The School of the Hamburg Ballet, established in 1978, trains young people from all over the world for a professional dance career.

All classes are held in the Ballettzentrum Hamburg – John Neumeier. This building has nine studios, used by both the Hamburg Ballet Company and the School. Boarding facilities are also available within the building for 35 pupils.

Entrance examinations for pupils are held annualy in spring. Preparatory classes are for children aged 7 to 9, professional ballet classes for those aged 10 to 16, and the Theatre Class program for pupils aged 16 to 18 (boys to 19). Prospective students will be tested on physical aptitude, rhythmic and improvisational talents, as well as their level of classical ballet technique in relation to their age.

Unity Phelan discusses finding her “Unity-ness” in a role previously performed by Wendy Whelan and Maria Kowroski in Christopher Wheeldon’s POLYPHONIA, and the parallels between the ballet’s 9th Movement pas de deux and Stanley Kubrick’s film EYES WIDE SHUT, which share the same piece of the Ligeti score.

Two Ballets by Jerome Robbins

DANCES AT A GATHERING
Music: Frédéric Chopin
Choreography: Jerome Robbins
Costumes: Joe Eula
Lighting: Jennifer Tipton

THE CONCERT
Music: Frédéric Chopin
Choreography: Jerome Robbins
Set: Saul Steinberg
Costumes: Irene Sharaff
Lighting: Jennifer Tipton

Conductor: Nathan Brock
Hamburg Philharmonic State Orchestra
Piano: Michal Bialk

The Hamburg Ballet

Jared Angle discusses the technical and physical challenges of stepping into a role choreographed by Christopher Wheeldon on former Principal Dancer Jock Soto, and the problems of holding your breath in anticipation while concentrating on choreographically intense moments.

Frank Andersen on the story behind August Bournonville’s La Sylphide.

August Bournonville’s classic Romantic ballet is devotedly recreated by Eva Kloborg and Frank Andersen in this captivating production, and is accompanied by an enchanting score, played live by English National Ballet Philharmonic.

Russell Janzen talks about the importance of the Black Swan pas de deux in the dramatic action of Swan Lake, and the level of trust required between himself and the ballerina in the role of Odette/Odile (Teresa Reichlen) that helps convey the emotional connection the two characters share.