Happy New Year and welcome to The Australian Ballet School’s 45th anniversary year. This is a very significant period in our history and one can already feel the excitement generated by the students, in particular, those new to this environment and culture. We are thrilled with our new-look school and eager to meet the further challenge of providing residential accommodation and expanded facilities.

Both School and Company were thrilled with the news that Level 6 student, Hannah ONeill was named winner of this year’s prestigious Prix de Lausanne. Of the twenty finalists, seven laureates were chosen by an international jury, to be awarded scholarships to study at one of the major international Partner Schools of the Prix de Lausanne. Hannah, who has only just turned 16, was awarded the Foundation Lenaard’s Scholarship, and will of course, complete her training at The Australian Ballet School.

Tamara Freeman, Polly Hilton and Calvin Hannaford returned to the School in early February, after spending four weeks experiencing the training and culture at Canada’s National Ballet School, the School of American Ballet (the school of New York City Ballet), and the Jacqueline Kennedy Onassis School at ABT. Three very excited dancers began their new year here with renewed vigour and enthusiasm after this enriching opportunity.

Leigh Rowles, Head of Student Training, and Mark Annear, Head of Teacher Training spent a most rewarding week in February observing classes and the training provided by the prestigious Paris Opera Ballet School. The Director, Élisabeth Platel and her staff, welcomed them warmly and were most generous in sharing their ideas and philosophy. They are of course very proud of their extraordinary history and heritage and believe implicitly in retaining a purely ‘French’ style.

With all this positive news and such an auspicious beginning to our school year, we have all been shocked and saddened by the dreadful bushfires that devastated our small state of Victoria. Having lived in the beautiful Yarra Valley for eighteen years, I knew many of those who lost their lives and properties and understand, in some way, the unimaginable suffering of those affected. We admire the indomitable spirit of those who have survived this awful tragedy and the symbols of hope that are emerging from this, our greatest natural disaster.

Marilyn Rowe OBE
Director  

Welcome to The Australian Ballet School's newly formatted E-Newsletter. We hope you enjoy reading it and keeping up to date with what's happening around the School. We will be sending it every second month, so keep an eye on your inbox for more news soon. If you have received this from a friend, and would like to subscribe to it yourself, please email communications@australianballetschool.com.au with 'Subscribe' in the subject line. Alternatively if you'd prefer not to receive this E-Newsletter please email communications@australianballetschool.com.au with 'Unsubscribe' in the subject line.

Danielle Baird
Marketing Coordinator
 

New Zealand born Level 6 student Hannah O’Neill, has recently been named winner of the 37th Prix de Lausanne at the Théâtre de Beaulieu in Switzerland.

Held every January, The Prix de Lausanne is regarded among the international dance community as one of the most prestigious competitions in the world – and one of the toughest. And whilst it is every young dancer’s dream to participate in the Prix de Lausanne, no more than 80 exceptionally talented dancers (aged 15 to 18) from around the world are selected to compete each year.

Dancers compete for several scholarship prizes to study at some of the world’s leading ballet schools and are judged by a jury composed of nine internationally renowned dance professionals, representing different countries and a broad palette of ballet styles. Only twenty candidates reach the finals and 7 receive a scholarship. Hannah is the first student from The Australian Ballet School to win the competition and will be able to put her scholarship prize toward the completion of her studies at The Australian Ballet School.

Level 8 Teacher Joanne Michel accompanied Hannah to the Lausanne and was very pleased with her success. ‘The Prix certainly has the prestige of being a competition which has showcased the talents of many young dancers, and I had the privilege of watching Hannah become one of those who will be remembered. Throughout the competition her calm and professional manner was noted by many, as well as her beautiful quality and ability to “fill” the stage with a command and assurance rare in such a young dancer. Hannah has an understanding and quiet confidence which will continue to develop and produce a very special dancer of the future.’

Hannah says of her experience ‘Going to the Prix de Lausanne was probably the best experience I have ever had. In just a week I learnt so many new things and enjoyed every moment I was there.

The competition started on the 27th of January, with the Female Classical Class taken by Cynthia Harvey everyday, which I really enjoyed. She created a very warm atmosphere in the class so I was able to relax and enjoy myself.

On the day of our first performance I was surprised at how calm I was. I was nervous but not too nervous, just the right amount. I was number 14, so near the beginning. When I was on stage I had the time of my life. I enjoyed every moment of it and because of the rake [slope], I felt like I was jumping ten times higher!

The day of the finals was a bit more nerve racking for me. Once I got to the theatre I was fairly calm again, just concentrating on myself. I went backstage and waited in the wings. My music came on and it was going quite well until I felt my ankle get a bit loose…and uh oh… my ribbon had come undone! It didn’t really distract me too much, I just exited the stage in the nicest possible way. I quickly did my shoe up and danced again. I honestly do not remember how I was feeling or what I was thinking. I did not have time to think about it because I had to get on with my next variation.

After we had all danced we sat in a big group talking and taking photos. We all got ready for the awards ceremony. I was on the stage feeling very special just to have danced in the finals. I was sitting in the crowd and was so happy for all the scholarship winners, even though I had no idea what they were saying because it was all in French. When it came to announcing first place it went very quiet and I was trying to guess who it would be. Then I heard Mount Eden Ballet Academy and The Australian Ballet School and I nearly dropped dead. I was so thrilled I cannot explain in words how I felt.

The whole experience was very fulfilling for me and I feel so honoured to have represented The Australian Ballet School. I really enjoyed my time at the Prix de Lausanne, and it is an experience I will never forget.’

David McAllister AM, Artistic Director of The Australian Ballet and a member of the jury for the Prix de Lausanne was also there to share the experience. ‘Congratulations to Hannah, Marilyn and everyone involved, it was a decisive and wonderful win and one in which both Australia and New Zealand can be very proud. It was a great night and everyone was extremely excited about Hannah's dancing.’

Congratulations to Hannah and all involved in this tremendous event.
 

The School wishes to congratulate the Graduates of 2008, many of whom have already been successful in gaining the following contracts. We look forward to publishing news of more success, as we hear back from other 2008 Graduates auditioning around the globe.

Brett Chynoweth – The Australian Ballet
Kristy Corea– The Australian Ballet
Francis Lawrence – short term contract with New York Theatre Ballet
Luke Marchant– The Australian Ballet
Karen Nanasca– The Australian Ballet
Daniel Roberts – Singapore Dance Theatre
Valerie Tereshchenko – The Australian Ballet 

Paris is the birthplace of classical ballet and the Paris Opera Ballet School has a tradition of teaching dance dating back to 1661 when Louis XIV created the Académie Royale de Danse. This February we had the privilege to visit this great school and observe its training programme.

The invitation for the visit came from Élisabeth Platel, Director of the Paris Opera Ballet School and was a result of the close working relationship between Élisabeth and The Australian Ballet School’s Director, Marilyn Rowe. This has developed through such international dance events as the Prix de Lausanne and the Youth America Grand Prix.

We were welcomed by Élisabeth and her assistant Vanessa on Monday February 9. The immediate warmth that was extended to us permeated the atmosphere from staff to students, from the beginning of our week until our final day on Friday February 13. We were given the privilege of our own ‘choice’ for student observation, and we elected to view the progressive nature of the teaching through each level, commencing with the youngest students on the Monday and culminating in the graduating student year on the last day.

The visit was very informative for us on many levels and it was wonderful to observe the respect the students hold for their school, its tradition, and all it represents. The students hold their place in this highly reputed school with great esteem and sense of honour. The history of the school is expressed all around them also, with the environment showing wall hangings of photos, text along with much data /information and esteemed history which is their inheritance.

This respect for tradition is also very evident in the teaching staff and produces a clear national approach to dance training. At The Australian Ballet School we have a great sense of national pride and identity and it was inspiring to see these qualities so clearly demonstrated at the Paris Opera Ballet School.

For us to observe and absorb the process of training there – from young, raw, talented, students showing potential, to the finished product – the internationally acclaimed professional dancers of the Paris Opera Ballet - was indeed a privilege and invaluable experience.

In our analyses of the similarities and differences in the process of this training to our own in Australia, it was obvious that although the methods must adapt to suit the purpose and the culture, the driving force for achievement is united - the deep passion for our art; and although the ‘styles’ may differ slightly, the ‘essence’ that produces the wonderful outcome for both The Paris Opera Ballet and The Australian Ballet is without doubt, one and the same.

Leigh Rowles, Head of Student Training
& Mark Annear, Head of Teacher Training

The Australian Ballet School’s 10th annual Summer School proved to be a huge success this January, hosting 377 students aged 6-18 years from Australia, New Zealand, New Caledonia, Japan and Canada.

Students participated in a range of activities over each of the 6 day programmes, attending intensive classical classes, variations, contemporary, character, jazz, stretching classes, cardio preparation, conditioning and pilates, plus seminars and specialist lectures.

A big thank you to all teaching staff and musicians involved, who helped to make this annual event such a success!

Teaching staff

Australian Ballet School teachers:
Irina Konstantinova
Sergey Konstantinov
Tristan Message
Lisa Pavane
Margaret Wilson
Christine Howard
Sandra Ball (Creative)
Fiona Scottney (Lecturer)

Guest Teachers

Jane Casson (Classical) Soloist with The Australian Ballet
John Byrne (Classical) Examiner and lecturer
Valmai Roberts (Classical)
Natalya Bobenko (Jazz) Musical Theatre Industry
Rohan Brown (Jazz) Musical Theatre Industry
Meredith Blackburn (Contemporary)
Carolynne Aston (Lecturer)
Christine Vavladellis (Character assistant teacher) Level 8 Student
Brett Chynoweth (2008 Graduate, Artist of The Australian Ballet)

Sandra Ball General Manager & Christine Howard Summer School Coordinator
 

On the fourth of January 2009, three students from The Australian Ballet School embarked on a journey overseas to Canada and New York for four weeks. During this time they visited the National Ballet School of Canada, the School of American Ballet, and the Jacqueline Kennedy Onassis School of American Ballet Theatre.

‘This was an amazing opportunity to experience dance outside of Australia. Not only did we get the chance to travel overseas, but we were fortunate enough to dance and train in different environments, putting ourselves out of our comfort zone, and facing the challenges of the unknown. The unknown were the new faces, different teachers, change of schedule and in some cases, diverse styles of dance such as Balanchine. During our time overseas we had many self-realisations and discovered a great deal about ourselves as dancers. This newfound awareness has assisted us in defining our goals and understanding how to achieve these. Being exposed to other dancers and seeing the talent around the world has given us deeper insight into the choices we make regarding our dancing. This amazing experience has benefited us greatly, both mentally and physically, because we have been placed in different situations stretching ourselves as dancers, gaining knowledge and understanding of how other schools work. A great aspect is that we were able to extract specific things to bring back to Australia to work with. It has been an amazing start to the year, and we are very grateful that we were able to experience this rare opportunity.’

Tamara Freeman, Polly Hilton and Calvin Hannaford

What is your role at The Australian Ballet School?
I am the Exercise Physiologist for the students at The Australian Ballet School.

What do you do with the students?
Each year level does a 45 minute floor work conditioning class each week, during which students learn lots of exercises to help them to gain the appropriate strength and endurance for ballet. We also discuss different fitness related issues such as cross training and holiday conditioning programs throughout the term. Level 1-3 students do a stretching class with me each week. I also see students for specific Pilates sessions in the Pilates studio, where I work with them closely for 4-5 week blocks after they are referred to me by their teacher. Finally, if a student sustains an injury, they will attend regular rehabilitation and cross training sessions with me as part of their recovery.

What does a typical day involve?
I work at the School 4 days a week. On any given day, I teach 1-2 conditioning classes, work with small groups of students in the Pilates studio, perhaps teach a stretching class, attend a meeting, and of course plan classes or write up class notes.

When did you first become interested in dance?
I can’t remember! Apparently, my mum enrolled me in ballet lessons when I was about 5 after watching me prancing around the house ever since I could walk.

What do you like most about your job?
It is a great combination of lots of things I enjoy – teaching Pilates and using every aspect of my training in exercise science and rehabilitation, plus working with teenagers is a lot of fun and always full of surprises!

Liz Hewett
Exercise Physiologist

A Memorial Fund has been established in memory of Modesta Gentile, a much-loved member of The Australian Ballet School and The Australian Ballet for over forty years.

After Modesta’s death in January 2008, a group of her friends gathered to discuss how her memory could best be honoured. As Modesta was a great believer in the value of international experience for talented students, the group decided that a Memorial Fund should be established for this purpose and that donations to the Fund would be specifically allocated to the School’s Travel Fund. This Fund provides a valuable opportunity for talented students who, for financial reasons, would otherwise be unable to further their professional training and development overseas.

In June 2008, the Modesta Gentile Memorial Fund was established by her core group of friends, who together collected an opening balance of $3,500.

As the Fund has become more widely known throughout the Ballet community, it has drawn great interest, and donations have been received progressively by colleagues and associates who had a special connection with Modesta and who hold her memory close.

In the short space of time since its inception, the Fund now stands at $10,900 and, with a further $5,000 pledged, the expected total at the March quarter is expected to be $15,900. Such a remarkable response demonstrates the esteem and affection in which Modesta is held throughout the wider School and Australian Ballet community.

Should you wish to become part of this special group and make a contribution to the Modesta Gentile Memorial Fund, please contact Pamela Lombardo on (03) 9669 2854.

Pamela Lombardo
Private Giving Coordinator 

Two Level 8 students Calvin Hannaford and Jack Hersee will be dancing alongside The Australian Ballet's Corps de Ballet in the upcoming Adelaide and Sydney seasons of Firebird and other legends. Both will appear in the triple bill dancing roles in Petrouchka. Some lucky Level 1-3 students will also be performing with The Australian Ballet during its Melbourne Season of Graeme Murphy's Nutcracker during March. Watch out for some excited extras! Bookings through The Australian Ballet.

The School would like to congratulate all students for their efforts in fundraising over the past year, making a valuable contribution to their chosen community charities. Donations to Guide Dogs Victoria, CanTeen and more recently the Victorian Bushfire Appeal will certainly help those in need.

The School would like to welcome Mde Xiu Yan Tang and Mr Jia Hong Wang (former Australian Ballet School teachers and international dance educators) and Tristan Message (former soloist with The Australian Ballet), to full time teaching positions this year. Joining our full time and part time pianists we also welcome Larissa Oberfeld, Izabella Mouguerman, and Diane Palmer.  We look forward to sharing in their growing contribution to the School community. 

We also sadly farewell valued members of staff, Classical Teacher Ann Jenner, pianist Emma Lippa, and English Teacher Dionne Gifford. We thank them for their outstanding service to the School and wish them well with their future endevours.

Open Masterclasses will be held in Melbourne on Sunday 22 March. Open Masterclasses provide interested students aged 9-17 years with an exclusive opportunity to work with some of Australia’s leading teachers and to have their own Australian Ballet School experience. Please click here for more information or to download an applicaiton form.

Students from The Australian Ballet School will perform in Melbourne in the Arts Centre's popular Morning Melodies program Tuesday 19 May. Works will include Swan Lake Act II, Mark Annear’s Graduation Waltz, and new pieces by Leigh Rowles and former Senior Artist of The Australian Ballet, Tim Harbour. Bookings through the Arts Centre. The same performance can be seen at the Drum Theatre Dandenong on Thursday 21 May, bookings through the Drum Theatre box office or Ph (03) 9771 6666.

Next E-Newsletter…coming May 2009.