English National Ballet brings the timeless classical ballet to life in this enthralling production.

Five principal ballerinas of the Czech National Theatre open up to London and Prague-based director Tereza Bila’s Life On Point, an unflinching portrait of bodies pushed to the limit. Bila reveals the discipline and emotion involved not only when dancers step onto the stage, but in the hours and years that precede the moment of performance.

Rina Kanehara rehearsing the role of Clara in Nutcracker.

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.