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Saturday, July 6


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Ballet BC receives the largest donation in company history.

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The new 52-week contracts for the dancers were a longtime goal of the company—a “rarity in our industry”, Ballet BC board chair Laura Cundari said in today’s announcement. Previously, the dancers’ paid contracts were only for 48 weeks of the year; the remaining four weeks each summer were unpaid, and many of the artists have to hold down secondary jobs. “We are extremely proud to be able to set this precedent in the hopes that it will galvanize other companies and philanthropists to provide greater support for dancers,” Cundari added.

Related.

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With a gift from Jane McLennan, a long-time supporter of Ballet BC and other Vancouver performing arts groups, the company has established a 10-year, $2-million Dancer Investment Fund. The money will be distributed by way of contracts extended from 48 to 52 weeks, as well as increased weekly compensation for dancers.

 

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A review of the Royal Ballet at Jacob's Pillow by Alex Bloomstein in The Berkshire Edge.

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The Leir outdoor stage, on a delightful sunny evening, provided an enchanting setting for the dancers during the open-air performance. For works like Bronislava Nijinska’s “Les Biches”, the outdoor setting was certainly unusual and interesting; for others, however, like Christopher Wheeldon’s “After the Rain” or Michel Fokine’s “The Dying Swan”, performed by renowned principal dancer Natalia Osipova, it was perfect. At one point during the “Swan Lake” pas de deux, a raptor of some kind, a hawk or maybe an eagle, was seen soaring in the distance behind the dancers. One wondered if that bird-of-prey, spying a meal, was going to swoop down and snatch the swan, soloist Annette Buvoli, feather headpiece and all, out of the hands of her partner Harris Bell, and fly off.

 

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 The National Ballet of Canada holds a gala.

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On June 11, the National Ballet of Canada danced its way into the Four Seasons Centre for the Performing Arts to host its “Mad Hot Ballet: Garden of Jewels” gala. The sold-out event raised $1 million to support the company’s activities onstage, behind the scenes and within the community, and featured a performance of excerpts from George Balanchine’s “Jewels,” Carlos Acosta’s “Don Quixote” and the world premiere of Alyssa Martin’s “Desperate Drama of Red.”

 

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Backstage at London City Ballet.

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Completing the programme will be Eve, a full company work by Christopher Marney, which premiered at Sadler’s Wells in 2022, and the revival of Kenneth MacMillan’s 1972 one-act ballet Ballade, unseen in Europe for over 50 years. At tour venues in Portugal and China the pas de deux from Kenneth MacMillan’s Concerto will also be performed.

 

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