Best Female Dancer 2005

you may not know … Lucinda and husband Danilo are proud parents of two daughters, Claudia and Ava.

Born in Perth, Kevin commenced his dance training at the age of seven with the Shirley Farrell Academy of Dance. In 2002 he graduated from The Australian Ballet School and joined The Australian Ballet in 2003. In his time with the company, he has performed many lead roles in both classical and contemporary works by choreographers Tim Harbour, Nicolo Fonte, Matjash Mrozewski, Wayne McGregor and Graeme Murphy. Kevin enjoys the technique and artistry demanded by many different works but holds the story ballet closest to his heart. Kevin was promoted to principal artist in 2010 and looks forward to entertaining audiences around Australia and the world.

Repertoire highlights •Romeo in Graeme Murphy’s Romeo & Juliet 2011 •Pinkerton in Stanton Welch’s Madame Butterfly 2011 •Prince Siegfried in Graeme Murphy’s Swan Lake 2009 •Prince Florimund in Stanton Welch’s The Sleeping Beauty 2009 •Doctor/Lover in Graeme Murphy’s Nutcracker – The Story of Clara 2010, 2009 •Prince Ivan in Graeme Murphy’s Firebird 2009 •Des Grieux in Sir Kenneth MacMillan’s Manon 2008 •Jerome Robbins’ A Suite of Dances 2008 •George Balanchine’s Apollo 2007

awards •Telstra Ballet Dancer Award 2008 •The Australian Ballet Society Scholarship •Khitercs Foundation Scholarship 2007

Choreographic works •Enter Closer for Bodytorque.2.2 2009

you may not know ... Kevin is studying for the Vocational Graduate Certificate in Elite Ballet Instruction with The Australian Ballet School.

Brisbane-born Daniel Gaudiello strapped on his first pair of dancing shoes at the age of six at the Johnny Young Talent School, then went to Promenade Dance Academy. Later he completed the Queensland Dance School of Excellence and Queensland Ballet professional year before being accepted into The Australian Ballet School, where he performed as an exchange student with The National Ballet School of Canada and the School of American Ballet. Daniel joined The Australian Ballet in 2004 and in early 2007 participated in classes with some of the world’s finest ballet companies in London, Amsterdam, Munich and Paris. Daniel made his choreographic debut with a piece called Notte in Bianco for Bodytorque.To the Pointe in 2009 and was promoted to principal artist in 2010.

Repertoire highlights •Franz in Coppélia 2010 •Basilio in Don Quixote 2010 •Christopher Wheeldon’s Continuum® 2004 •Lescaut in Sir Kenneth MacMillan’s Manon 2008 •Petrouchka in Petrouchka 2009

Guest appearances • English National Ballet, London and Barcelona 2009

awards •Australian Dance Award nomination for Dyad 1929 2010 •Green Room Award nomination for Petrouchka 2010 •Helpmann Award nomination for Graeme Murphy’s The Silver Rose 2010 •Telstra Ballet Dancer Award 2007 •Freda Irving Scholarship 2006 •BJ Sutton Scholarship

you may not know ... “I love camping on the beach, spending time with my family, and my two dogs Chloe and Rico.”

Kevin JaCKson’s PRinCiPal aRTisT PosiTion is GeneRously suPPoRTeD By THe Male PRinCiPal aRTisT enDowMenT FunD (anonyMous PaTRon)

Mrs Mary BarlowMs Natasha BownessMs Robin CampbellMrs Sam ChisholmMs Val HardingLynnette HarveyJodie MaunderMr Arthur L Norcott

Mrs Roma NorcottMrs Helen O’NeilMrs Kerry Packer AODr Valmai Pidgeon AMLady Potter ACMrs Robert Rose AMMrs Christine Smedley

PRinCiPal aRTisTs GeneRously suPPoRTeD By les eToiles

“Tender and self-deprecating … a true danseur noble” The Observer, UK

“Her dancing is fearless and utterly assured”Herald Sun

“Lucinda Dunn is a superstar”Sunday Herald Sun

“Physically striking and technically assured” The Sunday Age

“Precision, aplomb and charm” thestage.co.uk

oliviA bell AdAm bull lucindA dunn mAdeleine eAstoe dAniel gAudiello Kevin jAcKson

“An intoxicating lead”Sunday Herald Sun

principAl Artists

Yosvani Ramos was born in Camagüey, Cuba and trained at the National Ballet School, going on to dance with Jeune Ballet de France and Ballet de l’Opéra National de Paris after winning the Gold Medal at the Paris International Ballet Competition in 1998. He joined English National Ballet as a Soloist in 1999 and was promoted to senior soloist in 2000, then principal artist in 2003 after his performance as Franz in Coppélia. During his time with English National Ballet he created many pieces in the company’s choreographic workshops and was nominated for several years running in the Critics’ Circle National Dance Awards. He joined The Australian Ballet as a principal artist at the beginning of 2008.

Repertoire highlights •Franz in Coppélia 2010 •The Prince in Stanton Welch’s The Sleeping Beauty 2009 •Graeme Murphy’s Nutcracker – The Story of Clara 2009 •Des Grieux in Sir Kenneth MacMillan’s Manon 2008 •Kai in The Snow Queen 2007 •Basilio in Don Quixote 2006 •Prince Siegfried in Swan Lake 2004 •The Prince in Cinderella 2003 •Romeo in Rudolf Nureyev’s Romeo and Juliet 2002 •Albrecht in Giselle 2001 •George Balanchine’s Who Cares? 2000 •Principal Man in Etudes 2000 •The Prince in The Nutcracker 1999

awards •Silver Medal in Nagoya, Japan 1999 •Gold Medal in the International Ballet Competition in Paris 1998 •Silver Medal in Mississippi, USA 1997 •Silver Medal and Best Couple in the Junior division at the International Ballet Competition in Varna, Bulgaria 1996 •Grand Prix and the Best Couple at the first International Ballet Competition in Havana 1995 •Gold Medal at the International Ballet Competition in Vignale, Italy 1994

you may not know … Yosvani speaks fluent French, Spanish, Portuguese and English and loves cooking Cuban food.

Melbourne-born Andrew Killian, a student of The Australian Ballet School, joined The Australian Ballet in 2000 and was promoted to principal artist in 2011. During his time with The Australian Ballet Andrew has thoroughly enjoyed performing leading roles in the company’s extensive classical repertoire including Lescaut in Sir Kenneth MacMillan’s Manon, Espada in Rudolf Nureyev’s Don Quixote, the Prince in Peter Wright’s The Nutcracker, and the Cavalier in George Balanchine’s Ballet Imperial. Andrew has also been involved in the creation of many new works including Stephen Baynes’ Constant Variants and Tim Harbour’s Wa, and has performed in most of The Australian Ballet’s Bodytorque seasons. He enjoys working closely with choreographers and offers a unique versatility that places him in high demand. Andrew has toured with The Australian Ballet to New Zealand, Japan, China, the UK and France. He was nominated for the Telstra Ballet Dancer Award in 2009.

Repertoire highlights •A Suite of Dances 2008 •The Cage 2008 •Rites 2008 •Spring Waters 2007 •After the Rain© 2007 •Stepping Stones 2005 •Forgotten Land 2005 •Petite Mort 2005

Guest appearances •Fool’s Paradise with Morphoses 2009 •The Nutcracker with Houston Ballet 2007

you may not know... Andrew is still struggling to learn how to cook and cried like a baby at his best friend’s wedding.

Leanne was born and raised in Perth where she began her initial ballet training with Helen McKay. Her full-time training began at the Graduate College in 1993 under the school’s director, Terri Charlesworth, and in 1999 she joined the West Australian Ballet. In 2001 Leanne left Perth to take up a position with The Australian Ballet. Receiving the New South Wales Friends of The Australian Ballet scholarship in 2004 enabled her to study throughout Europe. Leanne has a high regard for artists who can adapt to all kinds of roles and repertoire. Leanne was promoted to principal artist in 2011.

Repertoire highlights•Odette/Odile in Stephen Baynes’ Swan Lake 2012 •Juliet in Graeme Murphy’s Romeo & Juliet 2011•Sir Kenneth MacMillan’s Concerto 2011•Suzuki in Stanton Welch’s Madame Butterfly 2011•Clara in Peter Wright’s The Nutcracker 2010•Swanilda in Coppélia 2010•Odette in Graeme Murphy’s Swan Lake 2009•Wayne McGregor’s Dyad 1929 2009•Alexei Ratmansky’s Scuola di ballo 2009•Ballerina Doll in Petrouchka 2009•Manon in Sir Kenneth MacMillan’s Manon 2008•Esmeralda pas de deux 2008•Kitri in Don Quixote 2007•Le Corsaire pas de deux 2007•Krzysztof Pastor’s Symphonie Fantastique 2007•Jir í Kylián’s Stepping Stones 2005•Aurora in Stanton Welch’s The Sleeping Beauty 2009, 2005

awards•Telstra Ballet Dancer Award nominee 2009, 2007 and 2005

Guest appearances•Miami International Dance Festival 2010•Morphoses 2009 •Royal Swedish Ballet 2008

you may not know ...“Although for now my passion is in the arts, in the future I would love to open a small business.”

Amber Scott joined The Australian Ballet School at age eleven. After graduating as dux, Amber joined The Australian Ballet in 2001. She was promoted to principal artist in 2011. Career highlights include working with Wayne McGregor on Dyad 1929 in 2009, and with Stephen Page on Rites in 2006 and 2008; dancing with guest artist Robert Tewsley during the 2008 Manon season; and performing Odette with Adam Bull in Graeme Murphy’s Swan Lake in Paris and Manchester in 2008 and Tokyo and Nagoya in 2010.

Repertoire highlights •Odette/Odile in Stephen Baynes’ Swan Lake 2012 •Pas de deux from Christopher Wheeldon’s After the Rain© 2012 •Glen Tetley’s Gemini 2012 •Hanna in The Merry Widow 2011 •Juliet in Graeme Murphy’s Romeo & Juliet 2011 •Stephen Baynes’ Beyond Bach 2011 •Christopher Wheeldon’s After the Rain© 2011 •2nd Movement Pas de Deux in Sir Kenneth MacMillan’s Concerto 2011 •Sugar Plum Fairy in Peter Wright’s The Nutcracker 2010 •Odette in Graeme Murphy’s Swan Lake 2010, 2009, 2008, 2006, 2005, 2004 •Stephen Baynes’ Molto Vivace 2010 •Aurora and Lilac Fairy in Stanton Welch’s The Sleeping Beauty 2009 •Flute variation and pas de deux in Serge Lifar’s Suite en blanc 2009, 2005 •Manon in Sir Kenneth MacMillan’s Manon 2008

Guest appearances •Fall for Dance Festival, New York City 2011 •The Stuttgart Ballet’s 50th Anniversary Gala 2011 •The Dancers Company tour 2004, 2003

awards •Telstra Ballet Dancer Award and Telstra People’s Choice Award 2004 •First Place Junior Asian Pacific Competition, Tokyo 1999 •Adeline Genée Awards, bronze medal 1998

you may not know Amber recently took up golf and pottery and one day would like to walk the pilgrims’ route “The Way of St James” from France to Spain.

Andrew KilliAn yosvAni rAmos Amber scott leAnne stojmenov

“A revelation ... with his smouldering matinee -idol looks, he achieves the extraordinary”Evening Standard

“Immaculate and debonair”Dance Australia

“Flawless”The Australian

“A definition of poise and steely confidence, every bit the prima ballerina”Herald Sun

principAl Artists

Lana Jones was born in Coffs Harbour but moved soon after to Canberra, where she commenced her ballet training at the Canberra Youth Ballet School. She moved to Melbourne in 1999 to attend The Australian Ballet School, graduating dux to join The Australian Ballet in 2002. In 2005 she was promoted to coryphée and won the Telstra Ballet Dancer Award, the highest accolade of its kind for Australian Ballet dancers. A rising star within the ranks, Lana’s dancing has been critically acclaimed as “joyous and effervescent”, with one writer declaring her performance in George Balanchine’s Apollo as “supernatural”. Lana was promoted to principal artist in 2010.

Repertoire highlights•Odette/Odile in Stephen Baynes’ Swan Lake 2012 •Glen Tetley’s Gemini 2012•George Balanchine’s Tschaikovsky Pas de Deux 2012•Principal Lady in Harold Landers’ Ètudes 2012•Juliet in Graeme Murphy’s Romeo & Juliet 2011•Sir Kenneth MacMillan’s Concerto (1st and 3rd movement) 2011•Pas de deux from Christopher Wheeldon’s After the Rain© 2011•Swanilda in Coppélia 2010•Wayne McGregor’s Dyad 1929 2010•Aurora, Carabosse and Lilac Fairy in Stanton Welch’s The Sleeping Beauty 2009•The Baroness in Graeme Murphy’s Swan Lake 2009•Firebird in Graeme Murphy’s Firebird 2009

Guest appearances •Fall for Dance Festival, New York 2011 •The Hong Kong Ballet 2011•West Australian Ballet

awards•Khitercs Foundation Scholarship•Australian Dance Award for outstanding performance by a female dancer in Firebird 2009•Green Room Award for best female dancer in Firebird 2009•Helpmann Award for best female dancer in Firebird 2009•Helpmann Award for best female dancer in Forgotten Land 2006

you may not know ... Lana loves photography, jet skiing and the beach, and has two dogs, Chloe and Rico.

lAnA jones

“Mesmerising in execution”media-culture.org.au

lana Jones’ PRinCiPal aRTisT PosiTion is GeneRously suPPoRTeD By THe DoRoTHy HiCKs FunD

Robyn Hendricks and Amy Harris Photography Lynette Willssenior

Artists

Miwako was born in Japan and began her ballet training with Fumika Morishima in Okinawa. Before joining The Australian Ballet School she trained with Kimie Sasamoto and Iwao Nagae in Tokyo. In 1997 Miwako was awarded the Idemitsu Scholarship at the sixth Asia Pacific Competition. After graduating from The Australian Ballet School in 1998 with honours she joined The Australian Ballet, going on to perform in many roles, including principal ones. She has toured to Japan, New Zealand, China, London and New York with the company. Miwako was promoted to senior artist in 2010.

Repertoire highlights •Tatiana in John Cranko’s Onegin 2012 •Cio-Cio-San in Stanton Welch’s Madame Butterfly 2011 •Valencienne in Ronald Hynd’s The Merry Widow 2011 •2nd movement pas de deux in Sir Kenneth MacMillan’s Concerto 2011 •Christopher Wheeldon’s After the Rain© 2011 •Stephen Baynes’ Beyond Bach 2011 •The Lady in Stephen Baynes’ Molto Vivace 2010 •Swanilda and Dawn in Peggy van Praagh’s Coppélia 2010 •Princess Aurora and Lilac Fairy in Stanton Welch’s The Sleeping Beauty 2009 •Young Tsarevna in Graeme Murphy’s Firebird 2009 •Clara, Rose Fairy and Snow Fairy in Peter Wright’s The Nutcracker 2010, 2007 •Prelude and Mazurka in Mikhail Fokine’s Les Sylphides 2009, 2006

awards •Khitercs Travelling Scholarship 2011 •Marigold Southey Scholarship 2007

Guest appearances •The Dancers Company tour 2006

you may not know ... Miwako loves knitting, crochet, puzzles, Sudoku and cooking and is a proud Melbourne Storm supporter.

Born in Waihi, New Zealand, Ty King-Wall started dancing at the age of seven. He received his early ballet training at the Dance Education Centre in Tauranga. A Junior Associate of the New Zealand School of Dance, he left New Zealand at 16 to study full-time at The Australian Ballet School. Upon graduating dux with honours, Ty was accepted into The Australian Ballet in 2006. Since joining the company, Ty has danced numerous principal roles, and had the role of Ceyx created on him in Tim Harbour’s Halcyon. He was promoted to soloist in 2010 and to senior artist in 2011.

Repertoire highlights •Prince Seigfried in Stephen Baynes’ Swan Lake 2012 •Lensky in John Cranko’s Onegin 2012 •Pinkerton in Stanton Welch’s Madame Butterfly 2011 •The Prince in Peter Wright’s The Nutcracker 2010 •Franz in Peggy van Praagh’s Coppélia 2010 •Octavian in Graeme Murphy’s The Silver Rose 2010 •Prince Florimund in Stanton Welch’s The Sleeping Beauty 2009

awards •Telstra Ballet Dancer Award 2010 •Silver Medal, Asia Pacific International Ballet Competition 2005 •PACANZ Young Performer of the Year Award 2002

you may not know ... Ty is studying towards a Bachelor of Arts, majoring in History and Classical Studies, and is an avid cricket fan.

Reiko started ballet at the age of five in her hometown of Kobe, Japan. After ten years of training in Japan, she joined The Australian Ballet School in 2003. In 2006 Reiko made her debut with The Australian Ballet in Giselle, dancing the Peasant Pas De Deux. Since then, Reiko has danced a handful of critically acclaimed principal roles with the company, including Clara in Peter Wright’s The Nutcracker, and the title roles in Paquita and Matjash Mrozewski’s Semele. Reiko was promoted to soloist in 2010 and to senior artist in 2012.

Repertoire highlights •Cio-Cio-San in Stanton Welch’s Madame Butterfly 2011 •Valencienne in Ronald Hynd’s The Merry Widow 2011 •Olga in John Cranko’s Onegin 2012 •Swanilda in Coppélia 2010 •Alexei Ratmansky’s Scuola di ballo 2009 •Stanton Welch’s The Sleeping Beauty 2009 •Suite en blanc 2009 •Graeme Murphy’s Firebird 2009 •Matjash Mrozewski’s Semele 2008 •Graeme Murphy’s Swan Lake 2008 •La Favorita 2007 •Spring Waters 2007 •Clara in Peter Wright’s The Nutcracker 2007

Guest appearances •The Dancers Company tour 2012, 2011, 2009, 2006

awards •Telstra Ballet Dancer Award nominee 2008 •The Friends of The Australian Ballet Scholarship 2005 •Caroline Poon Scholarship 2004

you may not know … Reiko would love to work as a Japanese-English interpreter one day.

At the age of seven, Ipswich-born Rudy joined his local dance school, where he spent several years learning jazz, tap, and contemporary ballet. He studied at the Shayne McCormick Dance Centre and Brisbane Dance Centre before joining the Queensland Dance School of Excellence. He moved to Melbourne in 2002 to take up a position at The Australian Ballet School. In 2004 Rudy was selected to participate in a student exchange to New York and Toronto, taking classes with the American Ballet Theatre’s Studio Company. He joined The Australian Ballet in 2005 and was promoted to senior artist in 2012. Rudy has enjoyed working with many choreographers including Wayne McGregor, Graeme Murphy and Janet Vernon, Stephen Page and Stephen Baynes.

Repertoire highlights •Prince Siegfried in Stephen Baynes’ Swan Lake 2012 •Onegin in John Cranko’s Onegin 2012 •Romeo in Graeme Murphy’s Romeo & Juliet 2011 •Danilo in Ronald Hynd’s The Merry Widow 2011 •PInkerton in Stanton Welch’s Madame Butterfly 2011 •Ceyx in Tim Harbour’s Halcyon 2010 •Octavian in Graeme Murphy’s The Silver Rose 2010 •Prince Partner in Graeme Murphy’s Nutcracker – The Story of Clara 2009 •Stephen Page’s Rites 2008 •Stephen Page’s Amalgamate 2006 •Rat Pack member in Stephen Baynes’ Raymonda 2006 •Jir í Kylián’s Forgotten Land, Stepping Stones and Petite Mort 2005

awards •Telstra Ballet Dancer Award nominee 2011, 2007 •Lionel Phillips Scholarship 2003

you may not know ... Rudy is engaged to fellow dancer Dimity Azoury, and their dog is going to be their page boy/pagedog at their wedding.

Amy Harris was born in Ararat, Victoria and began jazz and tap classes at her local ballet school, Rosengreens School of Dancing, at the age of three. From the age of ten, Amy trained in the Cecchetti method with Carole Oliver School of Ballet in Ballarat, and as a Cecchetti scholar won bronze and silver medals. In 1999, aged 15, Amy successfully auditioned for The Australian Ballet School. She joined The Australian Ballet in 2002 and was promoted to senior artist in 2012.

Repertoire highlights •Hanna in The Merry Widow 2011 •Lady Capulet in Graeme Murphy’s Romeo & Juliet 2011 •The Black Queen in Ninette de Valois’ Checkmate 2011 •Christopher Wheeldon’s After the Rain© 2011 •3rd Movement solo in Sir Kenneth MacMillan’s Concerto 2011 •Kevin Jackson’s Encomium in BodyTorque.Muses 2011 •Carabosse and Water Fairy in Stanton Welch’s The Sleeping Beauty 2009

awards •Telstra Ballet Dancer Award 2012 •Telstra People’s Choice Award 2008, 2010 •Friends of the Australian Ballet Scholarship 2001 •Nagae Scholarship 2000

you may not know ... Amy loves photography and music and finds herself snapping away and going to gigs whenever she can fit it in.

“Captivating in sincerity” The Australian

“Flawless technique” The Daily Telegraph

“Outstanding” Sydney Morning Herald

“Utterly charming” The Age

“Delicate and regal” The Daily Telegraph

“Vibrant and energetic” The Sunday Age

Born in Sydney, Juliet trained in the Cecchetti method with Valerie Jenkins, and later with Christine Keith. She was also fortunate to receive special coaching from the late Valrene Tweedie, a great mentor for Juliet. She was accepted into The Australian Ballet School in 2000 and joined The Australian Ballet in 2003. Highlights since then have included being plucked from the rank of coryphée to create the title role in Matjash Mrozewski’s Semele, working closely with Graeme Murphy and Janet Vernon in the role of Sophie in The Silver Rose, and fulfilling a lifelong dream to dance her namesake role in Murphy’s Romeo & Juliet. She is also a writer and regular contributor to The Australian Ballet’s blog Behind Ballet. Juliet was promoted to soloist in 2009 and to senior artist for the 2011 season.

Repertoire highlights

•Glen Tetley’s Gemini 2012 •Nutcracker Act II pas de deux, 2012 •Juliet in Graeme Murphy’s Romeo & Juliet 2011 •2nd Movement pas de deux in Sir Kenneth MacMillan’s Concerto 2011 •Stephen Baynes’ Beyond Bach 2011 •Sophie in Graeme Murphy’s The Silver Rose 2010 •The Lady in Stephen Baynes’ Molto Vivace 2010 •Wayne McGregor’s Dyad 1929 2009 •Flute variaton in Serge Lifar’s Suite en blanc 2009 •Mikhail Fokine’s Les Sylphides 2009, 2006 •Semele in Matjash Mrozewski’s Semele 2008 •Polyhymnia in George Balanchine’s Apollo 2007

Guest appearances •The Dancers Company tour 2004

awards •Khitercs Travelling Scholarship 2011

you may not know ... Juliet’s mum is Indonesian, and comes from a large family of dancers, actors, musicians, poets and playwrights. Juliet’s grandmother was the Sultan’s principal dancer in his court in Java.

juliet burnett Amy hArris rudy hAwKes reiKo hombo ty King-wAll miwAKo KubotA

soloists

South African-born Robyn Hendricks began ballet classes aged eight after her grandfather observed her dancing on her toes all the time. Growing up in an academic family, Robyn was the first family member to pursue a creative passion. Training in the Cecchetti Syllabus, Robyn travelled to Melbourne in 2001 to participate in the annual Cecchetti International Competition. During the competition, she was approached by The Australian Ballet School and was asked to audition formally for entrance into the prestigious national school. During her time at The Australian Ballet School, Robyn was one of four students selected to participate in a student exchange to Canada, where she studied for four weeks with the National Ballet School in Toronto. She joined The Australian Ballet in 2005 and was promoted to soloist in 2011.

Repertoire highlights •Christopher Wheeldon’s After the Rain© 2011 •Wayne McGregor’s Dyad 1929 2009 •Alexei Ratmansky’s Scola di ballo 2009 •Nacho Duato’s Por vos muero 2009 •Stanton Welch’s The Sleeping Beauty 2009

Guest appearances • The Dancers Company tour 2008

awards •Telstra Ballet Dancer Award nominee 2011, 2009,2007 •Friends of The Australian Ballet Scholarship

you may not know ... Robyn is interested in the horse breeding industry and owns a horse with her partner Charles Thompson, also a member of The Australian Ballet.

Ako was born in Nagoya, Japan in 1991. At three years old she began her training at Shiho Kanazawa Ballet Studio. In 2005 Ako won second prize at the Japan Grand Prix and in 2006 she studied at The Royal Ballet School’s International Summer School. In 2007 she was awarded The Australian Ballet School Tuition Scholarship, which was announced at the Youth America Grand Prix. Ako toured with The Dancers Company in 2008 and in 2010 she joined The Australian Ballet. She was promoted to soloist for the 2013 season.

Repertoire highlights •Glen Tetley’s Gemini 2012 •The Countess in Stephen Baynes’ Swan Lake 2012 •Kitri in Don Quixote 2012 (Guest Artist with The Dancers Company) •Graeme Murphy’s The Narrative of Nothing 2012 •Graeme Murphy’s Swan Lake 2012, 2010

Guest appearances •The Dancers Company, 2012

awards • Telstra Ballet Dancer Award nominee 2012

you may not know... Ako loves wearing Yumiko leotards. She owns lots of them.

Born in Melbourne in 1982, Ben used to tag along to his sister’s jazz ballet classes and copy the routines from the back of the studio before he started attending his own classes at age seven. He trained with Leeanne Rutherford at Ballet Theatre of Australia and joined The Australian Ballet in 2005. Ben was promoted to coryphée in 2009 and soloist for the 2011 season.

Repertoire highlights •The Baron in Graeme Murphy’s The Silver Rose 2010 •Stanton Welch’s Divergence 2009 •The Professor in Alexei Ratmansky’s Scuola di ballo 2009 •Wayne McGregor’s Dyad 1929 2009 •Nicolo Fonte’s The Possibility Space 2008 •Jirí Kylián’s Petite Mort 2005

awards •Maurice Sullivan scholarship 2007

you may not know ... Ben is a huge fan of pop music and loves singing in the car (which he sometimes forgets is not a soundproof booth).

Brett Chynoweth was born in Melbourne. At age five, he began training at a local ballet school. He soon moved to The Australian Ballet School, where he received, among other awards, the Dr HC (Nuggett) Coombes Travelling Scholarship, which enabled him to train in New York and Toronto, and the prestigious Graeme Murphy Award for Excellence in Contemporary Dance. Brett has been on five Dancers Company tours between 2003-08. He graduated dux from The Australian Ballet School with honours to join The Australian Ballet at the beginning of 2009. Brett has since danced with the company across Australia and overseas, as well as studying throughout Europe on scholarship.

Repertoire highlights

•Earl’s Equerry in Graeme Murphy’s Swan Lake, 2012 •Mercutio in Graeme Murphy’s Romeo & Juliet 2012, 2011 •Goro in Stanton Welch’s Madame Butterfly 2011 •Lead Cupid in Stephen Baynes’ Molto Vivace 2010 •Tim Harbour’s Halcyon 2010 •Nacho Duato’s Por vos Muero 2009 •Alexei Ratmansky’s Scuola di ballo 2009

awards •Telstra Ballet Dancer Award Nominee 2011 •Maurice Sullivan Memorial Scholarship 2011/12

you may not know... “On the weekend or my days off, I love to get a coffee and roam the city and the galleries of Melbourne.”

Growing up in China, Chengwu Guo began dance classes at the age of eleven. He was accepted into the Beijing Dance Academy where he was able to combine his ballet training with academic studies. Chen’s talent for ballet was soon evident when he received a gold medal at the Tao Li Bei of China Competition, and also at the Beijing International Competition. In 2006 Chen became a prize winner at the prestigious Prix de Lausanne Competition in Switzerland, receiving a full scholarship to complete his vocational ballet training. He chose to take up this scholarship at The Australian Ballet School. During his time at the School Chen toured regional Australia with The Dancers Company, and received glowing reviews for his roles in The Sleeping Beauty, Graduation Ball and Coppélia. Chengwu joined The Australian Ballet in 2008 and was promoted to coryphée in 2011, and to soloist for the 2012 season.

Repertoire highlights •Mercutio and Tybalt in Graeme Murphy’s Romeo & Juliet 2011 •Lead Pontevedrian in Ronald Hynd’s The Merry Widow 2011 •First Red Knight in Ninette de Valois’ Checkmate 2011 •Sir Kenneth MacMillan’s Concerto 2011 •Alice Topp’s Scope 2011 •Goro in Stanton Welch’s Madame Butterfly 2011 •Graeme Murphy’s Firebird 2009

Guest appearances •The Dancers Company tour 2008

awards •Telstra Ballet Dancer Award and Telstra People’s Choice Award 2011

you may not know... Chengwu likes to watch Japanese anime in his spare time.

Born in New South Wales, Matthew trained in Newcastle before joining The Australian Ballet School. After graduating with honours in 1996, he was invited to join the Royal Danish Ballet, where he worked with some of the world’s leading choreographers including Maurice Béjart, who recreated a solo for him in Gaîté Parisienne. A memorable moment was performing Return to the Strange Land for Her Majesty Queen Margrethe of Denmark in 1998. Matthew returned to The Australian Ballet in 1999. While enjoying the physical challenges of the contemporary works, classic storytelling is his passion. Matthew was promoted to soloist in 2005.

Repertoire highlights •Drosselmeyer in Peter Wright’s The Nutcracker 2010 •Dr Coppelius in Peggy van Praagh’s Coppélia 2010 •Stephen Baynes’ Constant Variants 2007 •Colas and Alain in Frederick Ashton’s La Fille mal gardée 2004 •Mercutio in John Cranko’s Romeo and Juliet 2003 •Twyla Tharp’s In the Upper Room 2002 •Peter Martins’ Fearful Symmetries 1997

Guest appearances •The Dancers Company tour 2012, 2011

awards •George Garrett scholarship 2010 •Adeline Genée Awards, Silver Medal 1995 •Asian Pacific International Ballet Competition, Silver Medal 1995 •Adeline Genée Awards, Bronze Medal 1994

you may not know … Matthew has a keen interest in film and editing, and has produced work for the company’s website and for use in performances.

brett chynoweth ben dAvis mAtthew donnelly chengwu guo robyn hendricKs AKo Kondo

Laura grew up in a rural area of Northland, New Zealand, and has lived in Singapore and London. She started dancing at four when she began going along with her older sister to ballet and piano lessons. Laura studied with Maureen Ax, Philippa Campbell and Joye Lowe in New Zealand, then at the English National Ballet School from 1998 to 2000. Upon graduation Laura entered the English National Ballet before joining The Australian Ballet in 2004. Laura has danced a diverse repertoire since joining the company and particularly enjoys the challenge of roles that are both physically and artistically demanding. She has toured to New York, London, Tokyo, Paris, Athens and Shanghai. Laura was promoted to soloist in 2009.

Repertoire highlights •Suzuki and Kate in Stanton Welch’s Madame Butterfly 2011 •Stephen Baynes’ Molto Vivace 2010 •Cigarette variation in Serge Lifar’s Suite en blanc 2009 •Guardian Swan in Graeme Murphy’s Swan Lake 2009 •Carabosse in Stanton Welch’s The Sleeping Beauty 2009 •Nacho Duato’s Por vos muero 2009 •Stanton Welch’s Divergence 2009 •Mistress in Sir Kenneth MacMillan’s Manon 2008 •The Wife in Jerome Robbins’ The Concert 2008 •Waltz in Les Sylphides 2009, 2006

awards • Telstra Ballet Dancer Award nominee 2009

you may not know ... Laura has three sisters; a scientist, a vet and an economist.

Dana Stephensen began her dance training aged three with Davidia Lind in Brisbane. She later trained with Mary Heath and Sandra Ashley before studying with the Queensland Dance School of Excellence in 2001, then joined The Australian Ballet School in 2002. In her graduating year she was seconded to The Australian Ballet to perform in various seasons before joining the company full-time in 2005. She has since enjoyed international tours to New York, the UK, Auckland, Shanghai, Tokyo, and Paris. At the end of 2008, Dana was awarded the Khitercs Scholarship, which enabled her to gain invaluable experience training with numerous ballet companies in Europe. Dana was promoted to Coryphée in 2010 and went on win the Telstra Ballet Dancer Award later that year. She was promoted to Soloist for the 2013 season.

Repertoire highlights •The Duchess in Stephen Baynes’ Swan Lake 2012 •3rd Movement Principal Girl in Sir Kenneth MacMillan’s Concerto 2011 •Lead Cupid in Molto Vivace 2010 •Kitri in Don Quixote 2010 (Guest Artist with The Dancers Company) •Russian Ballerina in Gala Performance 2010 •Rosina in Scuola di ballo 2009 •Dyad 1929 2012, 2009 •Pas de Cinq in Suite en Blanc 2009 •Mazurka in Les Sylphides 2009

Guest appearances •The Dancers Company tour 2010

awards •Joint winner of the Telstra Ballet Dancer Award 2010 •Khitercs Scholarship 2008 •James and Pamela Mills Scholarship 2004 •Graeme Murphy Award for Excellence in Contemporary Dance 2003

you may not know... Dana has a passion for Natural Medicine and is studying part-time to be a Naturopath. One day she hopes to be fluent in German but still has a very long way to go.

Brett Simon was born in Adelaide and began his dance training with Sheila Laing. At 16, he moved to Melbourne and studied at The Australian Ballet School, graduating in 2003. From 2004 to 2006 Brett was a member of West Australian Ballet and in 2007 he joined The Hong Kong Ballet as senior soloist after appearing with them as a guest artist. Brett has performed many principal and soloist roles in classical and contemporary ballets and was nominated for Best Male Dancer at the 2005 Helpmann Awards for his performance in West Australian Ballet’s Dangerous Liaisons. Brett joined The Australian Ballet in 2009 and was promoted to soloist in 2011.

Repertoire highlights •Glen Tetley’s Gemini 2012 •Prince Gremin in John Cranko’s Onegin 2012 •Tybalt and Lord Capulet in Graeme Murphy’s Romeo & Juliet 2012, 2011 •Count Danilo in Ronald Hynd’s The Merry Widow 2011, 2007 •Christopher Wheeldon’s After the Rain©, 2011 •Stephen Baynes’ At the edge of night 2010 •William Forsythe’s Steptext 2009 •Romeo in Rudi van Dantzig’s Romeo and Juliet 2007 •Le Viscomte de Valmont in Simon Dow’s Dangerous Liaisons 2005

awards •Helpmann Award nomination for Best Male Dancer 2005 •Keith M Christensen Award for Excellence •The Geoffrey Rothwell scholarship •The Noel Pelly scholarship

you may not know ... After living in Hong Kong, Brett has a great appreciation for chinese dumplings. His favourite is Xiao Long Bao, a shanghainese specialty.

Melbourne-born Andrew Wright began dancing at Christine Waters School of Dance in 1990 before completing his VCE and secondary dance training at the Victorian College of the Arts. In 2001 Andrew was accepted into The Australian Ballet School and during his time there had the opportunity to study with The National Ballet School of Canada and the School of American Ballet as an exchange student. After graduating as dux, Andrew joined The Australian Ballet in 2004. In 2007 he travelled to Europe on a scholarship from the company. In 2010 he guested in the USA at the Oregon Ballet Theater’s gala. He was promoted to coryphée in 2008 and to soloist for the 2011 season.

Repertoire highlights •Prince Gremin in John Cranko’s Onegin 2012 •Camille in Ronald Hynd’s The Merry Widow 2011 •Christopher Wheeldon’s After the Rain© 2011 •Act III grand pas de deux in Stanton Welch’s The Sleeping Beauty 2010 •Stanton Welch’s Divergence 2009 •Wayne McGregor’s Dyad 1929 2009 •Peasant Pas De Deux in Giselle 2008 •Pas de cinq in Suite en blanc 2009 •George Balanchine’s Symphony in C 2004 •Jirí Kylián’s Sechs Tanze 2004

Guest appearances •The Dancers Company tour 2011

awards •Telstra Ballet Dancer Award nominee 2008 •Anne Woolliams Award for Excellence in Dance 2001 •Geoffrey Rothwell scholarship •James & Pamela Mills scholarship

you may not know... Andrew loves to travel. His favourite city is New York.

Born in Sydney in 1983, Vivienne trained at the Ecole Classique, the North Shore Dance Academy and, later, The Australian Ballet School, as well as studying at the Newtown High School of Performing Arts. In 2001 she travelled to Paris with The Australian Ballet School for the Danse de Mai. Vivienne joined The Australian Ballet in 2003 and was promoted to soloist in 2012. She loves travel and has enjoyed touring with The Australian Ballet to London, Manchester, Auckland, Shanghai, Tokyo, and Paris. In 2008 she was awarded the Christine Johnson Maple Brown Scholarship, which enabled her to gain invaluable experience training with numerous contemporary and ballet companies around Europe.

Repertoire highlights •Suzuki in Madame Butterfly 2011 •Wayne McGregor’s Dyad 1929 2009 •Nacho Duato’s Por vos Muero 2009 •Earth Fairy in Stanton Welch’s The Sleeping Beauty 2009 •Stanton Welch’s Divergence 2009 •Serge Lifar’s Suite en Blanc 2009 •Nicolo Fonte’s The Possibility Space 2008 •Wind and Water in Stephen Page’s Rites 2008 •Jirí Kylián’s Forgotten Land 2005 •Jirí Kylián’s Petite Mort 2005 •Jirí Kylián’s Bella Figura 2005

awards •Telstra Ballet Dancer Award nominee 2010 •Christine Johnson Maple Brown Scholarship 2008 •Graeme Murphy Award for Excellence in Contemporary Dance (The Australian Ballet School)

you may not know... “I love music and going to see live bands, concerts, symphonies, operas and musicals. I also love yoga, the outdoors, playing my guitar, and have a passion for natural medicine.”

Jacob Sofer was born in Israel and moved to Melbourne at the age of five. He studied at the National Theatre Ballet School and the Victorian College of the Arts Secondary School before attending The Australian Ballet School. After graduating Jacob joined the Royal New Zealand Ballet in 2003, where he danced the role of Mercutio in Romeo and Juliet both in New Zealand and during the 2004 UK tour. He also danced the role of Franz in Coppélia and several main parts in contemporary seasons. Jacob joined The Australian Ballet at the beginning of 2005 and was promoted to soloist in 2011.

Repertoire highlights •The Photographer in Graeme Murphy’s The Silver Rose 2009 •The Professor in Alexei Ratmansky’s Scuola di ballo 2009 •Stephen Baynes’ Constant Variants 2007 •Peter Wright’s The Nutcracker 2007 •Don Quixote 2007 •Stephen Baynes’ Raymonda 2006 •Jir í Kylián’s Petite Mort 2005

you may not know ... Jacob enjoys designing, photography and riding his motorbike, and has a mini schnauzer called Spiky.

brett simon jAcob sofer dAnA stephensen lAurA tong vivienne wong Andrew wright

Dimity Azoury Kismet Bourne Natalie Fincher Calvin Hannaford Halaina Hills John-Paul Idaszak Natasha Kusen

Brooke Lockett Jarryd Madden Heidi Martin Karen Nanasca Sharni Spencer Garry Stocks

Benedicte Bemet Imogen Chapman Joseph Chapman Lisa Craig Jasmin Durham Eloise Fryer Rohan Furnell

Jessica Fyfe Ingrid Gow Noah Gumbert Timothy Harford Ella Havelka Jack Hersee Richard House

Cameron Hunter Brodie James Jake Mangakahia Luke Marchant Cristiano Martino Rina Nemoto Jill Ogai

Mitchell Rayner Christopher Rodgers-Wilson Valerie Tereshchenko Charles Thompson Sarah Thompson Alice Topp Jade Wood

corps de bAllet

coryphÉes

PlayBill aDs 39-40

Tomoya Imai Occupational Trainee from Momoko Tani Ballet Company, Japan.

PlayBill aDs 39-40

philanthropy

liFeTiMe GivinG $1,000,000 Plus

Mr Robert Albert AO RFD and Mrs Elizabeth Albert

Friends of The Australian Ballet (NSW) Ltd

Frances Gerard

Mrs Lynnette Harvey

Mr Ian Hicks AM

James and Diana Ramsay Foundation

Mrs Kerry Packer AO

Dr Valmai Pidgeon AM

Mr Kenneth R Reed

The Australian Ballet Society

The Ian Potter Foundation

$500,000 PlusMr William Bowness

Estate of Keith M Christensen

Mr Peter Clemenger AM and Mrs Joan Clemenger

Friends of The Australian Ballet (SA) Inc

Mrs Susan Morgan

Lady Southey AC and The Late Sir Robert Southey AO CMG

Talbot Family Foundation

The Ross Trust

Anonymous (1)

$300,000 PlusRobin Campbell and Bruce Parncutt

Estate of Melba Cromack

Mr & Mrs Henry Greenfield

Ian & Jeannie Johnson

Mrs Helen O’Neil

Lady Potter AC

Renaissance Tours

Peter & Christine Smedley

Mr Dick Smith AO & Mrs Pip Smith

The Ethel Margaret Ewing Cutten Foundation

LIFETIME GIVING

ThE DaME PEGGy VaN PraaGh LEaDErshIP CIrCLE 207 members have confirmed a bequest to

the Company, totalling $14,327,319

In the 50 year life of The australian Ballet, many individuals have generously volunteered thousands of hours and contributed millions of dollars to ensure the company’s growth and success. We gratefully recognise these lifetime gifts, pledges, estates, and

planned gifts received through bequests.

annual GivinG President Lady Potter AC

les eToilessupporting thePrincipal artistsGifts of $25,000Mrs Mary BarlowMs Robin CampbellMrs Sam ChisholmMs Val HardingLynnette HarveyJodie MaunderMr Arthur L Norcott Mrs Roma NorcottMrs Helen O’NeilMrs Kerry Packer AODr Valmai Pidgeon AMLady Potter ACMrs Robert Rose AMMrs Christine SmedleyMs Natasha Bowness

PRinCiPal PaTRonsGifts over $20,000Mr Robert Albert AO RFD and Mrs Elizabeth AlbertMrs Roseanne AmarantClaire & Charles HandlerMr & Mrs Anthony Maple-BrownMr & Mrs John MorrisonThe Late Dame Elisabeth Murdoch AC DBEMrs Janis SalisburyMr Dick Smith AO & Mrs Pip Smith

senioR aRTisT PaTRons Gifts $15,000 – $19,999Betty Amsden OAMMrs Sue Perini

soloisT PaTRonsGifts $10,000 – $14,999Mrs Faye Abbott & family in memory of Rachel CameronBrian Abel & The Late Ben Gannon AOMrs Ruth Armytage AMAngie CarterMr Michael Crouch AO & Mrs Shanny Crouch Mrs Gordon Douglass AM

Mrs Barbara DuhigMrs Penny EdwardsMr John R FullertonBeverley Harvey & The Late Richard HarveyJoan LyonsMrs Susan Maple-BrownDavid McAllister AMMr & Mrs Geoff O’ConorLady PorterMr Kenneth R ReedDr Ian Ross & Mrs Margaret S Ross AMJill ThorpeDr Michael & Mrs Lynne WrightE XipellAnonymous (2)

CoRyPHee PaTRonsGifts $5,000 – $9,999Mr & Mrs AbercrombieMr Ross Adler AC & Mrs Fiona AdlerAntoinette AlbertMr James Bain AM & Mrs Janette BainThe Late Arda Barry & John BarryKirsty BennettRos Bracher AMJannie BrownMr John Calvert-Jones AM & Mrs Janet Calvert-Jones AOJoyce Clothier OAMBar & Tim CohenMr Jim Cousins AO & Mrs Libby CousinsPaul & Samantha CrossMrs Shirley DanglowMrs Suzanne Davidson OAMMrs Gretchen DechertMr Adam C ElderSuellen & Ron EnestromIn memory of Winefred FaithfullMr & Mrs Chris FullertonMrs Neilma GantnerDr Nicholas Girdis & Mrs Marina GirdisLouis Hamon OAMMs Linda HerdMrs Jodie B HughesMr John Ingham & Mrs Frances InghamDr Judith KinnearMr & Mrs Aron KleinlehrerGraham MathesonMr & Mrs John M McArthurMecca CosmeticaBrian Nebenzahl OAM RFD & and Jocelyn NebenzahlDave Poddar & Angela FlanneryProf Ruth Rentschler OAM

Mrs Y. ReuvekampLyne SedgmanMrs Anne SymonsTargus Australia Pty LtdDr Christine ThevathasanDr David & Mrs Christine ThorpeMr & Mrs Leigh VirtuePrice & Christine WilliamsRay Wilson OAM & The Late James Agapitos OAMEmma ZuberAnonymous (3)

CoRPs De BalleT PaTRonsGifts $3,000 – $4,999Rosemary & John BarrMr Lee BarrMiss Catherine BoagMaxine BownessMr Paul CarterCharles G ClarkMrs Jane ClarkeAnnette CookMr Greg EganMs Margot FinneyMr Chris GillmanAlan & Marion GrundyMrs Felicity Gunner OAMPat HowellDale & Ian JohnsonMichelle JohnsonMrs Kerry JonesMiss Dawn KellyMr Hugh MacLachlan & Mrs Fiona MacLachlan OAMKen & Christina MarksMartin Family in memory of Lloyd Martin AMDr Marjory-Dore MartinMr Robert W McCormackMalcolm & Sandy McLachlanDr Merrilyn Murnane AMThe Hon Justice Barry O’Keefe AM & Mrs Janette O’KeefeLady Southey ACAlan Smith & Daryl AndersonLady Southey ACMrs Suzanne A WaterhouseDanny & Barbara WatsonMrs Sally WhiteDonna WoodhillAnonymous (3)

Gifts $1,000 - $2,999Charles & Renee AbramsMs Barbara AhernDon & Veronica AldridgeJane AllenMiss Catherine AlstonIn memory of Ian & Ila Anderson

Mr & Mrs Richard ArmstrongMrs Zell BarrienPhil & Laurel BendreyMrs Roma BlairMrs Jan BowenMrs R D Bridges OBEMrs Annabel M BrownMs Rita BrownMrs Jennifer BruknerKim BurnettMr & Mrs Ian BurtonMrs Nancy ButlerTrish ByrneMrs Nancye E CainPam CaldwellCameron FamilyJune CameronJanet CampbellMs Joyce CampbellMr & Mrs Michel-Henri CarriolFrances CattellDr David & Mrs Caroline Champion Ms Louise ChristieMrs Catherine ClarkeMrs Christine CollingwoodDr Anne Colman & Prof Peter ColmanDr Margaret CookBarry CowdellMr Tim Cox AO & Mrs Bryony CoxMrs Elinor CrossingMrs Lyndall CummineMr & Mrs Ron CundyMrs Tracey CunninghamDr Carolyn CurrieMrs Kate DammMrs Joan DarlingJenny Darling & Emma DarlingMrs Felicity DemediukMr & Mrs Robert DickersonJean-Yves DidierJohn & Ros DowlingPatricia DuffyOlive DunkChristopher Dunkley of MeddlersMrs Edrina DunstanLyn Edwards & Robert BryceMiss S Y EvansMr & Ms Barry FaggRosemary FarrowMr & Mrs Adrian FiniMr & Mrs Robert FlewMrs Shirley FongMr William J Forrest AMGeorge FosterEric & Tonia GaleMs Joanne GallpenChristine GeorgeMs Diana GerstmanMr & Mrs Adrian Gibson

Mr Neil R GillMs Judy GillardWilliam G. GloverMrs Anne GluyasDr Kirsten Gormly & Mr Kristian DowningMr & Mrs Leon GorrMrs Christine GorrieMr & Mrs Charles GrahamMr Richard Green & Mrs Isabella Green OAMLyn GriggLouise HamshereMrs Barbara R HardyIan & Enid HaskinsMrs Jean HealeyMrs Margaret Hill-SmithMr & Mrs Gary W HonanMr Robert A HookMrs Robyn HopkinsMrs Caroline HowardDr & Mrs Greg HoyGillian & Michael HundThe Hon David Hunt AO QC & Margaret HuntDr Alastair JacksonMrs D JacksonMr Maxwell JohnstonMr Paul A JonesMr & Mrs J KarkarMr & Mrs Ervin KatzMrs Rhonda & Miss Emily KeeneMs Marion J KellyMrs Therese KennedyMr & Mrs Alun KenwoodMr Stephen KnapikMr & Mrs Graham KnowlesMrs Jenny KudelkaMrs Nathalie KulakowskiMrs Sylvia LavelleProf Bruce R Lawford & Dr Susan ShadforthDr Joan M Lawrence AMMrs Margaret LedermanMr Ross LiebmannRosalind LilleySusie LobbMr & Mrs Rob Logie-SmithRichard & Elizabeth LongesMrs Gwen MacLennan OAMMr & Mrs J N MannMrs Judith MatearMrs Marie McCann OAMMrs Cherry McCardelMs Sandra McCullaghMrs Jane McGregorMr Michael McKenzie & Mr Neil JonesJohn McKim AM & Rae McKimMr Garry McleanMr & Mrs Robert McLellan

Mrs Ann McNamaraDr Pam McQueenMrs Pamela McTaggartMs Toni E MeekJohn M MichelmoreMargaret MiddletonDesmond B Misso EsqMs Niq Morcos & Ms Morgaine WilliamsMrs Marie MortonMr William MudfordMr William Murdoch & Mr Richard O’DwyerMr Barry P MurphyMr D M MurrayIrena NebenzahlSimon & Meredith NettletonMrs Jan NorthamSir Gustav Nossal AC CBE & Lady Lyn NossalRussell J NowellMrs Diana-Rose OrrFaye ParkerMary ParryMr & Mrs Thomas PayneMr & Mrs Geoffrey PhillipsPaul M PinelMr & Mrs Alan L PlattNorman F. PollockRobin Potter OAMKerryn PratchettC. L. PriestMs Lynn C Rainbow ReidRonald B RainesMiss Jennifer RhodesDr Sharon D RicardoJudy Roach for Estate Ian RoachPamela RogersMr & Ms Robert RoosDr John RoseMs Sandra RowlandsMs Ros RussellMrs Deri SaundersIn memory of Phyllis ScarlettFranz & Anna SchlosserMax & Jill SchultzTim & Lynne SherwoodMr Charlie Shuetrim AM and Mrs Sandra ShuetrimNev SimpsonMr & Mrs B N SmithMs Joy SmithProf Nerida A SmithMr Sam Smorgon AO & Mrs Minnie SmorgonMrs Heather M SpencerJacques Spira OAMMrs Fiona StephinsonMr Bruce StraceyJohn & Jo StruttThe Honourable Brian Sully QCMildred TeitlerMr Allan Thorne

Mr and Mrs Peter ThornhillAlden Toevs & Judi WolfAnn TregearDr Kym TriggMrs Claire TruscottMrs Daphne TurnbullRosslyn J TurnerMrs Jean UptonMrs Katherine VercoDr Richard VeseyMrs Susan WakilS & J WallisRosemary WallsDr & Mrs John O WardMrs Margaret WardMrs Ivy M WarthMr Kenneth W WatkinsPat & John WebbMarion WellsPamela WhalanMrs Anne WhartonMrs Marjorie WhiteDr Eva WickiMr & Mrs M WillcoxsonJudith WilliamsMs Maureen C WilliamsRandal & Asako WilliamsKay WilliamsonMr Robert Winnel AMWorld Presidents Organisation Sydney ChapterMr & Mrs Iain H WyattYvonne YendellrobAust Pty LtdRuth ZionzeeAnonymous (31)

suPPoRTeRsGifts $100 - $999Total (1274)

Correct as at 23.01.2013

GeneRal suPPoRTThe Australian Ballet Society Inc President Josie Woodgate OAMFriends of The Australian Ballet (NSW) Chairman Greg KhouryFriends of The Australian Ballet (SA) Inc President Catherine Ellice-FlintThe Australian Ballet School Director Marilyn Rowe OBEAustralian Opera and Ballet Orchestra through Opera Australia Orchestra VictoriaSydney Opera House TrustQueensland Performing Arts Centre

The australian Ballet is proud to acknowledge the generous support and encouragement it receives through annual Giving. Continued support from individuals and corporations is essential to develop our artistic excellence and secure the future of the company.

This production of Don Quixote marks the start of the 2013 season – and for the first time in 50 years, I will not be dancing and prancing on stage (at least, for now!).

Don Quixote is a very special ballet for me. I had the privilege of learning this particular production, created by Rudolf Nureyev, from the great man himself. When he first began teaching the ballet to the company, the role of Gamache was based on the dancer Karl Welander. I had also been selected to play the role, and when I saw Karl running around like a twit, I thought, “I can’t wait to get out there and do that!”

The costume defines the character, and Nureyev really piled it on! He kept saying, “I want more ribbons, make him bigger, make him larger!’ – and then he would laugh maniacally. So I became the pampered, perfumed fop who wants to buy the young Kirtri’s hand.

Speaking of which, I have left Gamache in “good hands” – with a new generation of dancers ready to don the feathers and take on this plum comic role.

Many of you would know the extraordinary film of Don Quixote made by The Australian Ballet under the direction of Nureyev and Robert Helpmann. Great piece of art that it is, it can never match the experience of a live performance. The thrill you experience in the theatre is a unique experience, and through your support audiences will continue to enjoy that enchantment.Although I have retired as a member of the company, I am delighted to continue in the role of Ambassador for Planned Giving. I thank you for your thoughtful dedication to the future of The Australian Ballet.

Mr L Kevin AdairMrs Sheila AdamsRichard Allert AM FCA & Barbara AllertBetty Amsden OAMMrs Patricia AndersMs Greta ArchboldDr Lorraine BakerMrs Mary BarlowDr Rosemary BarnardMs Jennifer BarnesPhilip & Laurel BendreyMrs Anne BoyleAnn and Derek BrahamDonna BrearleyPatricia A BreslinMrs R D Bridges OBEMrs Margaret BroeksJannie BrownMs Deborah BuckettWendy BurginDr Sheena L BurnellTrish ByrnePam CaldwellMr John Calvert-Jones AM & Mrs Janet Calvert-Jones AODr Brian T CareyRobert E A CarliRowena CatchatoorRon and Luci ChambersMr Bryan Chidgey

Miss Beverley F ClarkJoyce Clothier OAMJudy ConnorCaroline Cooper MVOMr Jim Cousins AO & Mrs Libby CousinsJudith CowdenMiss Katrina CowenMrs Joan CowieMrs Maree D’AlterioJohn DalyMr Leonard DarkMerawyn DaviesDavid de Verelle-HillMiss Patricia DownesGeorge DrewMrs Lorraine DrogemullerMrs Jill DuckEdrina Dunstan & The Late David DunstanCarol & Ted EdwardsJo EdwardsMrs Joan Daphne EvansRichard EvansRoss FairhurstThe Late Jim FinchPeter F FlemingRita FletcherBarrie I Follows AM JP & Margaret Gail FollowsMr George FosterMrs Geraldine Fox-Penglis

Frances GerardAnthea GilbertSuzanne GleesonThe Late Mrs Krystyna Gogolak & Mr Stephen GogolakMs Margo GrahamLyn GriggLouis Hamon OAMMrs Lilian HardySue Harlow and Merv KeehnMr Robert B HaynesHilary A HazledineMrs Jean HealeyChristopher Hector & Ros NeaveKathy HirschfeldMs Claire HoustonDr & Mrs Ken HoyleLilla ItoMichael & Jennifer JamesMax JohnstonThe Late Mrs Mary JonesMarlene KavanaghMarion J KellyMrs Valda KlaricLisa KokegeiSimon LambourneFrancine LancasterMavis LanceMrs Carlean LangbeinThe Late Peter Langford AMThe Late Geraldine LawtonMrs Judy LeeLilian LeightonDaniel-Francois LemesleKate LewisDr C S LoaderMrs Patricia LoughheadPamela and David LuhrsChris MackayGeoff & Margaret MarkhamL MarronePatsy MartinMr Edward J MasonGraham MathesonDavid McAllister AMMr Robert W McCormackD J McGregorMr Michael McKenzie & Mr Neil JonesJudithe & John McKindleyHeather McNicolToni MeathPrudence MenziesMs A MichellMargaret MiddletonSusan MorganMary MurphyTJ NakasuwanSimon & Meredith NettletonMiss Shirley NevilleMiss Judith NewberryDr Kersti Nogeste

Mr Arthur L Norcott Mrs Roma NorcottDiane O’Flaherty & Verna OakleyThe Late Kathleen O’HaraDi Palmer & Stephen Rodgers-WilsonMrs Meredith PetersD E PiddLady PorterMrs Diana Ramsay AOPenelope S RawlinsKenneth R ReedTrevor RiceRhonda & Peter RogaRichard RossCaroline J Ross-SmithMs Ros RussellMrs Margaret SaultMargot SeeleyMr & Mrs Charles SheldonSara J SimpsonElvira SinicinsMr Alan Smith & Mr Daryl AndersonLady Southey ACJacques Spira OAM & The Late Edith SpiraNorman StevensMs Juanita StockwellMiss Pat SutherlandDeb SuttonElizabeth SwantonSusanne SweetlandMs Susan TaylorSandra Taylor-BowmanDr Christine ThevathasanDr Diana TolhurstMichele & Mario TopcicDr Sally TownsendMiss Ruth TraitPatricia TylerJohn & Susan VanderstockPatricia Speher VanderwalMs Jill VaughanPeter VaughanDr Richard VeseyMrs Jacqueline WallaceKenneth W WatkinsPamela WhalanDinah Whitaker in memory of Emma ToussaintMargaret Amery WhiteBarry & Megan WillcoxMr Antony WilliamsJan WilliamsLeonard J WilsonJames Agapitos OAM and Ray Wilson OAMMs Sallyann WilsonJosie Woodgate OAMYvonne YendellVictor & Christine ZemancheffMrs Ruth ZionzeeAnonymous (55)

aNNuaL GIVING PLaNNED GIVINGsuPPoRT FRoM PRivaTe FounDaTionsDunstan Family FoundationEirene Lucas FoundationJames & Diana Ramsay FoundationKhitercs Hirai FoundationLord Mayor’s Charitable Foundation – Eldon and Anne Foote TrustMcCusker Charitable FoundationSidney Myer FundSnowy Nominees Charitable TrustThe Cory Charitable FoundationThe Flew FoundationThe Greatorex FoundationThe Ross TrustThe Stuart Leslie FoundationWilliam Arthur Hugh Gordon Fund - Perpetual Trustees

ouT THeRe - THe ausTRalian BalleT in sCHoolsFred P Archer Charitable Trust - The Trust Company Friends of The Australian Ballet (SA)Talbot Family FoundationThe Angior Family FoundationThe Ian Potter Foundation The Profield FoundationTim Fairfax Family FoundationVincent Fairfax Family FoundationWilliam Angliss (Victoria) Charitable Fund

PHilanTHRoPy suPPoRTRenaissance Tours – Preferred Philanthropy tour operator

Colin Peasley as Gamache Photography Earl Carter

Colin Peasley OAM, ambassador for Planned Giving

philanthropy

The Dame Peggy van Praagh Leadership Circle

securing the future through a bequest

Your support of The Australian Ballet will give you . . . “The satisfaction of knowing that you are bringing something of great beauty into other people’s lives.

DaME PEGGy VaN PraaGh, ForMEr arTIsTIC DIrECTor

“”

We are poised and ready to embrace the future . . .

The Australian Ballet Foundation was established by a Deed of Trust in October 1988, and is endorsed as an income tax exempt charitable entity. Donations to the Foundation are fully tax deductible.

Ballet productions, international touring, choreography, music and our Public Programs have all been supported by the generous and far-sighted individuals who have established or contributed to specific-purpose funds within the Foundation. It is worth noting that every Bequest to The Australian Ballet is secured in the Foundation; such is the importance these gifts and the Foundation hold for the future development and security of The Australian Ballet.

Income earned from Foundation funds plays a vital part in helping to realise our vision: that The Australian Ballet will remain a world class company, our dancers trained and coached to be the very best, our productions breathtaking on the world stage and all across this country; that children everywhere will have access to and be inspired by a dance education program second to none; that the company can mentor wonderful talent in all areas of the theatre, including choreography, music, and design.

The Annual Giving program underpins our vital day-to-day operations and the Foundation is the bedrock that allows the company to plan into the future, secure in the knowledge that the capital-protected funds will provide for its aspirations.

I encourage you to read through the list of established funds. Where does your interest and passion lie? Would it be possible that you too could establish a fund or contribute a gift to the Foundation?

If you would like to discuss any aspect of the Foundation, please contact our Philanthropy department:Kenneth watkins, Director of Philanthropy 03 9669 2785Ken Groves, Senior Manager – Philanthropy 02 9253 5317Donna Brearley, Planned Giving Manager 03 9669 2782

BalleT PRoDuCTionsDame Peggy van Praagh Fund for ChoreographyKevin Regan Fund endowed by Max JohnstonRoss Stretton Fund endowed by Bee FletcherThe Frank & Thora Pearce FundThe James & Diana Ramsay (The Australian Ballet) FundThe Kenneth R Reed FundThe Maina Gielgud FundThe Margaret Ellen Pidgeon Fund for Classical Ballet endowed by Dr Valmai Pidgeon AMThe Robert Southey Fund for Australian Choreography, endowed by The Sidney Myer Fund

aCCess & ouTReaCHThe Colin Peasley OAM Fund for Education

inTeRnaTional TouRinGIt was the Opening Night of Swan Lake in London in 2005 that inspired Frances Gerard to establish this important Fund.

Ms Laurie CowledFrances GerardDale & Ian JohnsonMrs Sarah MurdochMrs R H O’ConnorMrs Kerry Packer AODr Valmai Pidgeon AMMr Kenneth R ReedAnonymous (1)We are also grateful to those other individuals who made donations of $20,000 or less.

2012 new yoRK TouRMajor PatronsMr & Mrs Sam ChisholmTalbot Family FoundationMr & Mrs William WebbFriends of The Australian Ballet (NSW) LtdPatronsPaul and Kathy AndersonLisa FoxDavid McAllister AMMr Dave Poddar & Ms Angela FlannerySusan Talbot AMEthel Margaret Ewing Cutten FoundationFreda Irving Memorial Fund

supportersMr Marc Besen AO & Mrs Eva Besen AODr Lee Edwards & Mr Michael CraneMr & Mrs Solomon Lew

DanCeRsBarry Kay Memorial Scholarship FundThe Christine Marie Johnson Maple-Brown ScholarshipThe Dorothy Hicks FundThe Freda Irving Memorial Scholarship FundThe George Garratt FundThe James Slater Memorial FundThe Maurice Sullivan Memorial Scholarship FundThe Susan Morgan FundThe Walter Bourke Prize

MusiCJohn Lanchbery FundThe Robert & Elizabeth Albert Music Fund

GeneRalThe Ian McRae AO FundThe K Christensen & AE Bond Bequest

The Kathleen Gorham Fund established in her memoryThe Marigold Southey FundThe Melba Alma Cromack FundThe Neil Hopkins FundThe Noël Pelly AM FundThe Richard & Barbara Allert FundAnonymous (1)

ConTRiBuTions To THe GeneRal FunDDavid Crawford AO & Maureen CrawfordMr Dick Smith AO & Mrs Pip SmithHenry & Miriam GreenfieldIan & Norma DrewMr Robert Maple-Brown AO & Mrs Susan Maple-BrownMs Robin Campbell & Mr Bruce Parncutt Mr Fred Millar AO CBE & Beth MillarPerini Family FoundationPeter & Frieda ThornhillQueensland Friends of The Australian Ballet

Correct as at 23.01.2013

ESTATESMr Reginald Edward Gregory MBE & Mrs GregoryPatricia Marie SmitPatricia Hope WillisColin Robert MarshallHazel GrahamEthel Margaret Ewing CuttenRobert J ShipsidesE M BlackPaul SinclairMrs M M C DjordjevicDr George GarrattRobert Salzer AOBetty Gleeson-WhiteClifford BurgessKeith M ChristensenWilliam Arthur Hugh GordonFreda Eileen SpicerAsle Noel ChiltonGwendolyn Letitia TennantSir Robert Southey AO CMGBrenda June McGowanMr Will Noble

Norma Lucas PayneMrs Ila Leland Massy BurnsideGay John Therese ClarkeGwendoline I TregearLesley Morgan SperryGwen HuntMrs Patricia McSpeerinMr Noël Pelly AMLady Snedden AMWilliam F WellsMrs Thora PearceMiss Ann WilliamsMr Ian Berkeley SmallNola Joan HassallJean HammondMr A S LeslieMr Laurie DaviesEsther Primrose Lucy Gertrude PoelmanDame Joyce Margaretta DawsLady Nancy Fairfax AM OBEErnest SpinnerMargery I PierceBarbara Bishop HewittMrs Sylvia Box

Dr Donald WrightMrs Sally SinisoffBetty June DrabschMarianne MartinMr Norman Drogemuller OAMJean M NegusDr Dawn Meryl ThewJudith Gwen NewberryDuncan Elphinstone McBryde LearyMiss Ruth Margaret DavidsonDr Alf HowardMs Jane D CrawfordMr Harold G Marshall AMMuriel LeadbeaterMelba Alma CromackPatricia Cameron-StewartCanon Albert McPhersonCharles Ross AdamsonMrs Rosemary Campbell OAMMiss Sheila Scotter AM MBEHarold Bruce CadellAnonymous (3)

philanthropy

The Australian Ballet Foundation – what is it and why do we need it?

EsTaTEs

The australian Ballet Foundation incorporates specific-purpose major gifts, grants, and endowments created by individuals and bequests, for the benefit of The australian Ballet.

The australian Ballet acknowledges with great appreciation the bequests which it has received from the Estates of the following benefactors. These bequests have been invaluable in the achievement of the company’s objectives.

Steven Heathcote, 1993 Photography Earl Carter

Steven Heathcote Photography Earl Carter

Every time we look at the stage we see beauty, grace, romance, artistry, sheer strength, power and athleticism in settings that

stand us amongst the world’s best. This is made possible by everyone making the extra effort: great teachers, great dancers, a great support team and great philanthropic patrons. Thank you

for being an integral part of The Australian Ballet’s journey.

kENNETh WaTkINs, DIrECTor oF PhILaNThroPy

“”

FouNDaTIoN FouNDaTIoN FuNDsLucinda Dunn with artists of The Australian Ballet, 2007

Photography David Kelly

Artists of The Australian Ballet, 1972 Photography Paul Cox

Kenneth watkins Director of Philanthropy 03 9669 2785

Ken Groves Senior Manager – Major Gifts 02 9253 5317

Donna Brearley Planned Giving Manager 03 9669 2782

annual GivinG

Jane Diamond Patrons Manager NSW/ACT 02 9253 5316

lisa Bolte Patrons Manager VIC/TAS 03 9669 2735

FoR a ConveRsaTion aBouT PHilanTHRoPy Please ConTaCT:

philanthropy

PhILaNThroPy TEaM

The Ian Potter Foundation will match all new and increased donations, up to our target total of $4 million. your generous gift will make twice the difference.

The Ian Potter Foundation has made a grant of $4 million over five years for the maintenance, upgrading and refurbishment of The Primrose Potter australian Ballet Centre and towards furthering the company’s education programs. This was followed by a matching grant of up to $4 million that matches other grants and donations made to The australian Ballet on a dollar-for-dollar basis.

There’s never been a better time to give to The Australian Ballet

GolD Gifts $50,000 and overMr William BownessMr and Mrs Anthony Maple-BrownMrs Helen O’NeilParncutt Family FoundationMr Norman F PollackJames & Diana Ramsay FoundationDr Ian Ross & Mrs Margaret S Ross AME Xipell

silveR Gifts $25,000 – $49,999Barbara BedwellMr Louis J Hamon OAMMs Val HardingLord Mayor’s Charitable FoundationMcLaren FamilyMr Dick Smith AO & Mrs Pip SmithMrs Anne SymonsThe Calvert-Jones FoundationThyne Reid Charitable Trusts

BRonze Gifts $10,000 – $24,999Mr and Mrs Tim CohenMr Jim Cousins AO & Mrs Libby CousinsJudy & Chris FullertonMs Jennifer GrimwadeMs Linda HerdMs Michelle JohnsonMrs Janis SalisburyMrs Anne WhiteAnonymous (1)

PaTRons Gifts $1000 – $9,999Veronica AldridgeDr Adrianne AndersonMr Gregory AshtonPaul & Rebecca BertrandEva Besen AO & Marc Besen AOMr and Mrs Graham BoneMiss Patricia A BreslinPamela and Kaylene BroadMs Rita BrownNoel BuchananMrs Nancy ButlerJune CameronJanet CliffAnonymousChristine CloughMarianne CochraneChristine CollingwoodMrs Joan CowieMrs Lyndall CummineMargaret RoutleyMrs Felicity DemediukElizabeth DonatiMrs Gordon Douglass AMJohn & Ros DowlingIn memory of Carol DraperLorraine DrogemullerPatricia DuffyJo EdwardsJulie & Richard EisenbiseMs Angela EmbletonMiss Shirley EvansIn memory of Winefred FaithfullMargot FinneyLyn FosterGeraldine Fox-PenglisFriends of The Australian Ballet (SA) IncWilliam G. GloverMrs Christine GorrieLianne Graf

Ms Margo GrahamIn memory of Rosemary CampbellLyn GriggLouise HamshereGlenys M HarrisIan & Enid HaskinsMrs Jean HealeyDr R & Mrs D HodgeKeith Holt and Anne FullerGary & Carly HonanMr Robert A HookMax JohnstonDr Judith KinnearJoan KitchinMr Stephen KnapikT. A. LamingMr Richard LaslettR. LateefMrs Sylvia LavelleMrs I E LukeMr Hugh MacLachlan & Mrs Fiona MacLachlan OAMIn memory of Mavis MaddisonMr and Mrs J N MannIn memory of Lloyd Martin AMDr Marjory-Dore MartinBruce Matear AM & Judy MatearGraham MathesonMr & Mrs John M McArthurMs Toni E MeekDesmond B Misso EsqWendy MonroVeronica MooneyMarie MortonJudith MountDonald MurraySimon & Meredith NettletonDr Kersti NogesteThe Hon Justice Barry O’Keefe AM & Mrs Janette O’Keefe

Dr Diane Palmer and Dr Stephen Rodgers-WilsonL PeggieDr Nicole PhillipsLady PorterKerryn PratchettC. L. PriestMario ProtoMegan QualischefskiMrs Susan RiggJudy Roach for Estate Ian RoachDeri SaundersMr and Mrs Franz C SchlosserMiss Sarah SciaccaMrs Lisa SheldonMr Nev SimpsonMrs Heather SmithJoyce C SmithMr Barry Smith-RobertsMrs Margery E. SnowballMs Miranda StarkeJudith SteeleJohn & Jo StruttMr Paul Jones and Ms Suzanne SwenssonRuth TarloDoody TaylorJenny TurnbullJudy Turner & Neil AdamPatricia TylerDr and Mrs Richard VeseyMarion WellsAngela WestacottPamela WhalanDr E. WilsonYvonne YendellRuth ZionzeeAnonymous (14)

PRoDuCTion CenTRe suPPoRTeR (61)

Correct as 23.01.2013

ThE ausTraLIaN BaLLET ProDuCTIoN CENTrE

The australian Ballet Production Centre is our most important capital project in more than two decades. The generous contributions of our Production Centre Patrons and supporters will ensure the future sustainability of this revered and renowned company.

Brodie James and Imogen Chapman at the Altona site of The Australian Ballet Production Centre

Photography Lynette Wills

Daniel Gaudiello and Lana Jones Photography Georges Antoni

public programs2013 onCe uPon a TiMeIf you enjoyed this performance of Don Quixote and have children or grandchildren who would enjoy it too, then don’t miss this new event!

Once upon a time is a one-hour performance of one of our 2013 story ballets. Featuring fully staged excerpts danced by artists of The Australian Ballet and accompanied by live music, the stories of Don Quixote and Cinderella will be narrated by a lead character.

This event has been specially designed for families with children from age 4, who will delight in the engaging stories, beautiful costumes, stirring music and wonderful dancing. MelBouRne• Don Quixote Thursday 21 March 11.30am• Cinderella Tuesday 24 September 11.30am

syDney• Don Quixote Tuesday 24 April 11.30am• Cinderella Tuesday 10 December 11.30am

BooK now at australianballet.com.au/onceuponatime or call 1300 369 741 (cost of a local call).

the australian ballet storyA timeline of The Australian Ballet’s lively history in words and pictures

ausballetstory.com

David Ashmole, Maina Gielgud, John Lanchbery and Christine Walsh, The Sleeping Beauty, Covent Garden 1988

Photo Express Newspapers London

Lana Jones and Daniel Gaudiello Photography Georges Antoni

Danilo Radojevic, a dancer with a dynamic style and exceptional technical skill, catapulted to international status at the age of 19 when he won the Gold Medal at the 1977 International Ballet Competition in Moscow, the only Australian to win this prestigious award throughout the Moscow competition’s long history.

Soon after, Danilo left The Australian Ballet to become a soloist with American Ballet Theatre in New York. He remained with the company for 15 years, visiting his homeland in 1978 and 1979 with Stars of the World Ballet and in 1991 with Rudolf Nureyev’s last tour. Danilo was promoted to principal dancer of American Ballet Theatre by Artistic Director Mikhail Baryshnikov in 1981 and performed the leading roles in many of the classics, often alternating with Baryshnikov himself.

After retiring from dancing, Danilo taught at American Ballet Theatre, New York Dance Studios and leading universities in California, gaining a reputation as an outstanding technical coach. He returned to join the ballet staff of The Australian Ballet in 1997 at the invitation of former Artistic Director Ross Stretton.

Danilo was appointed Associate Artistic Director of The Australian Ballet in July 2001.

Fiona Tonkin began her career in Wellington where she joined the Royal New Zealand Ballet in 1979. Her association with The Australian Ballet began in 1980 when Marilyn Jones invited her to join the company.

By 1987 she had become a principal artist, renowned for her interpretative artistry, classicism and technical versatility. On her retirement in 1993, she had danced almost every major female role in the company’s repertoire.

Career highlights with The Australian Ballet include her performances at The Royal Opera House, the Kirov Theatre and the Metropolitan Opera House and opening the company’s 1992 London Coliseum season as Giselle.

She appeared as a guest artist with the Kirov Ballet in Swan Lake and on Rudolf Nureyev’s Farewell Tour, and danced lead roles in the ABC TV broadcasts of La Fille mal gardée and Romeo and Juliet. Fiona received Green Room Awards in 1988 and 1989.

Fiona returned to New Zealand in 1994 where she completed a Bachelor of Arts at Canterbury University while guest teaching in New Zealand and Australia. In 1999 she completed The Australian Ballet School’s Professional Dance Teachers Course and was awarded the Australian Multicultural Foundation Scholarship.

In 2000 Artistic Director Matz Skoog appointed her Rehearsal Director of the Royal New Zealand Ballet. She continued to work with Skoog in London as Assistant Artistic Director of the English National Ballet in 2002. Fiona has worked with many choreographers including Stanton Welch, Mark Morris, Christopher Hampson and Mark Baldwin.

Fiona returned to The Australian Ballet in 2003 at the invitation of David McAllister.

Associate Artistic Director

Tristan was born and grew up in Melbourne, graduating from The Australian Ballet School in 1999. He joined The Australian Ballet in 2000 and was promoted to Soloist in 2005. Tristan was known as a strong dancer, a sensitive partner and a compelling artist. He performed soloist and principal roles including Jean de Brienne in Stephan Baynes’ Raymonda and the lead roles in Spartacus and The Sentimental Bloke. He also danced works by Graeme Murphy, Stanton Welch, Glen Tetley, Christopher Wheeldon and Jir í Kylián. During Tristan’s career he toured with The Australian Ballet to China, Japan, New Zealand, the UK and France.

While still dancing Tristan began teaching at The Australian Ballet and The Australian Ballet School and studying for the Vocation Graduate Certificate in Elite Ballet Instruction through The Australian Ballet School. Tristan joined The School full time as a classical teacher in 2009 and was invited by Artistic Director David McAllister to rejoin The Australian Ballet as Ballet Master and Repetiteur in 2012.

Born in Washington, DC, Eve received her training at the School of American Ballet. She became a principal dancer with the Kansas City Ballet, and in 1988 joined the Miami City Ballet under the Artistic Direction of Edward Villella.

She was appointed Ballet Mistress of the Miami City Ballet in 1994, and named Principal Ballet Mistress in 1998. In 2003 Eve was named Ballet Mistress of the Dance Theatre of Harlem, and served on the faculty of the Dance Theatre of Harlem School. She was named Ballet Mistress of the Dutch National Ballet in 2005. In 2003 and 2005, she was the Assistant to the Artistic Director for the New York International Ballet Competition and accepted the position of Associate Director in 2006. She has also served on the Board of Directors of the World Dance Alliance/Americas.

Eve is currently a repetiteur for the George Balanchine Trust, having staged Balanchine works internationally, including Duo Concertant for The Royal Ballet, Jewels for the Dutch National Ballet and Seranade for the Dance Theatre of Harlem. She joined The Australian Ballet in 2012.

Ballet Master & Repetiteur

Ballet Mistress & Repetiteur

Principal Coach & Ballet Mistress

dAnilo rAdojevic fionA tonKin tristAn messAge eve lAwson

Artistic stAff

melbourne sydney

aRTisTiC DiReCToR Adam Chalabi

aCTinG ConCeRTMasTeR Roger Jonsson

violin Yi Wang, Erica Kennedy*, Tomomi Brennan*, Elizabeth Ambrose, Binny Baik, Severin Donnenberg, Lubino Fernandes^, Rachel Gamer, Matthew Hassall, Rachael Hunt, Ceridwen Jones, Mara Miller^, Philip Nixon, John Noble, Susan Pierotti^, Martin Reddington, Christine Ruiter

viola Paul McMillan, Hannah Forsyth*^, Catherine Bishop, Jason Bunn, Nadine Delbridge, Raymond Hope, Lawrence Jacks

Cello Melissa Chominsky, Diane Froomes*, Sarah Cuming, Philippa Gardner, Tania Hardy-Smith, Andrea Taylor

DouBle Bass Davin Holt, Dennis Vaughan*, Matthew Thorne

FluTe Lisa-Maree Amos, Karen Schofield*, Lorraine Bradbury

PiCColo Michael Smith

oBoe Stephen Robinson, Joshua de Graaf*

ClaRineT Paul Champion, Richard Sholl*

Bass ClaRineT Andrew Mitchell

Bassoon Lucinda Cran, Tahnee Van Herk*

FRenCH HoRn Jasen Moulton, Anton Shroeder*, Linda Hewett*, Heather McMahon

TRuMPeT Mark Fitzpatrick, Anthony Pope*, Mark Skillington, Robert Smithies^

TRoMBone Scott Evans, Anthony Gilham*

Bass TRoMBone Geraldine Evers

TuBa Jonathan Woods

HaRP Mary Anderson

TiMPani Guy du Blêt

PeRCussion Conrad Nilsson, Paul Sablinskis*Italic print denotes Principals, *denotes Associate Principal, ^ denotes Principal Emeritus

BoaRD

Tony Osmond (Chair) Jason Bunn Paul Champion Jane Gilmour OAM Richard Hamer Sue Nattrass AO Rob Perry

ManaGMenT

Seconded Administrator Claire Stonier-Kipen

Director of Operations James Foster

Orchestra Manager Alex Morris

Operations Assistant Estelle Hentze

Orchestral Librarian Robert Smithies

Corporate Services Manager David Hagan

Finance & Payroll Officer Rose Dragovic

Marketing & Development Coordinator Laura Crow

Italic print denotes Acting

Orchestra Victoria performs with Opera Australia, The Australian Ballet, Victorian Opera and The Production Company as well as regular commercial engagements and its own concert season.

The Orchestra provides unique opportunities for students and emerging artists to work with and learn from professional musicians through its far reaching state-wide ‘mOVe’ education program.

The diverse range of activities makes Orchestra Victoria unique among Australia’s professional orchestras.

Contact Orchestra Victoria Ph (03) 9694 3600 admin@orchestravictoria.com.au www.orchestravictoria.com.au

arts Centre MelbournePO Box 7585St Kilda RoadMelbourne Vic 8004Telephone: (03) 9281 8000Facsimile: (03) 9281 8282Website: artscentremelbourne.com.au

victorian arts Centre TrustMr Tom Harley (President)Ms Deborah BealeMs Terry BracksMr Julian ClarkeMs Catherine McClementsMr Graham SmorgonProf Leon van Schaik AOMr David Vigo

executive GroupMs Judith Isherwood, Chief ExecutiveMs Jodie Bennett, Executive Corporate ServicesMr Tim Brinkman, Executive Performing ArtsMr Michael Burns, Executive Facilities & Asset ManagementMs Louise Georgeson, General Manager – Development, Corporate Communications & Special EventsMr Kyle Johnston, Executive Customer Enterprises

Arts Centre Melbourne gratefully acknowledges the support of its donors through Arts Centre Melbourne Foundation Annual Giving Appeal.

For your informationThe management reserves the right to add, withdraw or substitute artists and to vary the program as necessary.The Trust reserves the right of refusing admission.Cameras, tape recorders, paging machines, video recorders and mobile telephones must not be operated in the venue.In the interests of public health, Arts Centre Melbourne is a smoke-free area.

Principal Regional Partner

Huy-Nguyen Bui assoCiaTe ConCeRTMasTeR

violin Adrian Keating+ Catalin Ungureanu+ Tony Gault+ Airena Nakamura° (2nd Violins) Mark Fitzpatrick* (2nd Violins) Virginia Blunt Rachel Easton Yu-Qing Rebecca Irwin Marek Kruszynski Samuel Podjarski Daniel Rosenbaum Robert Sek Jaroslaw Talar Rachel Westwood

viola Virginia Comerford° Amanda Murphy*~ David Dixon Magda Kruszynska Marilyn Wilson

Cello Eszter Mikes-Liu°~ Andrew Hines*~ Pierre Emery Margaret Iddison Henry Urbanavicius

DouBle Bass Brett Berthold° Andrew Meisel* Edmund Bastian Jennifer Penno

FluTe Elizabeth Pring° Amanda Hollins* Alistair Howlett

PiCColo Diane Berger

oBoe Conall McClure° Matthew Tighe* Mark Bruwel

CoR anGlais Andrew Malec

ClaRineT Peter Jenkin° Catherine McCorkill* Richard Rourke John Lewis#

Bassoon Douglas Eyre° Matthew Ockenden* Gillian Hansen

HoRn Victoria Chatterley°~ Lisa Wynne-Allen°~ Bourian Boubbov# Michael Dixon# Jenny McLeod-Sneyd#

TRuMPeT Joshua Clarke° Craig Ross* Bruce Hellmers

CoRneT Brian Evans

TRoMBone Gregory van der Struik° Brett Favell* William Farmer

Bass TRoMBone Brett Page

TuBa Edwin Diefes

PeRCussion Shaun Trubiano° Allan Watson*

TiMPani David Clarence

HaRP Jane Rosenson°

Italics Principal

° Section Leader

+ Principal 1st Violin

* Associate Principal

~ Acting

# Contract Musician

oRCHesTRa ManaGeMenT

General Manager, Orchestra Gérard Patacca

Deputy Orchestra Manager Emma In der Maur

Orchestral Operations Manager Anna Dodgshun

Assistant Orchestra Manager Ella Howard

Orchestra Co-ordinator Valérie Morgan-Pertus

Senior Staging Assistant Scott Moon

oPeRa ausTRalia BoaRD oF DiReCToRs

Ziggy Switkowski Chairman Lesley Alway Anson Austin OAM Virginia Braden OAM David Epstein Tim McFarlane Judith Stewart Josephine Sukkar

oPeRa ausTRalia ManaGeMenT

Narelle Beattie Acting General Manager

Lyndon Terracini Artistic Director

Anthony Legge Associate Music Director

Leith Brooke Director of Development

Alex Budd General Manager, Melbourne and Enterprises

Anton Dolk Director - Human Resources

Ian McCahon Artistic Administrator

Sue Olden Technical Operations and Project Manager

Gerard Patacca General Manager, Orchestra

Georgia Rivers Director of Sales and Marketing

Chris Yates Director - Technical Administration

The Australian Opera and Ballet Orchestra Limited, a subsidiary company of Opera Australia, is assisted by the Australian Government through the Australia Council, its arts funding and advisory body, and by the NSW Government through Arts NSW.

sydney opera House Bennelong Point GPO Box 4274 Sydney 2001 NSW Administration (02) 9250 7111Box Office (02) 9250 7777Facsimile (02) 9250 7666Website sydneyoperahouse.com

syDney oPeRa House TRusT Mr Kim Williams AM (Chair)Mr Wayne Blair Ms Catherine BrennerThe Hon Helen CoonanMs Renata Kaldor AOMr Robert Leece AMMr Peter Mason AMMr Leo Schofield AMMr John Symond AMMr Robert Wannan

exeCuTive ManaGeMenTChief executive officer Louise HerronProgramming Director Jonathan BielskiTheatre & events Director David ClaringboldMarketing, Communications & Customer services Director Victoria DoidgeBuilding Development & Maintenance Director Greg McTaggart Chief Financial officer Claire Spencerexternal affairs Director Brook TurnerCommercial Director David Watson

MaJoR GiFTs Orchestra Victoria acknowledges the outstanding generosity of our very special donors. Robert Albert AO, RFD RD & Mrs Libby Albert Betty Amsden OAM Annamila Pty Ltd Evelyn & Tom Danos Lindsay Fox Neilma Gantner Gaye & John Gaylard Geoff Handbury AO Richard Hamer Handbury Family Foundation Peter A Kingsbury Gippsland Dental Group The Late Mr David Mandie AM, OBE Don & Angela Mercer The Late Dame Elisabeth Murdoch AC, DBE Margaret S. Ross AM Lady Marigold Southey AC

PRinCiPal DonoRs The ongoing work of Orchestra Victoria throughout Victoria is only possible with donations. Every gift is important and appreciated. David & Cindy Abbey Alan & Sally Beckett Terry Campbell AO & Christine Campbell Peter & Ivanka Canet Sandy Clark Grace Croft Lord Ebury & Lady Ebury Jane Edmanson OAM Ian Hocking & Rosemary Forbes Isabella Green OAM & Richard Green Jean Hadges Richard W Hamer Henkell Brothers Australia, Pty Ltd Darvell M Hutchinson AM Peter Johnson Alastair Jackson Russell & Jenni Jenkins Peter Kolliner OAM Maple-Brown Abbot Investment Managers David Geoffrey Penington Yvonne & Phillip MarshallzDavid M MAJOR

GiFTs Orchestra Victoria acknowledges the outstanding generosity of our very special donors. Robert Albert AO, RFD RD & Mrs Libby Albert Betty Amsden OAM

Annamila Pty Ltd Evelyn & Tom Danos Lindsay Fox Neilma Gantner Gaye & John Gaylard Geoff Handbury AO Richard Hamer Handbury Family Foundation Peter A Kingsbury Gippsland Dental Group The Late Mr David Mandie AM, OBE Don & Angela Mercer The Late Dame Elisabeth Murdoch AC, DBE Margaret S. Ross AM Lady Marigold Southey AC

PRinCiPal DonoRs The ongoing work of Orchestra Victoria throughout Victoria is only possible with donations. Every gift is important and appreciated. David & Cindy Abbey Alan & Sally Beckett Terry Campbell AO & Christine Campbell Peter & Ivanka Canet Sandy Clark Grace Croft Lord Ebury & Lady Ebury Jane Edmanson OAM Ian Hocking & Rosemary Forbes Isabella Green OAM & Richard Green Jean Hadges Richard W Hamer Henkell Brothers Australia, Pty Ltd Darvell M Hutchinson AM Peter Johnson Alastair Jackson Russell & Jenni Jenkins Peter Kolliner OAM Maple-Brown Abbot Investment Managers David Geoffrey Penington Yvonne & Phillip Marshall David McAlpine Judith McCallum Heather McKenzie Michelle & Ian Moore Baillieu Myer AC & Mrs Sarah Myer John & Lorraine Redman Michael Robinson AO & Judith Robinson Ross & Daphne Turnbull Victor & Karen Wayne Erna Werner & Neil Werner OAM

PRinCiPal ReGional PaRTneR Bendigo Bank Bendigo Bank’s strong community and regional focus has great synergies with Orchestra Victoria’s work across Victoria.

TRusTs & FounDaTion suPPoRT Orchestra Victoria’s activities throughout the State are made possible with the generous support from the following Trusts and Foundations. The Angior Family Foundation William Angliss (Victoria) Charitable Fund Collier Charitable Fund Joan & Peter Clemenger Trust Harold Mitchell Foundation Helen Macpherson Smith Trust John T Reid Charitable Trusts Sidney Myer Fund Lord Mayor’s Charitable Foundation (Eldon & Anne Foote Trust) The Myer Foundation Melbourne Community Foundation Perpetual Ltd Poola Charitable Foundation Margaret & Irene Stewardson Charitable Trust William Buckland Foundation Ray & Joyce Uebergang Foundation

CoRPoRaTe PaRTneRsHiPs Partnerships with the business community through sponsorship ensure that Orchestra Victoria can continue to deliver high quality accessible music across Victoria. Iluka Resources Limited Ace Radio Allens Primrose Properties P/L Arthur Robinson Kent Moving & Storage Chandler Direct Personalised Communication Universal Music HR Legal

GoveRnMenT PaRTneRs The support received from the Australian Government through the Australian Council for Arts and from the Victorian Government

through Arts Victoria provides the foundation from which we present all our partner opera and ballet companies. Further support from local Governments assists our innovative Community & Education Programs. City of Melbourne Central Goldfields Shire City of Greater Bendigo City of Greater Shepparton City of Geelong East Gippsland Shire Council Hamilton Performing Arts Centre Latrobe City Council Mildura Rural City Council Mornington Peninsula Shire Southern Grampians Shire Council Swan Hill Performing Arts Swan Hill Rural City Council The Hamilton & Alexandra College Wellington Shire Council Wyndham City Council

PeRFoRManCe PaRTneRs Orchestra Victoria is the proud orchestral performance partner of Australia’s premier performing arts companies. The Australian Ballet Melba Recordings Opera Australia The Production Company Victorian Opera

PRinCiPal PResenTinG PaRTneRs Orchestra Victoria enjoys working with companies and venues throughout Victoria to make music accessible. 3MBS 103.5FM Arts Centre Melbourne City of Melbourne Melbourne Recital Centre NGV International

BeQuesTs Leaving a legacy to OV supports the Orchestra’s ongoing cultural contribution to Victorians. Betty Amsden OAM Alan Egan Rosemary Forbes Ian Hocking The Late G.B. Hutchings The Late James Minson Graeme Studd Michael Walker

MelBouRne The Primrose Potter Australian Ballet Centre, 2 Kavanagh St, Southbank Victoria 3006 Telephone 1300 369 741 mail@australianballet.com.au australianballet.com.au

syDney The Australian Ballet Level 3 10 Hickson Road, The Rocks Sydney 2000 Telephone (02) 9253 5300 The Australian Ballet ABN 57 004 849 987

Patron Her Excellency Ms Quentin Bryce AC Governor-General of the Commonwealth of Australia

BoaRD Chairman Christopher Knoblanche Deputy Chairman Jim Cousins AO Directors Robert O Albert AO, RFD, RD John Ellice-Flint Penny Fowler Christopher Goldsworthy - Dancers’ Representative Catherine Harris Siobhan McKenna Sarah Murdoch Bruce Parncutt Peter Smedley Craig Spencer

Honorary life Members Elizabeth Albert Robert O Albert AO RFD RD Ila Massy Burnside John Calvert-Jones AM Dr H C Coombs Timothy KF Cox AO Maina Gielgud AO Sir Robert Helpmann CBE John McCallum AO CBE FW Miller AO CBE Colin Peasley OAM Noël Pelly AM Lady Porter Sir Ian Potter KNO Lady Potter AC Dame Margaret Scott AC DBE NR Seddon AO CBE Lady Southey AC Sir Robert Southey AO CMG Dame Peggy van Praagh DBE Josephine Woodgate OAM

exeCuTive Artistic Director David McAllister AM

Executive Director Valerie Wilder

Music Director & Chief Conductor Nicolette Fraillon

Associate Executive Director Philippe Magid

Chief Financial Officer Carol Benson

Director of Philanthropy Kenneth Watkins

Director of Artistic Operations Helen McCormack

Production Director Darren Conway

Director of Human Resources Tim Murphy

Director of Corporate Relations Sophie Burbidge

aRTisTiC Ballet Associate Artistic Director Danilo Radojevic

Principal Coach & Ballet Mistress Fiona Tonkin

Ballet Master & Repetiteur Tristan Message

Ballet Mistress & Repetiteur Eve Lawson

Ballet Mistress & Rehabilitation Facilitator Noelle Shader

Ballet Technique & Rehabilitation Specialist Megan Connelly

Resident Choreographers Stephen Baynes Stanton Welch

Guest Teachers Cynthia Harvey Johnny Eliasen Martin James

Music Music Operations Manager Julie Amos

Principal Pianist & Music Librarian Stuart Macklin

Pianist & Associate Music Librarian Duncan Salton

Pianist Brian Cousins

The Robert and Elizabeth Albert Conducting Fellow Leif Sundstrup

artistic Management Executive Assistant to Artistic Director Kate Longley

Artistic Administrator & Assistant to Music Director & Chief Conductor Frank Leo

Artistic Coordinator Caitlin Topham

education Education Program Director Helen Cameron

Education Operations Manager Viviana Sacchero

Education Coordinator Donna Cusack

Dance Education Ensemble Leader Fiona Koski

Dance Education Ensemble Paris Hodson Amy Depaoli Alistair Stewart Kristopher Yates

Medical Medical Coordinator Dr Ken Crichton

Sports Physician Dr Andrew Garnham

Principal Physiotherapist & Medical Team Manager Susan Mayes

Physiotherapist Sophie Emery

Myotherapist Stuart Buzza

Consultant General Practitioner Dr Vicki Higgins

Body Conditioning Specialist Paula Baird Colt

sTaGe Company Management Company Managers Sarah Griffiths Jasmine Moseley

Assistant Company Manager Felicity Howell

Artistic Operations Coordinator Noeleen King

Travel Coordinator Michelle Saultry

Assistant Travel Coordinator Lynne McDougall

Technical & Production Production Coordinator & Administrator, The Dancers Company Angela Embleton

Stage Manager Fiona Boundy

Master Technician Bruce Gordon

Master Electrician Graham Silver

Wardrobe Master Geoffrey Harman

Assistant Stage Managers Keiren Smith Victoria Woolley

Mechanists Bart Kendall Avon Kilcullen

Lighting AV Technician Adrian Siggs

Assistant Wardrobe Master Ian Martlew

Wigs Supervisor Alison Kidd

Production wardrobe Wardrobe Production Manager Michael Williams

Wardrobe Production Coordinator Jenny Howard

Ladies’ Cutters Musette Molyneaux Sophie Donaldson

Gentlemen’s Cutters Marsia Bergh Johanna Gallagher

Senior Costumier Maureen Ryan

Costumiers Jessie Dole Karine Larche Elizabeth Maisey Ruth Owen

Casual costumiers Megan Cole Helen Croatto Corinne Gibbs Zoe Giblett Kate Gudsell Peggy Jackson Fiona Page Kate Powers Georgiana Russell-Head Ingrid Sing Ellen Strasser

Head of Millinery Vicki Car

Casual Milliner Tessie Scott

Wardrobe Production Assistant Katie Glenn-Smith

Production Division Assistant Dana Morfett

scenery & Properties Scenic Design Coordinator Scott Mathewson

Design Assistant Kat Chan

Store Operations Manager Warren Rice

Production Centre Manager Production Centre Project Jo Sapir

Facilities Manager Sean Balchin

Acting Wardrobe Store Manager Penelope Bjorksten

MaRKeT DeveloPMenT Marketing & Communications Marketing & Communications Manager Chrystal Daniel

Strategic Marketing Manager Alice Wilkinson

Strategic Communications Kitty Walker

Campaign Marketing Daniel Burns

Digital Marketing Maeve Ashby

Education & Philanthropy Marketing Fiona Howat

Senior Graphic Designer Jasmin Tulk

Publications Editor Rose Mulready

Junior Graphic Designer Lauren Cassar

Recording & Broadcast Recording & Broadcast Manager Robyn Fincham

Customer Relationship Management Customer Relationships Manager Amalia Hordern

Database Administrator Richard Laslett

Customer services Customer Services Manager Adam Santilli

CS Coordinator – Operations Ann Brennan

CS Coordinator – Sales Pam Martin

CS Coordinator – Ticketing Anna Kavanagh

CS Coordinator – Reports & Projects Jeffrey Guiborat

CS Assistants Matt Jakowenko Melanie Knight Shane Sotiropoulos Alex Wyatt Myron Yovannidis

Corporate Relations Corporate Relations Account Managers Christina Chiam Hayley D’Elboux

National Events Manager Fionn Meikle

Corporate Relations Coordinator Stephanie Perrett

Media Relations Media Relations Manager Nicole Lovelock

Publicists Bradley Grimshaw Eli Wallis

Media Relations Coordinator Chloe Gordon

Projects Director of Special Projects Yvonne Gates

Philanthropy Senior Manager – Major Gifts Ken Groves

Senior Manager – Annual Giving Julie Marshall

Grants & Foundations Coordinator Suzanne Dembo

Patrons Manager (NSW, ACT) Jane Diamond

Patrons Manager Lisa Bolte

Planned Giving Manager Donna Brearley

Philanthropy Services Manager Susan Learner

Prospect Researcher Olivia Jones

Philanthropy Services Assistant – Donations and Events Coral East

Assistant to Philanthropy Director Sharyn Gilham

Philanthropy Assistant (Sydney) Lynn Neilsen

FinanCe & aDMinisTRaTion Finance Finance Manager Carolyn Dryley

Financial Accountant Diana Bedoya

Operations Accountant Felicity Frederickson

Payroll Administrator Aye Phyo

information Technology IT Manager Damien Calvert

Systems Administrator Simon Laidler

administration Executive Assistant to Executive Director and Associate Executive Director Zena Madu

Assistant to Company Secretary/CFO Vivien Newnham

Office & Ballet Centre Manager Tracy Hosier

Receptionist Jenny Abramson

EH&S Advisor Rachel Lopez

THe PRiMRose PoTTeR ausTRalian BalleT CenTRe PTy lTD ABN 16 005 363 646

Director Christopher Knoblanche (Chairman)

Car Park Manager John Vanderstock

Car Park Attendants Vi Nguyen Maurice Surley

Casual Maintenance Stephen Reddrop

correct as 8.02.13

company and directors

with thanks

Telstra, supporting The Australian Ballet for more than a quarter of a century

PRinCiPal sPonsoR

sPonsoRs

PRoDuCT suPPoRT

Méthode Tasmanoise®: Official sparkling wine sponsor

Official legal sponsor of The Australian Ballet

Official airline of The Australian Ballet

Official piano sponsor of The Australian Ballet

Official beauty sponsor of The Australian Ballet

World-class luxury in the Great Barrier Reef

GoveRnMenT

The Australian Ballet is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body

The Australian Ballet is supported by the NSW Government through Arts NSW

The Australian Ballet is supported by the Victorian Government through Arts Victoria

Industry Partner Matching Grant Partner

SUPPORTING OUR EVERY STEPIn business, as in dance, the right partner is everything. Our corporate partners provide much-needed funds that help us realise our artistic vision, from producing exciting new ballets and staging iconic works to making a splash on the world stage. They also assist us behind the scenes, giving us product and in-kind support, which allows us to achieve excellence on both sides of the curtain.

Importantly, sponsors bring us closer to you. They help us to keep ticket prices affordable, visit communities across Australia and broadcast our ballets. We’d like to acknowledge the generosity of our current partners, whose support enables us to care for tradition, while daring to be different.

If you would like to learn more about our corporate partnerships program, please contact Sophie Burbidge, Corporate Relations Director, on (02) 9253 5311 or email sophieb@australianballet.com.au

Ty King-Wall and Amy Harris Photography Georges Antoni

Operating in Sydney, MelbOurne, Canberra, briSbane, adelaide, perth, hObart & darwin

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FoR THis PRoDuCTionCostumes manufactured by the Production Division of The Australian Balletscenery & Properties manufactured by Show Worksscenery & Properties painted by Scenic Studiosspecialist Footwear manufactured by Steppin’ Out, SydneyFabric Dyeing & Costume Properties Lynn MunroProperties refurbishment 2013 Greg Taylor, Colin Brearley

Program edited by Rose MulreadyProgram designed by Jasmin TulkThe australian Ballet portrait photography by James BraundPrincipals portrait make-up by Napoleon PerdisThe australian Ballet 2013 identity 3 Deep Design www.3deep.com.au

The cast for this performance is available on the nightly cast list which is issued free of charge to patrons. The Australian Ballet reserves the right to cancel or alter any detail of this season, or any performance forming part of this season, as it considers necessary.

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