Preview | Summer 2019 - Issue 48

Preview A publication for our donors / Issue No. 48 Summer 2019

The

Dancer Issue

Our Community

By Jenna Savella, Guest Editor This year, I have the privilege of being the guest editor of the Dancer Issue of Preview. Inside, we feature a few of our dancers’ experiences within the c ompa ny, r a nging from a new Apprentice who has just begun her professional career to seasoned artists who are celebrating their 20-year milestones with The National Ballet of Canada.

The ar tists of this company are a diverse group of individuals with a wealth of knowledge and a wide range of experience who work as a team towards the same goal: the pursuit of excellence.

This common goal unites us as dancers and is demonstrated in our support for each other, through good times and challenges, debuts and retirements, in the studio and out. When you are part of the National Ballet, you become a

pa r t of a fa mily. Ma ny of u s have dedicated our lives to this company and that is a testament to the community that is The National Ballet of Canada.

It’s not only the dancers who believe in the pursuit of excellence, but also our leadership, every person in every department at The Walter Carsen Centre and The Gretchen Ross Production Centre, and especially our dedicated and loyal donors. Without you, this great community of artists would not exist.

T h a n k yo u f o r s h a r i n g yo u r j oy of dance!

Jenna Savella First Soloist

Thank you for sharing your joy of dance!

Watch the 2018/19 Thank You video national.ballet.ca/thankyou

Jenna Savella is sponsored through Dancers First by Elvio & Marlene DelZotto.

Becoming Alice

By Miyoko Koyasu One hundred and nine minutes.

Is it p o s sible? I ke pt a sk ing myself, “Is this actually happening to me?”

Alice in Alice’s Adventure in Wo n d e r l a n d by C h r i s to p h e r Wheeldon is the first title role I’ve ever danced. I first performed in the ballet in 2012 when I was an Apprentice. My roles were the Cheshire Cat’s left rear leg, Caterpillar legs and one of the h e d g e s . I n e ve r t h o u g h t I ’d ever be dancing the title role in the future.

The whole experience was so surreal and happened so quickly.

I had never had to remember that many steps, props and details in a single ballet. Then, once onstage, I had the whole other challenge of coordinating everything with the sets and lighting.

When I was trying to get into the character of Alice, I had to think about how she changes throughout the story. I realized she isn’t just a girl in love. She is curious, adventurous and brave.

When you see the world through a child’s eye s, eve r y thing is different. Children don’t usually think about consequences. When they are dreaming, things might seem a little off, but are otherwise c o m p l e te l y b e li eva b l e. A li c e goes through a dreamlike world with the White Rabbit where she meets many strange characters and finally, with courage, speaks the truth. Her bravery moves the other characters’ hearts and they help her escape from the Queen of Hearts. My challenge was to make Alice believable throughout this process, and to have the audience come on the adventure with me, rather than just watching me onstage.

I received great tips and advice

Jenna Savella. Photo by Karolina Kuras.

2

The National Ballet of Canada

Preview Summer 2019

Contents 2 2 4

Jenna Savella: Editor Message Miyoko Koyasu: Becoming Alice Celebrating 20 Years with the National Ballet

6

Tiffany Mosher: Returning to Dance After Baby

from our original Alice, Principal Dancer Jillian Vanstone. She helped me a lot with steps, but she also shared which kind of pointe shoes are good to wear at different times, and that I should have some snacks ready for between the acts. I have a vivid memory of Jillian telling me about her cupcake incident during a performance. In the scene when Alice eats a cupcake that makes her grow bigger, the bite Jillian took was too big – she ended up chewing it through her entire solo afterwards!

My favorite part of being Alice was seeing all the other dancers coming and going onstage. I’m onstage for 109 of the 114 minutes in this ballet.

It was a marathon! But at the same time, once I started, I was so focused on the acting, dancing and props t h a t i t w e n t b y v e r y q u i c k l y.

I also enjoy Christopher Wheeldon’s little twist at the end. When Alice wa ke s u p f r o m th e d r e a m, i t ’s modern day. Our final pas de deux repeats our first pas de deux, but somehow it feels brighter, happier a n d b r a ve r. T h e W h i t e R a b b i t changes into a photographer and the ballet finishes with him reading the same book he was reading to me at the beginning of the ballet. I felt exhausted by this point in the ballet, but also so happy and joyful.

7

Kota Sato: An Interview with Anne Arrell Dancer Promotions and Awards Kids of the Ballet Nicholas Rose: A Choreographer’s

8 10 12

Point of View Tene Ward: My Apprentice Year MAD HOT BALLET Kathryn Hosier: Photo Album

13 14 16

national.ballet.ca Preview newsletter is published quarterly by The National Ballet of Canada’s Development Department.

Director of Development: Diana Reitberger, CFRE Publisher: John Hart Preview Editor: Caroline Dickie Contributor: Sayana Izmailova Art & Design: Carmen Wagner We would love to hear from you.

Please send your comments to: preview@national.ballet.ca

Miyoko Koyasu in Alice’s Adventures in Wonderland.

Photos by Aleksandar Antonijevic and Karolina Kuras.

Cover: Brenna Flaherty, Genevieve Penn Nabity and Hannah Galway backstage at Alice’s Adventures in Wonderland. Photo by Karolina Kuras.

3

Celebrating 20 Years with The National Ballet of Canada T h e 2 018 /19 s e a s o n m a r ke d a n i m p o r t a n t m i l e s to n e i n t h e careers of Principal Dancers Piotr S t a n c z y k , G u i l l a u m e C ô té a n d

Heather Ogden, and Principal Character Artist Alejandra PerezGomez, who all celebrated 20 years with The National Ballet of Canada

this year. We asked them to share their perspectives on the company and their illustrious careers.

I feel I’m contributing to its artistic identity. Dancing here makes me feel like I am par t of something bigger than just being an artist – it’s about education and the legacy of art in Canada, and that’s something to be proud of.

If I had to give advice to myself 20 years ago, I’d say: pay attention to the environment you live and work in, be brave and take care of your body. It won’t last forever.

Piotr Stanczyk When I first joined The National Ballet of Canada in 1999, I knew ve r y l i t t l e a b o u t t h e c o m p a ny.

With time, I began to appreciate the organization and everything it offers. One of the first things that made an impression on me was our home studios. The Walter Carsen Centre is an ama zing facilit y to work in and it includes space for physiotherapy and rehabilitation.

Not many other companies in the world provide this level of care.

We also have one of the most amazing and diverse reper toires in the world. I get to experience dance in its full spectrum at t h e N a t i o n a l B a l l e t , eve r y t h i n g from the big classical ballets to c o n te m p o r a r y wo r k c r e a te d by famous choreographers of today.

Canada is a fairly young country and

Guillaume Côté The National Ballet of Canada gave me a home where I could excel and grow professionally and personally.

Whenever I’ve felt I needed more freedom, I’ve been given permission to dance all over the world and still come back to a place with an amazing repertoire and wonderful people. Also, Heather and I always s aw To r o n to a s a g r e a t c i t y to live in and with both of us being Canadian, it felt right to be investing ourselves into our national dance company.

Guillaume Côté is sponsored through Dancers First by Emmanuelle Gattuso, C.M. and Allan Slaight, C.M. Elena Lobsanova is sponsored through Dancers First by Sandra Faire & Ivan Fecan.

Heather Ogden is sponsored through Dancers First by Ira Gluskin & Maxine Granovsky Gluskin.

Christopher Gerty is sponsored through Dancers First by Ms. Nancy Viner & Dr. Raymond Stein.

4

The National Ballet of Canada

Preview Summer 2019

Heather Ogden As a ballet student growing up in Vancouver, I always loved it when the National Ballet came through on tour and I would always make sure to ask my parents to get tickets.

I idolized the stars and loved the company and the repertoire. Many times I was the little bunhead at the stage door waiting for autographs!

When I was in my senior year of school my ballet teacher arranged a company audition for me and the rest is history.

This has been a wonder ful company for me to grow in. I’ve had the good luck to work for two wonderful Artistic Directors, James Kudelka and Karen Kain, who have always brought out my best. I have also worked with amazing coaches and teachers, especially my principal coach Magdalena Popa

who has been a constant guide and mentor to me, pushing and inspiring me daily. The repertoire keeps me challenged and fulfilled.

Although I love to guest in other places, coming back to the National Ballet always feels like a homecoming because the company is like a family to me. Many of my best friends are in the company and I cherish the days we spend together, working, laughing and doing what we love. Dancing with Guillaume has been a highlight of my time with the company. Being in the arms of someone I love and trust completely is simply the best! We have created countless beautiful memories together onstage and off, with our two wonderful babies.

The National Ballet also embraces our offstage families too.

Kids are always welcome in the studio and they love coming to see what we do. The mix of performing and touring in our schedule helps with wor k / life bala nc e a nd ha s allowed us to put down roots in a city we love.

Alejandra Perez-Gomez Why The National Ballet of Canada for 20 Years? For me, the most simple and honest answer is that I really love working here. No job is perfect, but over the years, I’ve continually felt challenged and inspired as an artist, and I’ve grown very attached to all the wonderful people I’m surrounded by. Working in the same place for 20 years is certainly not the norm in 2019 and sometimes I think of my career at the National Ballet as analogous to a situation where someone marries their high school sweetheart – there might be other nice looking options around, but if the first relationship feels right, all the better!

I celebrated my 20th anniversary with the role of Baba in The Nutcracker. I’ve been performing this role for 14 years and it was one of the fir st cha rac te r role s

I was given, so it is very dear to my heart. I should also add that as a character artist, there aren’t always many featured roles to perform in a given season, so this one stood out as the right moment to celebrate my 20th anniversary.

My advice to my younger self: be more mindful of how you manage stress, and be a bit braver about making new friends in the company early on. When I first joined, I found it challenging to integrate myself into social groups. Combined with the pressures of a career that I took very seriously, my first couple of years were probably harder than they needed to be. Now that I have the benefit of hindsight, I realize how much unnecessary anxiety I was carrying around.

Piotr Stanczyk in La Fille mal gardée (2002). Photo by Cylla von Tiedemann.

Guillaume Cote and Elena Lobsanova in Romeo and Juliet (2011). Photo by Bruce Zinger.

Heather Ogden and Christopher Gerty in The Four Seasons (2018). Photo by Karolina Kuras.

Alejandra Perez-Gomez in The Sleeping Beauty (2018). Photo by Aleksandar Antonijevic.

The National Ballet of Canada

Preview Summer 2019

5

Returning to Dance After Baby

By Tiffany Mosher Throughout a dancer’s career, there exists a constant drive to be in the best shape possible. It’s what motivates us to go to class everyday and what propels us to go to the gym, Pilate s or othe r fitness activities in our free time.

It may take weeks, or sometimes months to get in shape, but only a few shor t days to dismantle it.

A vacation, a light per formance season, or even a muscle spasm c a n c a u s e u s t o h o ve r o n t h e edge of our capabilities. However, nothing compares to the struggle of getting back into shape after a serious injury or pregnancy.

Presently, I am happy to say that I am at the end of that uphill battle.

Ei g h t m o n th s a g o, a f te r g i v i n g bir th to my second son, Charlie, g e t ti n g b a c k i n s h a p e s e e m e d like an insurmountable feat.

When I dropped into ballet class to introduce Charlie to ever yone a nd s aw all of the le a n, strong bodies, it seemed so foreign.

I d e c i d e d to s t a r t wo r k i n g o u t sooner postpartum this time around

to see if it would make my return a bit easier.

The first step to this process is to set my ego and expectations aside for a while. This is crucial because my body is unrecognizable: Whole muscle groups are gone, bones h ave s h i f te d a n d my b a c k a n d hip flexibility are out the window.

Eve n those ugly but ne ce s s a r y toe callouses are nowhere to be found. Plus, the re’s the lack of sleep to contend with. I was already exhausted as a new mom so throwing in extra physical activity was really tough. I needed to come to terms with these factors to begin the weeks or months of training before being ready to set foot into a ballet studio.

Without help from family (mine i s i n N ova S c o t i a ), t h e b a by ’s temperament determined what I could manage to do. For example, Charlie let me ride the stationary bike if I simult a ne ou sly ro cke d him in the strolle r. I eve n use d the stroller handle as my barre. It wasn’t so bad once I got the hang

of it. With my first baby, Fredrik, however, I couldn’t do any of that.

He made the whole process much more difficult. I had to leave him at home and arrange workouts around my husband’s schedule.

Not only did I hit the jackpot with my second son’s temperament, I also lucked out with A r tist-inResidence Rex Harrington teaching company class regularly. Once I felt ready to join ever yone in the studio, Rex would put Charlie in a ba by c a r r ie r a nd te ach cla s s with him strapped to his chest.

We n i c k n a m e d R ex “ T h e B a by Whisperer” because often Charlie would drift off to sleep. I couldn’t have asked for a better scenario.

It kept Charlie happy and content with all of the movement and music, and it gave me the opportunity to complete a proper class. I got back into shape much quicker because of Rex’s help. I will cherish those memories.

Pregnancy can wreak havoc on a dancer’s “finely tuned instrument” of a body – “tone deaf” would be a more appropriate term to describe it. But I looked at it as an occasion to break old habits and retrained m y b o d y, a n a d v a n t a g e o u s o p p o r t u n i t y. I ’ve s e e n m a ny a dancer return to the stage stronger and better than ever. It’s the hardest thing I’ve ever done, but also the most rewarding.

Karen Kain, Tiffany Mosher and Rex Harrington with Charlie in company class. Photos by Karolina Kuras.

6

The National Ballet of Canada

Preview Summer 2019

An Interview with Dancers First Sponsor Anne Arrell

By Kota Sato My Dancers First sponsors since 2014 are Tony and A nne A r rell. I am so honoured to have them as my sponsors because they are lovely and kind people who are very involved and passionate about ballet. I always look for ward to seeing them at per formances and rehear sals. Today I have this opportunity to ask Anne a few questions!

How did you first get involved with the National Ballet?

To n y a n d I f i r s t b e c a m e m o r e involved in the National Ballet after t h e Fo u r S e a s o n s C e n t r e f o r t h e Performing Arts was built 13 years ago.

Tony was part of the capital campaign building committee. The ballet offered reciprocal tickets and we decided to check out a per formance! Karen was new to the leadership and ver y highly regarded.

What was the first ballet you watched?

The first ballet that I ever watched was The Nutcracker. I think this is an introductory ballet for all ages!

I also loved it when you were in The Man in Black – slower dancing but fun interpretation. Variety is the spice of life!

What is your hobby? Or what do you like to do in your free time?

I guess you could say my hobby is farming, although it is much more than a hobby! We enjoy our working beef farm (over 100 cattle) in the Mulmur Hills where we spend our weekends and summers. The extensive perennial gardens provide a constantly changing background. We also have extensive trails linked with our neighbours for hiking through the woods and on the hilltops with amazing panoramic views.

W hat a r e the b e nef it s of b e ing a Dancers First sponsor?

I have enjoyed being a sponsor as it provides the opportunity to interact on a more personal level with not only you but also with other dancers in the company.

I can follow your progress much more closely and on a more personal level.

One of the be st things to do is to attend rehearsals and see everyone dance up close. I love observing the various dancers per form the same roles— such different interpretations!

Sponsors build interesting new relationships with other sponsors, as well as their respective sponsored dancers.

It is also interesting going backstage to see the dancers in their full costumes – tired but on a high that they just danced a successful programme! So great to see everyone in different situations!

What are you looking forward to in the 2019/20 season?

Really looking forward to se eing Ka re n’s new p roduc tion of Swan Lake!

What is your favourite ballet?

I actually think my favourite performance may be The Merry Widow, as it has wonderful music and some great dancing with some amazing sets and costumes.

Do you like contemporar y work or more classical work?

It is a little like comparing apples and oranges. Both fruits are delicious, as are both forms of ballet. I really enjoy watching the new numbers – can’t believe the challenges that you give your bodies!!! (and usually the speed of the movements). I was awed by the Physical Thinking programme.

Kota Sato is sponsored through Dancers First by Tony Arrell, C.M. & Anne Arrell Brenna Flahery, Anne Arrell, Kota Sato and Tony Arrell. Photo by Smita Jacob.

The National Ballet of Canada

Preview Summer 2019

7

Dancer Promotions and Awards

The promotions: Brendan Saye to Principal Dancer Ben Rudisin and Donald Thom to First Soloist Jeannine Haller, Siphesihle November, Kota Sato and Calley Skalnik to Second Soloist

At the Season Closing Party, Artistic Director Karen Kain announced seven promotions for the 2019/20 season, as well as the Patron Award of Merit and the David Tory Award recipients.

Congratulations to these remarkable artists, with our thanks to donors for supporting the National Ballet’s efforts to attract and nurture the best ballet talent in Canada!

Principal Dancer Xiao Nan Yu is the 2018/19 recipient of the David Tory Award, named after former ViceChairman of the Board of Directors, who passed away in 20 0 6. Ms. Yu is recognized for her consummate professionalism and dedication to the

company, as well as the inspiration her exemplary behaviour provides for her fellow company members.

Geneviève McKillop, Chair, Patrons’ Council Commit tee, presented the Pa t r o n Awa r d of M e r i t to H a n n a h Galway and Kota Sato. The award is presented annually by the Patrons’ Council Committee to one male and one female Corps de Ballet member in recognition of their progress.

The National Ballet also celebrated C o r p s d e B a ll e t m e m b e r A n d re e a Olteanu and Second Soloist Rui Huang who retired from the company at the end of the season.

Top: Ben Rudisin, Brendan Saye, Donald Thom, Siphesihle November, Karen Kain, Jeannine Haller, Calley Skalnik and Kota Sato.

Bottom. Hannah Galway, Geneviève McKillop and Kota Sato. Photos by Alana de Haan.

8

The National Ballet of Canada

Preview Summer 2019

Karen Rice and Calley Skalnik.

Krista Kerr, Guillaume CĂ´tĂŠ, Linda O`Leary and Karen Sparks.

Cathy Fauquier, Julie Medland and Patricia Younger.

Xiao Nan Yu with Nicola Tory and her children.

Brendan Saye is sponsored through Dancers First by Robin Vaile Robinson.

Ben Rudisin is sponsored through Dancers First by an anonymous donor.

Jeannine Haller is sponsored through Dancers First by Devida & Derek Smith.

Siphesihle November is sponsored through Dancers First by Jerry & Joan Lozinski.

Calley Skalnik is sponsored through Dancers First by an anonymous donor.

The National Ballet of Canada

Preview Summer 2019

Spencer Hack, Eileen Farrow and Lisa Shiff.

Sarah McEvoy and Cornell C.V. Wright, National Ballet Board Chair, with Associate Artistic Director Christopher Stowell.

9

Kids of the Ballet Principal Dancers Heather Ogden and Guillaume Côté Emma, Age 4, answers mom’s questions about ballet What’s your favourite part about having ballet dancers for parents Mama wearing The Sugar Plum Fairy costume.

What about Dada?

I’m very happy because he’s a prince.

What do you think about when you go backstage?

I think that you’re a very good dancer.

Do you want to be a ballet dancer one day?

Yeah.

What else do you want to be?

I want to be a doctor or a nurse just like your mom.

Principal Dancer Jurgita Dronina Damian, Age 6, answers mom’s questions about ballet What’s your favourite part about having me as your mom and a ballet dancer?

I get to watch you onstage.

Do you like coming backstage?

Yes. Sometimes I read, play video games or do homework.

Do you like watching from the audience?

Yes, because then I can see all the faces, the costumes and sets.

Do you want to be a dancer?

No, it’s too painful.

Principal Character Artist Alejandra Perez-Gomez When I asked my nine year old son, Julian, what he thought about having a dancer as a parent, he replied that what he likes the most is get ting to see the sets and props close up — the big green tree from the second act of The Winter’s Tale is his favourite. As for my 2 year old, Amelia, when I showed her a rather sinister looking picture of myself as Carabosse in The Sleeping Beauty, she said that mama looked like “a princess”, which I thought was a very generous assessment!

Heather Ogden and Guillaume Côté with Emma and Léo Côté. Photo by Karolina Kuras. Jurgita Dronina and son Damian. Amelia and Julian.

Photos courtesy of the Artists.

10

The National Ballet of Canada

Preview Summer 2019

Principal Character Artist Rebekah Rimsay M y d a u g h te r A nya r e a l l y l ove s c o m i n g backstage for so many reasons. She gets to visit “her” friends Tanya Howard and Kate Hosier, and to see “Tina-Moina” in her tutu.

There’s always a chance she’ll have a play date with other KOBs (Kids of the Ballet) too, like Lia, Charlotte, Max or Julian who are around her age. She also used to love trying on costumes but now as a tween she’s more interested in raiding my stage make-up. The pony from La Fille mal gardée was also a hit.

At just two years old, Anya told her preschool teacher that her “mom is a witch” – I had a very interesting conversation with her teacher when I picked her up! Anya was of course referring to my role as Carabosse in The Sleeping Beauty, but it could have been taken the wrong way!

Right now, Anya doesn’t have a desire to be a dancer but I wonder if her pursuits in figure skating have been influenced by her exposure to ballet. As for Miles, at one year old he seems to respond to music with joy and movement, s o who k nows? He a lre ady love s c oming into the theatre to get extra cuddles from my fellow dancers.

Principal Dancer Greta Hodgkinson and Principal Character Artist Etienne Lavigne Maxime, Age 9, and Viviane, Age 3, answer mom’s questions about ballet What’s your favourite part about having a ballet dancer for a mom?

Maxime: I get to see your AMAZING shows most of the time.

I also have privileges that other kids don’t have, like going backstage,into the change rooms and even onstage!

Do you like to watch from backstage?

Maxime: Yes, because I get a nice side view. I also like watching from out front.

Do you like to run around the studio?

Maxime: Yes, and it’s nice to see all the dancers practicing.

Viviane: Yes, I love it!

Do you want to be a dancer one day?

Maxime: No. Viviane: Yeah.

Rebekah Rimsay and daughter Anya. Photo courtesy of the Artist. Greta Hodgkinson and Etienne Lavigne with their son Maxime.

Photo by Karolina Kuras.

The National Ballet of Canada

Preview Summer 2019

11

A Choreographer’s Point of View

By Nicholas Rose My experience as a Corps de Ballet member with The National Ballet of Canada has deepened and changed since I began working as a choreographer last May. Since then, I have had the c ha nc e to c re ate s eve r a l s m a ll works on dancers from around the world, including legendary dancer Evelyn Hart who mentored me and was incredibly suppor tive of my imagination. Now that I have had these oppor tunities, I fe el I am

more sensitive to everything going on in the studio when we rehearse, and I have a better understanding of how each par t of the creative process is connected. We all have different roles and responsibilities, but we are all serving something larger than any one of us alone.

It’s humbling.

I tr y to be an explorer as a c h o r e o g r a p h e r. I w a n t t o understand the “hows” and “whys” of the body as it moves through

space, rathe r tha n focusing on cra z y tricks and turns, or steps t h a t m e r e l y l o o k b e a u t i f u l. M y choreography is centred around technical ballet steps, emphasizing the classical vocabular y and playing with the ballet idiom. I also try to be intensely musical, so that the score informs the steps rather than the other way around. But the key to everything is establishing a healthy dialogue with the dancers so that they feel very present and self-assured while we are working.

Recently, I had the good fortune to create a solo for First Soloist Tina Pereira, which she per formed at the Sony Centre for the Performing Arts. This was the first time I had collaborated with live musicians, and it was truly a magical experience. Sometimes I will even record something and send it to a friend in London or Finland – we can’t always travel so it’s best to take full advantage of technology in a progressive way. I will continue to choreograph for students this summer and I am working on my very first large commission for The Royal Danish Ballet, set to premiere in November 2020 in Copenhagen.

A r tis tic D ire c to r Nikolaj Hübb e was drawn to how I choreograph for women on pointe, and I will ex plo re p re cis e mu sic a lit y a nd sync opation. Mak ing new wor k for a ballet company is something I’ve dreamed of ever since I was a young boy at home dancing around to the music of Romeo and Juliet!

I am so looking for ward to the year ahead and to securing more oppor tunities to create ballet for people of all backgrounds. If you are tr ying to get down and do a little dance, I am always here to have fun and make great movement that vibes with the artists in front of me. I am very blessed to be able to expre s s myself in this way and I don’t take any of these moments for granted.

Nicholas Rose in rehearsal. Photo by Karolina Kuras.

12

The National Ballet of Canada

Preview Summer 2019 12

My Apprentice Year

By Tene Ward Many young dancers dream of the oppor tunit y to work with prominent ballet companies around the world. I was fortunate enough to have that dream become realit y when I was of fered an apprenticeship with The National Ballet of Canada for the 2018/19 season. This apprenticeship gave me a first real glimpse of life in a p rofe s siona l ba llet c ompa ny.

Coming into this season, I was truly unaware of the pressure, stress and also the overwhelming joy and happiness that come with the role of “Apprentice.”

At t h e s t a r t o f A u g u s t 2018 , I left my extremely supportive and loving family behind in Melbourne a n d S yd n ey, Au s tr a li a to m ove to Toronto just three days before rehearsals for the 2018/19 season started. Although this was not the first time I had been away from home (I spent a year in Amsterdam as a Trainee with the Dutch National

Ballet Academy in 2017/18), it was the first year I was unable to see my family in over 10 months. Not having my family with me while I faced a year full of challenges was extremely hard.

As an Apprentice, I was one of the newest and youngest members of the company. Being a fresh face at the National Ballet made me feel as though I needed to prove that I deser ved this oppor tunity.

Every day I stepped into the studio knowing that I had to be my very best; to make a mistake would be detrime ntal. I cre ate d so much pressure for myself that it became taxing on my body and mind, both of whic h a re s o imp o r t a nt to a dancer. To struggle with both made me feel as if I may be falling behind or failing.

For tunately the other nine a p p re nti c e s wo r k ing a lo ng s i de me this year supported me when I needed it most and created a joyful

The RBC Apprentice Programme is sponsored by the RBC Emerging Artists Project.

and exciting work environment.

As we all went through many of the same challenges together, we have become closer and even more appreciative of one other.

This year I was for tunate to be coached and trained by Lindsay Fischer for both the National Ballet and YOU dance repertoire. During my season of YOU dance, I had the p r ivile g e to b r ing c la s s i c a l and contemporar y ballet st yles and tap dancing to children in the community, giving many of them th e i r f i r s t glim p s e of b a ll e t. At the end of every show, my fellow Apprentices and I were welcomed back to the stage to answer questions from the children in the audience. My heart was full hearing the curiosity in their young voices and knowing that ever y time we stepped onstage we could inspire the next generation of ballet audiences and dancers.

The past year has been more than I could have expected in the best way possible. Not only have I h a d t h e o p p o r t u n i t y to w o r k closely with the main company on many of this year’s programmes, but I have gained valuable knowledge – everything from how to learn an entire ballet in four days to the be st way to bre ak in my pointe shoes. The RBC Apprentice Programme has also provided me wi th f r ie n d s w h o h ave b e c o m e family. I have learned that I am stronger than I believed, that I can work smarter and harder, and push through my limitations.

I am delighted that I have been offered a Corps de Ballet contract with the National Ballet for 2019/20.

To c o ntinu e wo r k in g a l o n g s i d e talented, kind and generous dancers and to have found a place where I am appreciated for who I am as a dancer, is an incredible oppor tunity and for that I will always be grateful.

Tene Ward. Photo by Karolina Kuras.

The National Ballet of Canada

Preview Summer 2019

13

Thank you to gala Co-Chairs Rana Florida and Rochelle de Goias, the gala commit te e, and all donor s, s p o n s o r s a n d t i c ke t b u ye r s f o r making MAD HOT BALLET: Desert Dream one of the hottest nights of the year. The gala performance, gala dinner and MAD HOT lottery raised ove r $1. 2 million to suppor t our talented artists and our community programmes, which inspire movement, imagination and creative expression.

“C o n g r a tu l a ti o n s o n a n oth e r incredible evening in suppor t of one of the best dance companies in the world,” said Jay Smith, FirstVice President and Senior Portfolio Manager at CIBC, MAD HOT BALLET’s lead sponsor for a 13th consecutive year. “In sponsoring the gala event, CIBC proudly suppor ts The National Ballet of Canada, which has made outstanding contributions to our city and country’s vibrant artistic a n d c u l tu r a l li fe fo r a l m o s t 70 years.”

Presenting Sponsor

Clockwise from top left: Heather and Aaron Regent. Emily Burnett and Jonathan Bloomberg. Bernadette Morra and Lynda Prince.

Sonja and Gary Berman. Marlene and Elvio DelZotto. Opposite, clockwise from left: Karen Kain and Jay Smith. Lisa Keller, Lisa Cohen and Suzanne Rogers. Emmanuelle Gattuso.

Barry Hughson, Rana Florida, Rochelle de Goias and Jay Smith.

Photos by Alana de Haan, Ernesto Distefano, Ryan Emberley and George Pimentel Photography.

14

The National Ballet of Canada

Preview Summer 2019

For more gala photos, visit madhotballet.ca.

The National Ballet of Canada

Preview Summer 2019

15

Second Soloist Kathryn Hosier’s Backstage Photo Album

Kathryn Hosier is sponsored through Dancers First by Donna Meyers & Doug Richmond.

Photos by Kathryn Hosier.

The Walter Carsen Centre for The National Ballet of Canada 470 Queens Quay West Toronto, Ontario, Canada M5V 3K4

Audience and Donor Services 416 345 9595 Out of Town 1 866 345 9595 national.ballet.ca

The National Ballet of Canada is a registered charit y.

Charitable Registration Number 11905 1449 RR0 0 01

3318400