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Wednesday, August 24


dirac

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Aaron Watkin is appointed to lead the English National Ballet.

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Canadian Watkin, 52, is not as starry a name as Rojo – one of the leading ballerinas of her generation – but he has a solid career behind him. He has been artistic director at Semperoper Ballett in Dresden for the last 16 years and previously danced with William Forsythe’s Ballett Frankfurt, Dutch National Ballet and National Ballet of Canada. He danced with ENB for two seasons 30 years ago and it’s an experience that stuck with him. “I love the pioneering spirit of ENB. You really become a family. Even though I was there a short time, the friendships I forged have been lifelong.”

 

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Melissa Barak is appointed to lead the Los Angeles Ballet.

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Los Angeles Ballet’s board declined to comment on the circumstances of Christensen and Neary’s departure. Board Chair Jennifer Bellah Maguire said the board decided to take a strategic 360-degree look at the company — at its trajectory and evolution, as well as its goals and ambitions — during its last season as it emerged from the pandemic.

 

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Ballet Arizona presents "Ballet Under the Stars" next month.

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“Ballet Under the Stars is one of our favorite annual traditions, and we’re proud to be able to present it again to the community this year,” says Artistic Director Ib Andersen. “These performances are an exceptional gathering and celebration of art that allows all people to be immersed in the world of ballet.”

 

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A Cuban dancer returns to ballet after a bout with Guillain-Barré syndrome.

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I"t took me several months to learn to walk again," he said, calling it an "intense physical and mental rehabilitation process."

He returned to the ballet and this year he became a "first dancer," an elite distinction within the ballet made even more impressive by his battle against the disorder.

 

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The new artistic director of Cincinnati Ballet talks about her goals for the company.

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“[We need to be] aware of popular trends, and looking at the voids in the field — there is more of a recognition of the form,” Gates says. “We need to demystify it, and what I mean by ‘demystify’ is that it’s not just for the European courts, it’s still kind of a folk dance of sorts. Putting it in a position of any other form of dance and being able to talk about it. I think it’s going to take time... I think there’s something about ballet right now that we have an opportunity to reimagine what its future will be.”


 

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