Jan McNulty

For immediate release PRESS RELEASE Date: 23/01/24 Royal Academy of Dance’s The Fonteyn comes to London in 2024 The Fonteyn is one of the world’s most prestigious dance competitions Image of The Fonteyn 2023 Gold medallist Jakob Wheway-Hughes. Image by Martin Bell. Today the Royal Academy of Dance (RAD) is delighted to announce that its flagship event The Margot Fonteyn International Ballet Competition comes to London in 2024. The Fonteyn (previously known as The Genée) is one of the oldest and most prestigious ballet competitions in the world, representing the pinnacle of achievement for young dancers trained in the RAD syllabus. Beginning in 1931, the competition has toured the globe and is dedicated to promoting dance, providing educational experiences and recognising excellence in young ballet dancers internationally. A launch pad for a professional career, past winners of The Genée and The Fonteyn – including Steven McRae and Francesca Hayward - have become professional dancers with companies worldwide and enjoyed long-lasting careers in the arts. Tim Arthur Chief Executive of the RAD said: “The Fonteyn is such a special event loved by so many people across the international dance industry. Each year we bring together dancers from around the globe for a week of dance that they’ll remember and cherish forever. We’re delighted to be putting on this event in London this year and look forward to creating even more Fonteyn memories.” The competition begins on 1 September, with coaching days kicking off the week. Three days of semi-finals then follow, hosted at RAD’s state-of-the-art dance studios in its HQ. The semi-finals will see candidates take part in a judged class on stage and performing one variation from the Classical Repertoire list. Candidates also perform a ‘Dancer’s Own’ piece – a newly choreographed solo created by themselves, their teacher, or a peer, to a piece of music of their choice. After the semi-finals, the grand final will be held at His Majesty’s Theatre, London on 8 September. During The Fonteyn 2024 competition, candidates will work with a top choreographer on a variation commissioned for the competition. The finalists will perform this at the final, where it will have its premiere. Last year’s commissioned choreographer was The Royal Ballet first soloist Valentino Zucchetti who choreographed Jeunesse. Bursaries are now open! In 2023 RAD was able to give bursaries to around a quarter of The Fonteyn candidates. This scheme provides vital support for young dancers facing additional barriers to achieving their dreams. Bursary applications for The Fonteyn 2024 are now open and close on Friday 1 March. Candidate applications for 2024 Candidate applications for The Fonteyn 2024 competition open on Friday March 1 and close on Friday 31 May. Ticket sales for public will open in the next few months. You can find out more at The Fonteyn website https://www.thefonteyn.org/ Notes to Editors About the Royal Academy of Dance Royal Academy of Dance (RAD) is one of the most influential dance education and training organisations in the world with a strong global membership in over 80 countries. Established in 1920 to improve standards and re-invigorate dance training, the Academy helps and encourages its teachers to perfect their teaching skills and pass on this knowledge to their students. There are currently over 1,000 students in full-time or part-time teacher training programmes with the Academy and each year the examination syllabus is taught to thousands of young people worldwide, with around a quarter of a million pupils per year going on to take RAD exams.

Congratulations to David and Yoko. I wonder how permanent an appointment it is or whether it is just while the company is still sorting itself out after the issues last year when it looked as though the company might end up folding. https://www.iol.co.za/sunday-tribune/entertainment/cape-town-city-ballet-welcomes-david-nixon-cbe-as-the-artistic-producer-for-90th-anniversary-season-9202043a-24ac-439f-80d1-46bfd425d8c0 I love "I got rhythm" but it's probably not realistic for me to book a trip to see it! https://www.news24.com/news24/southafrica/news/future-of-cape-town-city-ballet-uncertain-as-dispute-between-ceo-and-board-drags-on-20230512

PRESS RELEASE 24 January 2024 Statement from Dance Umbrella on the death of Emma Gladstone OBE Above photo by Hugo Glendinning It is with great sadness that we are announcing the death of Emma Gladstone OBE. A pioneering and highly respected leader in the dance world across the globe, Emma was Artistic Director and Chief Executive of Dance Umbrella from 2013 to 2021. Emma died on Monday 22 January, after a short illness, at home and surrounded by her loving family. As well as being internationally celebrated for her exquisite taste and incisive acumen, Emma was a joyful collaborator who was loved by artists, colleagues and audiences alike. Her infectious laugh, delicious wit and kindness made her a cherished friend and mentor to more people than we can count; and her dedicated encouragement, care and companionship made her an extraordinary mother, stepmother and wife. Emma Gladstone was a hugely respected senior arts advisor and programmer working in cultural and creative industries worldwide. She specialised in dance and performance. As Artistic Director of the Rolex Arts Festival (Athens, 2023), Director of the Big Pulse Intensive (Creative Europe 2021-24) and former Artistic Director, BBC Young Dancer (2015, 2019 & 2022), she specialised in the professional development of artists and cultural workers. From 2013 to 2021 Emma was Artistic Director & Chief Executive of Dance Umbrella, London's long running international dance festival. Her tenure was characterised by diversifying choreographic styles, reinforcing its role as a catalytic introducer of talent, and reaching and inspiring local audiences from babies to adults in more locations than ever before in the festival’s history. Emma’s work was not just about who’s on stage but also the creative collaboration and shared vision it takes to make things happen. This led to Producer Farm, a joint initiative with Fuel, Bristol Old Vic Ferment, Dance Umbrella, In Between Time and Coombe Farm Studios, which offers free residencies for professional UK and international producers to reflect on and refresh ideas and their practice. Emma was also a founding member, and instrumental in the development of the Creative Europe project Big Pulse Dance Alliance, a network of 12 European dance festivals and institutions supporting artists and diversifying dance programming on the big stages of Europe and beyond. Freddie Opoku-Addaie, Artistic Director and Chief Executive of Dance Umbrella said: ‘Emma embodied a vital and informed outlook about what the non-verbal expression of dance can do for all humanity. Hold on, having read what I’ve written back to myself, I can hear Emma asking ‘what on earth do you mean, Freddie? Let’s get as close to the point as possible’. One of Emma’s superpowers was the readiness to share tools, impart lived experience and dive into the deep end to reach the desired goal with care. Not to dampen down, but rather to be able to take as many people with you as you can. What will forever remain in mine and all our hearts is your glorious smile, wicked sense of humour and unwavering drive for us all to do better by one another.’ Alistair Spalding CBE, Artistic Director and Co-Chief Executive of Sadler’s Wells said: ‘I knew Emma in many of her guises - beautiful Dancer, programmer, advocate, leader, producer and friend. She was so dedicated to the art form she loved - always thoughtful, articulate and charming. She meant so much to all the people she touched in and outside the dance world. She was also definitely the best dressed woman in the arts! I will so miss her.’ Whilst Artistic Programmer at Sadler’s Wells from 2005-2013, Emma initiated a range of programming frames for artists and audiences that continue today, whilst establishing and directing the Jerwood Choreographic Research Programme. In recent years her international work as an advisor, speaker and assessor has included Chile, China, India, South Korea and Hong Kong. Emma was also Co-Founder of Crying Out Loud and Associate Director at The Place (1997-2003). Before her programming career Emma danced for 20 years with Arlene Phillips, and Lea Anderson’s The Cholmondeleys. She co-founded Adventures in Motion Pictures (now New Adventures) with Sir Matthew Bourne. Emma was an Honorary Fellow at Trinity Laban, received a Tonic Award for Outstanding Women in the Arts in 2019, and in 2021 was awarded an OBE in the Queen’s Birthday Honours. Formerly Chair of the Board at Siobhan Davies Studios, Emma was also a Trustee at Dartington Trust in Devon and a Trustee at Aesop (Arts & Health).

Hello @Hannah Elise and welcome to the Forum!

Such very sad news. RIP Eric. I so hope you have met up with Boris on the rainbow bridge.

BRB have put a rather nice post on Instagram: https://www.instagram.com/p/C2c_BkTt7lv/

At the very least it was mentioned in a news item in links last Friday...

Did not the late Julian Hosking also dance DG? I could have sworn I saw him and Lesley Collier in the first performance of Manon that I saw.

César was a wonderful Oberon in Sir Frederick Ashton's The Dream so perhaps he would like to have it in the rep in Santiago and also Fille...

https://www.royalballetschool.org.uk/2024/01/16/the-royal-ballet-school-to-appoint-ceo-alongside-artistic-director/ "The search for the CEO has begun, and the search for the next Artistic Director will follow soon. The School is working with Will Pringle at Berwick Partners (an Odgers Berndtson company)."

Well that's interesting because in everything that was on the internet over the weekend it was saying he was taking up post in April.

PRESS RELEASE: FOR IMMEDIATE RELEASE Viviana Durante steps down as Artistic Director of English National Ballet School. English National Ballet School announces that Viviana Durante, Artistic Director, has informed the Board of Governors that she has decided to step down at the end of the current academic year. Viviana will be leaving after five very successful years at the artistic helm of the School. Ms Durante said: "It has been a privilege to lead and guide the artistic development of the School for the past five years. It has been a joy to work with five cohorts of exceptional dancers, and to witness their growth as talented and creative artists. "The artistic, educational, healthcare, executive and operational team I have worked with are dedicated and talented, and we have created a safe, nurturing and inspiring environment to empower the students. "We have been blessed to have enjoyed the support of English National Ballet1, and many sponsors, donors, partner organisations, and visiting choreographers and teachers. Together with all involved at the School, their commitment has enabled us to provide our students with a wealth of opportunities that place us amongst the world's leading ballet schools. "Having had the opportunity to bring fresh ideas for training and collaboration to the School, I very much look forward to seeing the future success of the School. We have been able to introduce new courses including our graduate trainee programme, innovate in the field of dance and healthcare, and we have strengthened our international reputation. I wish all involved at the School the very best." Viviana will continue to lead the School's artistic streams through the summer performances in July. The ENBS Board said: "Viviana has provided exceptional artistic leadership and has co-led the School through a time of significant challenge and change. Her vision and ability to create opportunities for our students is remarkable. We very much look forward to continuing to work with Viviana for the rest of this school year. She will leave with our thanks and very best wishes." In addition to the summer performances in July, Viviana will be at the Prix de Lausanne with third year students Gabriel Pimparel, who has been selected as a Prix candidate by the esteemed judging panel, and Lana Klemen, who will participate in the choreography section of the elite dance competition. In her tenure, Ms Durante has helped ensure that ENBS students benefited from unrivalled performance opportunities, most recently being the only school in the UK and Europe to perform Sir Frederick Ashton's Romeo and Juliet, as well as the only school in the UK and Europe to be permitted to perform a work by Pina Bausch: both of which will be staged this July. Recruitment plans will be announced in due course.

Tucked in at the bottom of the press release about Paul Murphy: César Morales announced as new Artistic Director of Santiago Ballet. In addition, Birmingham Royal Ballet’s Principal, César Morales, has been appointed Artistic Director of the Santiago Ballet, a position which he will assume in March 2024. A former student of the Santiago Municipal Theatre Ballet School and former member of the Santiago Ballet, Morales has developed a vast and successful career spanning three decades in Europe. Carmen Gloria Larenas, general director of the Municipal Theatre of Santiago said ‘After an extensive selection process, we have announced the new Artistic Director of the Santiago Ballet, a person who knows the company and the Municipal Theatre of Santiago well. His international career and achievements through his artistic merits make him an artist loved by the public and admired by the media. César Morales returns home.’ Morales, upon being informed of his selection, said ‘I am happy to return to the Municipal Theatre of Santiago to work with the company's dancers. It is a new stage in my career that I am ready to face and I am sure that my European experience will be a contribution to the development of the company’.

PRESS RELEASE 22 January 2024 Twitter / Facebook / Instagram /Website BIRMINGHAM ROYAL BALLET ANNOUNCES PAUL MURPHY AS NEW MUSIC DIRECTOR AND PRINCIPAL CONDUCTOR Birmingham Royal Ballet today announces the appointment of Paul Murphy as the Company’s new Music Director and Principal Conductor leading the company’s orchestra, the Royal Ballet Sinfonia. He will assume the role on 1 July 2024, following Koen Kessels stepping down as BRB’s Music Director on 30 June 2024. Carlos Acosta, Director of Birmingham Royal Ballet, said: ‘I couldn’t be happier for Paul. His unfailing energy and enthusiasm has been a source of inspiration to me, all of the Royal Ballet Sinfonia players, our dancers and the Company as a whole. While we are sad to see Koen leave, Paul is his natural successor and his appointment could not be more well deserved.’ Paul Murphy, who will take on his new role alongside his existing role as Principal Conductor said: ‘I am thrilled and honoured to accept the position of Music Director and Principal Conductor of Birmingham Royal Ballet. I look forward to working alongside Carlos Acosta and Caroline Miller to build a strong and secure future for the wonderful Royal Ballet Sinfonia, expanding our partnerships and developing the hugely successful Constant Lambert Conducting Fellowship.’ Paul Murphy has been a member of Birmingham Royal Ballet for 31 years since he joined the company in 1992. He was appointed Birmingham Royal Ballet’s Principal Conductor in 1997 and has been instrumental to developing exceptionally talented young ballet conductors through the Constant Lambert Conducting Fellowship. Paul Murphy is a regular guest conductor for the Royal Ballet, Covent Garden since 1994, working with the Orchestra of the Royal Opera House. He has also been the conductor for the Royal Ballet School’s annual performance since 2005. He has conducted many of the UK’s finest ensembles including the Royal Philharmonic Orchestra, the Hallé, the Royal Liverpool Philharmonic Orchestra, the BBC National Orchestra of Wales, the Ulster Orchestra, the BBC Concert Orchestra, the Orchestra of Opera North, the City of Birmingham Symphony Orchestra and the Manchester Camerata. Abroad, he has worked with such orchestras as the Bergen Philharmonic, the Tokyo Philharmonic, the Osaka Symphony, the Hong Kong Philharmonic, the Washington National Opera Orchestra, the Virginia Symphony, the Sofia Opera Orchestra and the Orchestra of the Teatro Massimo in Sicily. Paul has also been a guest conductor for New York City Ballet, Ballet du Rhin, the Royal Ballet of Flanders, Dutch National Ballet, The Australian Ballet, BalletBoyz, NDT 1, Acosta Danza, Finnish National Ballet, Sarasota Ballet and the Tokyo Ballet, with whom he conducted performances of Stravinsky’s The Rite of Spring at La Scala, Milan in July 2019. He has been a frequent guest conductor with the National Ballet of Japan since 2008. He has made numerous recordings for BBC Radio 3, BBC Television, Channel 4, and released CDs with the Hallé, the New Queen’s Hall Orchestra and the Royal Philharmonic Orchestra. He has also recorded DVDs of Prokofiev’s Peter and the Wolf with the Orchestra of The Royal Opera House, The Tales of Beatrix Potter and Les Patineurs with the Royal Ballet Sinfonia, Aladdin and Sylvia with the Tokyo Philharmonic Orchestra and NHK broadcasts of Coppelia with the Tokyo Symphony Orchestra and Swan Lake with the Tokyo Philharmonic Orchestra. Paul studied conducting at the Royal Academy of Music with Colin Metters, John Carewe, George Hurst and Sir Colin Davis. He was made an Associate of the Royal Academy of Music in 1997. César Morales announced as new Artistic Director of Santiago Ballet. In addition, Birmingham Royal Ballet’s Principal, César Morales, has been appointed Artistic Director of the Santiago Ballet, a position which he will assume in March 2024. A former student of the Santiago Municipal Theatre Ballet School and former member of the Santiago Ballet, Morales has developed a vast and successful career spanning three decades in Europe. Carmen Gloria Larenas, general director of the Municipal Theatre of Santiago said ‘After an extensive selection process, we have announced the new Artistic Director of the Santiago Ballet, a person who knows the company and the Municipal Theatre of Santiago well. His international career and achievements through his artistic merits make him an artist loved by the public and admired by the media. César Morales returns home.’ Morales, upon being informed of his selection, said ‘I am happy to return to the Municipal Theatre of Santiago to work with the company's dancers. It is a new stage in my career that I am ready to face and I am sure that my European experience will be a contribution to the development of the company’. Notes to Editors: Birmingham Royal Ballet Birmingham Royal Ballet is the United Kingdom’s leading touring ballet company performing a range of traditional, classical and heritage ballets as well as ground-breaking new works with the aim of encouraging choreographers of the future. The Company’s Director since January 2020 is the internationally renowned Carlos Acosta. Birmingham Royal Ballet standardly performs at Birmingham Hippodrome for approximately ten weeks of the year and the remainder of the year tours throughout the United Kingdom and overseas. On average, the Company performs 175 shows a year nationally and internationally. Music is at the heart of BRB’s activities and the company is committed to regularly commissioning new orchestral music for ballet. Through BRB’s Ballet Now programme which was launched in 2017 BRB has commissioned the largest number of new orchestral music for Ballet since Diaghilev. The Royal Ballet Sinfonia The Royal Ballet Sinfonia is Birmingham Royal Ballet’s permanent orchestra, it is also Britain's busiest ballet orchestra. Alongside touring with Birmingham Royal Ballet The Royal Ballet Sinfonia plays frequently for The Royal Ballet and other leading ballet companies, including performances with Paris Opéra Ballet, New York City Ballet, Australian Ballet, Les Grands Ballets Canadiens, the Kirov, Norwegian Ballet, Atlanta Ballet, San Francisco Ballet and La Scala Ballet.

Hello Jorge and welcome! May I ask if you have the opportunity to see Ballet De Santiago in the theatre? It has recently been announced that Cesar Morales will be the Artistic Director soon and his British fans would love to hear news of him.

Thanks Don Q, I'm very jealous now!

The article mentioned by Emeralds is on the front page of the Stage (left hand side, latest news). If you have registered for the stage you can read 3 articles per month. https://www.thestage.co.uk The incident wasn't mentioned in any other news items that I could find when I was doing the links.

A performance was disrupted by people who are not happy with some of Sadler's Wells corporate sponsors. The theatre must be between a rock and a hard place. I am not sure if it has been imposed yet but there was a fuss last year about charities cutting ties with fossil fuel sponsors and the Charities Commission saying they should not turn down such sponsorship (very much paraphrased): https://www.theguardian.com/society/2023/nov/09/charities-must-have-good-reason-to-reject-donations-says-head-of-england-regulator It was reported in The Stage but I couldn't find any other references and I had already used my quota of free articles so couldn't actually read anything other than the headline.

Why English National Opera relocating to Manchester will be more complicated than it looks: https://www.bigissue.com/culture/music/english-national-opera-move-manchester-eno-explained/

Links - Sunday 21 January, 2024 Review - Royal Ballet, Manon, London: David Mead, Seeing Dance Film Review - Sue Healey & Collaborators, On View: Icons: Michelle Potter, ... on dancing Preview - Sarasota Ballet, Celebrating Graziano, Sarasota: Jay Handelman, Sarasota Herald Tribune Preview - Smuin Contemporary Ballet, Celebrating Michael Smuin, San Francisco Ballet: Stephi Wild, Broadway World Preview - Atlanta Ballet, Coco Chanel: The Life of a Fashion Icon, Atlanta: Keith Loria, Encore Atlanta Feature - India Bradley, New York City Ballet: Iman N Milner, Girls United Feature - Russell Maliphant, choreographer: Tamsin Flower, British Theatre Guide Feature - Dr L’Antoinette Stines, Jamaican dancer & choreographer: Melissa Noel, Essence Documentary Feature - Call Me Dancer: Simi Horowitz, Forward Feature with dance interest - The Jewish contribution to the history of shoes: Anthea Gerrie, Jewish Chronicle Feature with dance interest - Dior pays homage to ballet icon Nureyev: Daphné Rousseau, Yahoo

Does ACE's latest intervention go far enough? https://www.artsprofessional.co.uk/magazine/news-comment/does-aces-latest-intervention-go-far-enough

Gosh, I'm thrilled for Cesar. Huge congratulations to him. I had been hoping that he would transition to the ballet staff at BRB. He will be sadly missed by all his fans.

Links - Saturday 20 January, 2024 Obituary - Maxine Mahon, founder California Ballet: Pam Kragen, Marcia Luttrell, San Diego Union Tribune Reviews - Royal Ballet, Manon, London: Jonathan Gray, Bachtrack Siobhan Murphy, Stage Vera Liber, British Theatre Guide Debra Craine, Times (share token) Reviews - Ronald K Brown/EVIDENCE, Walking Out the Dark, Torch, New York: Ivy Lin, Bachtrack Joel Benjamin, Theaterscene Physical Theatre Review - Gecko, Kin, London: Georgia Howlett, Seeing Dance Preview - Scottish Ballet, Cinders!, Inverness & Aberdeen: David Pollock, Press and Journal News - Alonzo King LINES Ballet reveals programming for Spring 2024 season: Stephi Wild, Broadway World Video Report - Dancing for democracy: National Ballet of Ukraine performs in Montreal: Gloria Henriquez, Global News Video Report - 2 dancers and a cellist perform by a glacier in Davos: Staff, ABS-CBN via Reuters Preview Feature - Choreographers Alonzo King and Helen Pickett bring ballet rooted in human connections to Boston stages: Katherine Abbott, Boston Globe

Access seat arrangements have been in place for at least 20 years so not sure if that classes as relatively new. I had a disabled friend who was registered with the Access scheme and went with her several times (because you can also have a companion if you need one).