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Prix de Lausanne 2015


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Oh well RBS 's great loss at this stage as far as I'm concerned!! ......just shows you they don't always get it right but I suppose they do have some criteria of their own they are going by initially and some dancers turned down initially by them do end up dancing with the Company eventually! Isn't Muntagirov a typical example?

 

 

Muntagirov DID go to RBS but then failed to get a contract with the company initially.

 

Fantastic news, CeliB! How wonderful to have so many offers!

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What amazing news CeliB!!! My daughter was reading the list of offers and felt so overwhelmed that she couldn't read on! How exciting for him. I wish him all the best in whatever he decides - they are all good offers :). You will keep us posted on where he chooses?

 

Finally managed to watch the finals and felt quite homesick with all the Australians including Lucinda Dun, Li Cunxin, QB Ballet. Very pleased for Harrison because he is such a talented dancer and a modest boy.

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According to a thread on the old balletcoforum site Polunin joined the RB in 2007, not 2009 when Muntagirov graduated and went to ENB.

 

I have no idea what ENBS is like but ENB does not have a particularly good record of taking students from the School into the company. Admittedly, they took two last year but some years they took none. Getting your first professional contract is extremely difficult (although less so for men) and so I, personally, would favour a contract with a good junior company rather than a school as training would be provided alongside professional experience. However, that's just my opinion. I'm no expert and I'm sure that CeliB's son is much more knowledgeable than me and will carefully consider all his options with people who know the industry well. I wish him the best of luck with whatever he chooses to do. It's wonderful that his brave decision to go to America to train has paid off.

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However, as he's already engaged in the Vaganova training method, and if he feels he needs another year or so of training, it might be best to continue in that method of training and not switch at this late stage. I've got no idea what other methods the other schools use - it could be a reason why the RBS didn't want him - not because they didn't, but to take him on for a year at a late stage of a different training methodology would be counterproductive. Though I suspect a final year of training is really about fine-tuning things. I've got no idea, of course. Just a thought.  I'm sure he'll make the right decision for him.

Patricia Zhou left the Kirov Academy for the RB, but she entered the company (not the school) as an apprentice for a year as a Lausanne prizewinner and had her pick of apprenticeships. She's now in the corps of Staatsballett Berlin.

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I think Sergei Polunin was in Muntagirov's class at the Royal Ballet School, so Polunin got a contract with the Royal Ballet and Muntagirov with the ENB. 

 

 Polunin joined the RB in 2007; Muntagirov joined ENB in 2009. despite their similarity in age, Polunin was two years ahead and they were never in the same class at the RBS!!!

 

Incidentally, please can someone explain the outcome this year. Which, if any, of the 6 winners won the Prix?

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According to a thread on the old balletcoforum site Polunin joined the RB in 2007, not 2009 when Muntagirov graduated and went to ENB.

 

I have no idea what ENBS is like but ENB does not have a particularly good record of taking students from the School into the company. Admittedly, they took two last year but some years they took none. Getting your first professional contract is extremely difficult (although less so for men) and so I, personally, would favour a contract with a good junior company rather than a school as training would be provided alongside professional experience. However, that's just my opinion. I'm no expert and I'm sure that CeliB's son is much more knowledgeable than me and will carefully consider all his options with people who know the industry well. I wish him the best of luck with whatever he chooses to do. It's wonderful that his brave decision to go to America to train has paid off.

 

I agree. Without knowing what the other offers were, I'd accept the ABT youth company!

 

I've just watched the selections again and am really surprised that a few of the most outstanding candidates were not selected to finals after brilliant performances in both the classical and contemporary variations. I know they are also assessed on classes which we don't get to see, I wonder how the various parts which make up the marks for each candidate are weighted.

 

Also, there were a few candidates who were excellent but had wobbles in their variations and didn't get selected. In previous years, there were candidates who were still selected to finals even after mistakes in the first round. Did anyone else notice this?

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I read an interview (I can't remember who it was with) in which it was said that because Polunin was physically very mature when he joined the RBS at 13 he was put up two years and that during his last year he was getting a bit, shall we say, restless and was given the choice of joining the RB (who were desperate to have him) or staying at the School a bit longer and he chose the RB.

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Yes I noticed that. Watching it through, I also felt that those that wobbled in the classical had lost their chance regardless of how amazingly they did their contemporary. So I assumed a higher weighting for the classical solo. I would have loved to have seen some class work but I wonder whether the final decision really does come down to the performance.

 

I think it's lovely to hear that CeliB's son has had so many offers, even though he did not get selected for the final. So perhaps, prizes are based on the performance but offers are based on the weeks work aswel? Not 'winning' certainly doesn't prevent success.

Edited by Harwel
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Re Lausanne: the prizewinners choose their schools/companies in the order they won the prizes, so if Harrison chose Royal Ballet (for example) no - one else could choose that one (had they wanted to).

The marks go 25% contemporary class work, 25% classical classwork, 25% contemporary performance, 25% classical performance. And as I said before, roughly 5 per gender and age group. 

All those who don't get finals do an audition class Sat morning watched by all the Ads who are there and it's on this basis that they make the offers (and for finalists who dont get prizes obv they have seen them in the finals and offer on that basis). But not all partner companies turn up for this (e.g. no-one fromSan Fran,Vaganova or Canada)

 

Re DSs choices ABT is a great offer but we hear it is near to impossible to get a green card to work in the states so it is not likely to lead to anything long term.

ENBS were (DS and DH felt) rather lacklustre- DS auditioned for Tamara Rojo in Jan and she said then she had no men's contracts at the moment but she thought his technique was astonishing- then at Lausanne she sat like a dead kipper (in DHs words) and barely spoke to him. And as you say the ENBS to ENB pathway is by no means certain. DH wasn't impressed.

Munich and Hamburg both fabulous and enthusiastic but very contemp/modern and DS feels he needs to cement his classical technique before branching out.

Li Cunxin was beyond lovely and were this not the other side of the world QB would be a serious contender. Personally I feel DS is too young to be that far from home...

So at the moment Dresden and Het National are top of the list with the most heartfelt and high quality offers (and with Het National he knows both Ernst and Ted really rate him as when he auditioned for them both in Jan they said he was the best male candidate they'd seen all year).

Yes I agree another year of vaganova would be ideal but because the school isn't a feeder to a company this is playing a dangerous game as you have to hope companies will agree to audition you when they have no idea who you are.

 

Re RB yes Patricia Zhou went there as an apprentice because she won the Prix so they couldn't say no, but she didn't get an offer to stay- which confirms to me that they will only stomach Russians at principal level (when they're famous enough to draw a crowd).

Edited by CeliB
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CeliB, if your son went to Het National would he definitely get a place in the Junior Company following his time at the School? Or would he have to audition again for that? I gather that around 1500 students auditioned for the Junior Company the year it was set up.

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Thanks for that CeliB as the prize winning at the Prix is a bit confusing as they say and here are the scholarship winners and there are six of them but I know from previous years that the last announced going from 6-1 is the winner and get the medal so to speak.

 

What I didn't know is that the first candidate has first pick of schools in that way.

Harrison too is very young to be going far away to schools .....like UK etc....and it will be interesting to see what he decides too.....but these youngsters are tough it seems.

Your DS was quite young going off to Washington on his own etc CeliB but he seems to have survived it......though I know it must be tough on families not to see their youngsters for so long

 

I think the HET offer because it has school as well and some subsidy in the offer is a good one and not too far away!!

 

I agree about ENBS though......would the training he gets there be better than he currently gets in Washington......probably not so the youth schools like HET and Dresden may offer more opportunities down the line.

 

Anyway no doubt he has to discuss this with his teachers but it is a bit of a minefield I suppose when it comes down to the nitty gritty of choices to suit any particular individual.

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CeliB, if your son went to Het National would he definitely get a place in the Junior Company following his time at the School? Or would he have to audition again for that? I gather that around 1500 students auditioned for the Junior Company the year it was set up.

well Ernst said they make every effort to take students from the school first. Plus when DS auditioned last month they were discussing with him a contract for the main company (before they realised he was only 17, at which point they fell about laughing and called him a puppy!). So I think it's a fairly reasonable bet....

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Congratulations on this great achievement. I am just catching up with the progress. The offers sound really interesting, although I thought Dresden was more contemporary than the others? Am I wrong there? (New thread??.)

 

It all sounds a great experience.

Edited by Stirrups36
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CeliB, thank you for being so detailed in your explanations. They are very interesting and helpful to those of us who are on a similar road.

 

I understand you not being prepared to have your son as far away as Australia - perhaps Li will consider him again in a few years. From our (limited) experience, he is a wonderful company director, the company is producing fresh classical works and dancers seem very happy. DD attended their summer school last year and enjoyed every minute. Li's classes are amazing!

 

I look forward to following your son's career here on the forum. 

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Yes friends in Sydney told me what his probable preference would be and he spent time there before the Prix but is a long long way from home for 15 year old......can parents get job move!!!!

Number 204 Aileen!!

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