Royal Ballet Promotions 2022

[Sim]

Wow, so many promotions to Soloist!  Very pleased for all of them, and no surprises there either! I'm glad there was enough room, especially since there was only one move from that level to First Soloist!

 

Also very happy about all the other promotions.  Interesting that Joe Sissens is the only promotion at the upper end; nothing for the women at FS or Principal level this year; I guess they are consolidating.  

[FionaM]

So pleased for all these.   I’m sure some of these will be promoted again in a year’s time, given the lack of promotions during COVID!

 

I hadn’t realised Joe Aumeer was leaving … the full announcement says to Royal Danish Ballet.  I am also interested to hear of Paul Kay’s new role with RBS. 

Edited July 8, 2022 by FionaE

[FionaM]

One thing I am surprised by …. that there are no external hires from amongst the many exiled Ukrainian dancers, or non-Russians who have left Russian companies.

 

I would like to hear, why not. 

[bangorballetboy]

1 minute ago, FionaE said:

One thing I am surprised by …. that there are no external hires from amongst the many exiled Ukrainian dancers, or non-Russians who have left Russian companies.

 

I would like to hear, why not. 

 

Probably because there are no available contracts.

[FionaM]

3 minutes ago, bangorballetboy said:

 

Probably because there are no available contracts.

 
I’m sure funding could be found if there was someone they really wanted.  

[bangorballetboy]

Just now, FionaE said:

 
I’m sure funding could be found if there was someone they really wanted.  

 

From where?  The Royal Ballet was required to reduce headcount less than two years ago and the ROH is still looking to supporters to try to get funding back to pre-pandemic levels.

[capybara]

5 minutes ago, bangorballetboy said:

 

From where?  The Royal Ballet was required to reduce headcount less than two years ago and the ROH is still looking to supporters to try to get funding back to pre-pandemic levels.

 

I'm not sure, but I suspect that RB dancers are still on 90% of what they were earning pre-pandemic.

With the ongoing financial situation (and, it would appear, no immediate space for Findlay, Llewellyn and Van Tigglen to have permanent contracts), it would be very difficult (and possibly unfair) to recruit from outside.

 

Among those promoted to Soloist this year, there are some obvious candidates 'for the top' in the future. Exciting times...........

[FionaM]

24 minutes ago, bangorballetboy said:

 

From where?  The Royal Ballet was required to reduce headcount less than two years ago and the ROH is still looking to supporters to try to get funding back to pre-pandemic levels.

I can think of one place where there were financial supporters of international artists in Russia, that had to close because of sanctions … See link.   
 

I’d have hoped these non-Russian supporters could have been persuaded to redirect future funds to financing these types of hires at ROH and elsewhere.  (I realise the trustees may have ‘lost’ the existing funds in that trust … but it was already donated.  I’m not privy to what actually happened to existing funds.) 

 

https://amp.theguardian.com/world/2022/mar/13/charity-that-supported-st-petersburg-ballet-and-opera-closes-its-doors
 

Edited July 8, 2022 by FionaE

[LinMM]

Congratulations to all!!

Am particularly pleased for Viola Pantuso who I’ve noticed several times in the Corps and that Ella Newton Severgnini and Luc Foskett have been given Aud Jebsen contracts( I wouldn’t recognise the other students listed unfortunately) 

I saw Ella at Yorkshire Ballet Summer School a few years back and both she and Caspar Lench also there that year  ( he was tiny then and his joy in dancing so obvious) caught my eye. 
Ella has a lovely un-showy natural style and I’m sure one to watch. 
Obviously really pleased for Joe Sissens 

and glad Masciari has been taken on more permanently by the Company he is always very watchable. 
Also I think Darrion Sellman is going to be a very interesting addition given his superb performances at the Prix earlier this year. 

Edited July 8, 2022 by LinMM

[Sim]

1 hour ago, capybara said:

 

it would be very difficult (and possibly unfair) to recruit from outside.

 

 

Agree.  It is a tough one,  but if the funds aren't available, they aren't available.  And yes, when the current top ranks are very top heavy and most of the existing Principals and First Soloists don't get enough shows as it is, bringing in one or two more would skewer their stage time even more.  And I really have the feeling that the current AD really wants to keep the company members gleaned from the school (except for the few Prix and other dancers brought in).  Under the leadership of Mr O'Hare we have hardly even had any guests, let alone permanent company members brought in from schools or companies abroad. It might seem a bit harsh to some, but at the moment he has to look ahead and get the company in the place where it should be, and he seems to be succeeding very well in that.  Bringing in dancers who have been trained in, and have been dancing in, a different style might just rock the boat.  

 

Have any of the other British companies taken on Ukrainian 'refugee' dancers?

[Linnzi5]

Congratulations to all those who have been promoted. Wishing all those who are leaving to pursue new careers, or retiring, every happiness.

[Candleque]

3 hours ago, LinMM said:

glad Masciari has been taken on more permanently by the Company he is always very watchable. 
Also I think Darrion Sellman is going to be a very interesting addition given his superb performances at the Prix earlier this year. 

Happy for the talented Marco Masciari and do hope he gets some opportunities to show off next season (if I may be forgiven a non technical term). It is so interesting to follow the Prix de Lausanne winners. 
 

[Guest oncnp]

9 hours ago, capybara said:

I'm not sure, but I suspect that RB dancers are still on 90% of what they were earning pre-pandemic.

That may depend on the salary level. From the ROH accounts made up to 29 August 2021 filed 27 May 2022 at Companies House (pg 81) 

 

 

The vast majority of the "Performers" (260/279) are below £ 69,999 so may be back on their full salary. 

Edited July 8, 2022 by oncnp

[miliosr]

7 hours ago, Sim said:

when the current top ranks are very top heavy and most of the existing Principals and First Soloists don't get enough shows as it is, bringing in one or two more would skewer their stage time even more.  And I really have the feeling that the current AD really wants to keep the company members gleaned from the school (except for the few Prix and other dancers brought in).  Under the leadership of Mr O'Hare we have hardly even had any guests, let alone permanent company members brought in from schools or companies abroad. It might seem a bit harsh to some, but at the moment he has to look ahead and get the company in the place where it should be, and he seems to be succeeding very well in that.  Bringing in dancers who have been trained in, and have been dancing in, a different style might just rock the boat.

This captures the present situation at the Royal Ballet perfectly.

 

The company is loaded with talent at all levels and the school is producing talent at a tremendous clip. Taking on Ukrainian refugee dancers and/or Russian self-exiled dancers wouldn't add anything to the company that it doesn't already have. It would only lead to an overstocked situation, like a studio during the Golden Age of Hollywood with more contract stars than it knew what to do with at a given moment in time.

 

And, at the end of the day, dance companies aren't social services departments. The company's mission (perhaps its only one) is to feature the right dancers dancing in the right repertory and, hopefully, doing so in the correct style.

[FionaM]

To clarify … I wasn’t thinking of Russian self-exiles (I only know of Olga Smirnova and she has fitted in very well at Dutch National Ballet.)

 

I was thinking of non-Russians who felt compelled to leave Russian companies … specifically I was thinking of Xander Parish, obviously ex-RB and RBS trained, and May Nagahisa who trained at Princess Grace Academy, as did Marco Masciari and Darrion Sellman.  So stylistically they would be a good fit.  And both would come with plenty of experience.  
 

I do appreciate that the company might feel overly luxurious at principal level.  I note that 3 of these are over 40, though not all necessarily winding down quite yet.  To me the company is thin at first soloist level, so it’s good that there are many more able dancers given soloist recognition after today.  

[capybara]

6 hours ago, FionaE said:

I was thinking of non-Russians who felt compelled to leave Russian companies … specifically I was thinking of Xander Parish, obviously ex-RB and RBS trained, and May Nagahisa who trained at Princess Grace Academy, as did Marco Masciari and Darrion Sellman.  So stylistically they would be a good fit.  And both would come with plenty of experience.  

 

As can be seen from his own IG posts and those of others, Xander Parish is taking class with the RB and is rehearsing with RB dancers for gala-type appearances in ROH studios.

I think that I have also seen May Nagahisa taking class with the RB (in images from others).

So both have been receiving help, if not contracts.

[LinMM]

Would absolutely love to see May Nagahisa perform!! 

[jmhopton]

Thrilled by the promotions announced and congratulations to them all. May they all have a long and fulfilling career with the RB. Thinking about Joseph Aumeer I am disappointed to see him go but I don't recall seeing him in that many performances so perhaps he thinks his career will be better served elsewhere. In fact, he only really came to my attention in the interesting panel discussion about race a couple of years or so ago. I thought he seemed a very personable and intelligent young man and have looked out for him ever since but hadn't seen him that often (though I don't get to the ROH as often as I'd like). It just occurred to me that most RB dancers these days seem to stay with the RB company for their career. You don't hear of many leaving for other companies so hopefully this means Kevin has created a happy company working atmosphere where most dancers can thrive and spend their entire dancing life; possibly even moving on to other roles in the ROH when they leave dancing. This is good news for us ballet watchers who love to follow a dancer from School to working their way through the Company ranks. Good news for the dancers too who can take advantage of the wide RB rep. and flexibility when it comes to guesting elsewhere.

 

To return to the promotions I am especially thrilled by Letiticia Dias, Theo Dubreil, Leo Dixon and David Donnelly who definitely deserve promotion, especially as they are being given larger roles. Am really pleased that all the previous cohort of Aud Jebsen dancers (2021/22?) have been accepted into the Company as I think they're all terrific as is Marco Masciari. Daichi Ikarshri and Marianne Tsembenhoi are obviously stars of the future but I think they are all good. There again, only really got to know them because of the various filmed insights, especially the one rehearsing Sleeping Beauty with Christopher Saunders, and the filmed rehearsals of Valentino Zucchetti's  ballets which then enabled me to look out for them in performances. Finally, Joseph Sissenns; can't really add much to other comments but so pleased his talents have been rewarded. A few years back I asked for his autograph at the stage door and he seemed taken aback as he said he was 'just a nobody' but it was obvious even then he wasn't going to be a 'nobody' for long. Congratulations again.

We're so lucky to have such a wealth of talent at all levels in the RB. This is a truly Golden Age for ballet and I can't wait for the new season to see the newly promoted dancers (and all the others) back where they belong, on the big stage.

[zxDaveM]

20 hours ago, FionaE said:

One thing I am surprised by …. that there are no external hires from amongst the many exiled Ukrainian dancers, or non-Russians who have left Russian companies.

 

I would like to hear, why not. 

 

They don't need them, is the short answer

 

[Tango Dancer]

22 hours ago, Sim said:

Wow, so many promotions to Soloist!  Very pleased for all of them, and no surprises there either! I'm glad there was enough room, especially since there was only one move from that level to First Soloist!

 

Also very happy about all the other promotions.  Interesting that Joe Sissens is the only promotion at the upper end; nothing for the women at FS or Principal level this year; I guess they are consolidating.  

 

So pleased about Joe Sissens.  I think he's lovely, a really strong dancer with amazing footwork and outstanding technique on the jumps.  He also seems like an intelligent, thoughtful man judging from his Instagram.  

[Tango Dancer]

I am also delighted Marianna Tsembenhoi has been confirmed as an artist.  She's very talented.  I saw her in the Ukraine gala doing the Faure Requiem.  Being the last act at a major gala (and coming right after Marianela and Reece) is not an easy thing for a very young apprentice but she was beautiful and moving and you could see she was going to go far.  

[RobR]

I have to admit that I am a little surprised at some of the posts in this thread. 
 

The RB is one of the paramount ballet companies and can choose, almost without competition any dancer. 
 

The pay and conditions are good as is the ethos of the company in the support and care of it’s dancers, who all compare well with the rest of the profession. It is, unlike some other well-regarded companies, a nice place to work and has a happy reputation. 
 

The company has, I believe, always selected company members on their potential and then actively works to bring out and develop that promise. Individual dancers develop, as in any career, at different speeds. 
 

I just thought this perspective needed spelling out. 

[LinMM]

I haven’t seen many posts which don’t support what you say above RobR!! 
 

[Sim]

11 minutes ago, RobR said:

I have to admit that I am a little surprised at some of the posts in this thread. 
 

The RB is one of the paramount ballet companies and can choose, almost without competition any dancer. 
 

The pay and conditions are good as is the ethos of the company in the support and care of it’s dancers, who all compare well with the rest of the profession. It is, unlike some other well-regarded companies, a nice place to work and has a happy reputation. 
 

The company has, I believe, always selected company members on their potential and then actively works to bring out and develop that promise. Individual dancers develop, as in any career, at different speeds. 
 

I just thought this perspective needed spelling out. 

Rob, I am not sure what you are railing against here? I have just looked back through the thread and unless I have missed something everyone is being supportive of the company and is very happy with the promotions.  

[LinMM]

Just a Sissens story sorry if some have seen this before. 
I know I sometimes bang on about Yorkshire Ballet Summer School but a few years back went three years running for various reasons …seeing friends daughter and escorting dancers from airport etc and first saw Joe Sissens a few weeks before he started at the RBS. 
You could see his potential even back then and my friend and I had already singled him out in class. Then at the end of week “Show” I 

ended up sitting next to mum which is how I found out what his name was!! 
Anyway a couple of years ago just pre Covid I suddenly decided to go and get his autograph after a performance something I hadn’t done for about 20 years. 
Anyway waited and waited and waited at Stage Door and no sign of Joe. 
In the end as was now really late I gave up and started walking back down Floral St when a group of four people was approaching and among them Joe Sissens!! 
As it wasn’t at stage door and was beginning to feel a bit silly I was going to just walk past but then I decided to speak out!! And good job I did though the first thing I said was “How did you get there” 🙄 I explained I’d been at stage door and so he was really lovely and signed my book ( can even see it’s his signature so no squiggles) 

I also told him I’d seen him a few years back in York and he was very humble and surprised I thought he was so talented back then!! 
Such a lovely young man with wonderful dancing whether classical or modern style he fully deserves every promotion he gets! 
 

Edited July 9, 2022 by LinMM

[RobR]

14 minutes ago, Sim said:

Rob, I am not sure what you are railing against here? I have just looked back through the thread and unless I have missed something everyone is being supportive of the company and is very happy with the promotions.  

In that case, my mistake but I thought that there was a low key ‘clamour' to recruit dancers from Russia, the Ukraine and, possibly, elsewhere 

[Sim]

14 minutes ago, RobR said:

In that case, my mistake but I thought that there was a low key ‘clamour' to recruit dancers from Russia, the Ukraine and, possibly, elsewhere 

Hardly a clamour!  One person expressed surprise that none of these dancers was recruited, and everyone else explained why they probably weren't and why they probably shouldn't be!  Therefore, lots of support for keeping the company as is because it is in such a good place. 

[art_enthusiast]

3 hours ago, jmhopton said:

Finally, Joseph Sissenns; can't really add much to other comments but so pleased his talents have been rewarded. A few years back I asked for his autograph at the stage door and he seemed taken aback as he said he was 'just a nobody' but it was obvious even then he wasn't going to be a 'nobody' for long. Congratulations again.

Wow, did he actually say that? How humble of him. I think he's extremely brilliant, his recent performance as Benno was just sublime - I also hope he gets to dance more with Laura Morera, as I loved their PDD in Like Water for Chocolate.
Also very glad to see that Marianna Tsembenhoi and most of the Aud Jebsen Young dancers are now artists.
I believe many of the new Soloists were already working at that level, so great to see that they are now promoted - the same goes for the First Artists.

Congratulations to all!

[Candleque]

Without adding any unwelcome clamour, or taking the thread away from these deserving promotions, I celebrate everyone in the ballet world who is helping Ukraine dancers whose lives and careers have been devastated by Putin's war. This is not to say the RB should do this or that — obviously that's up to Kevin and/or the board and I'm sure it is a complex equation.
 

As an individual, I've donated money and am also thrilled to support in a small enjoyable way galas like the upcoming Giselle by Alexei Ratmansky for the United Ukrainian Ballet. IMO dancers want jobs even more than donations, so it is no shade to the RB to say bravo to all the companies and schools that are able to find a place for these uprooted artists 💙 💛

[Emeralds]

On 08/07/2022 at 17:23, Sim said:

Agree.  It is a tough one,  but if the funds aren't available, they aren't available.  And yes, when the current top ranks are very top heavy and most of the existing Principals and First Soloists don't get enough shows as it is, bringing in one or two more would skewer their stage time even more.  And I really have the feeling that the current AD really wants to keep the company members gleaned from the school (except for the few Prix and other dancers brought in).  Under the leadership of Mr O'Hare we have hardly even had any guests, let alone permanent company members brought in from schools or companies abroad. It might seem a bit harsh to some, but at the moment he has to look ahead and get the company in the place where it should be, and he seems to be succeeding very well in that.  Bringing in dancers who have been trained in, and have been dancing in, a different style might just rock the boat.  

 

Have any of the other British companies taken on Ukrainian 'refugee' dancers?

I agree. Currently this year the Royal Ballet is really full of incredible dancers in every rank; they all have the technical chops to do triple pirouettes, 540s, double fouettés, etc as well as having the stylistic requirements to perform Ashton, Macmillan, etc. If we looked at the casting of some of the new works in April, there were dancers from the corps and even from the Aud Jebsen group (which other companies would consider an apprentice programme) who were so good that they could form the cast in lead roles in some one act ballets and produce a stellar performance. The AJ programme is for student leavers only, so money from that can’t be taken to fund a position for an experienced professional.  

 

While  I’m sympathetic to the plight that  “exiles” (from Mariinsky, Bolshoi, etc) and Ukrainian refugee danseuses find themselves in, I think the worst thing would be to give a job to a dancer out of pity even though they’re not a good fit for the position or the company. Some companies might have only positions for corps de ballet- taking that and a drop in salary for an experienced soloist can be demoralising. On the other side, the feeling that a talented company dancer who has proven their ability and earned their promotion (eg stellar performances in all assigned roles, great technique demonstrated in class and rehearsals regularly, stepping in  for unavailable colleagues with excellent performances) being passed over for promotion in favour of hiring someone from another country who is unfamiliar with the repertoire and hasn’t proven their worth, whatever their personal circumstances, can lead to resentment in the company - that’s true of any profession and not just ballet.

 

I think that while it would be nice to see some performers whom we’ve admired from other troupes dancing full time  in Britain, a “sympathy hire” would be unwise for the company as well as the dancer herself/himself. It soon becomes very obvious to someone when they’ve been welcomed  because of pity and not because they’re wanted. I think the United Ukrainian Ballet, which has been set up with a lot of support available for Ukrainian refugee dancers (living quarters, safe spaces for their offspring to play, emotional support, etc) is actually a better idea than numerous refugee dancers being scattered worldwide and each dancer having to assimilate into whichever nation or company that will have him/her, is healthier and more comforting for the dancers, and could actually produce something artistically that is unique, artistically valuable, and successful.

 

The personal situation of a non-Ukrainian “exile” (eg Parish, Nagahisa, Tissi, etc) is of course very different to that of a Ukrainian dancer whose theatre or home has been bombed to smithereens - the exile could audition for any company in the world with vacancies, and relocate with more ease than a refugee. Obviously, despite the brilliant initiative of the Dutch organisers and local government to set up UUB, there will still be a small number of refugee dancers looking for both a job as well as a safe home (which may include children and elderly parent/s). 

 

I can actually think of another British company that has a lot more dancers leaving, and do have the spaces for soloists and above in its ranks, with a more heterogeneous dancing style, so has more leeway in terms of hiring dancers at soloist and principal level, who could potentially offer positions to some of these two groups of dancers - but again, the dancers need to be a good fit for the company’s repertoire, performing schedule, company ethos, and vice versa. I think most people know which one I mean! (The one that also has a vacancy for an artistic director, although that post could be in the process of almost already being filled.) 

Edited July 10, 2022 by Emeralds

[Nastya]

It looks like Parish might come back after Ukraine. Nagahisa seems like a good fit for RB, maybe she'll get a contract. 

[alison]

Current estimates of how long the war in Ukraine is likely to drag on for (I think "years" has been mentioned) suggest that's not going to be any time soon, though.  It may also be debatable whether those who have seen what has actually been inflicted on that country in the name of Russia would feel comfortable returning to live in Russia afterwards.