In view of the NSW Government’s directive that all non-essential gatherings of 500 people or more are banned between March 16th 2020 until June 14th 2020, The Australian Ballet will not proceed with its performances of Volt (3 – 22 April 2020) and Anna Karenina (30 April – 18 May 2020) at Sydney Opera House. We, therefore, regret to announce that all Friends of The Australian Ballet events have been cancelled until further notice.
While this is extremely disappointing to us all, we hope you will understand that the health and safety of our members is our top priority.
However, as we are a small not-for-profit organisation, this decision has greatly affected the ongoing operations of The Friends of The Australian Ballet. Our main source of income is derived from our dress rehearsal ticket sales and your ongoing support. We are currently working with our board to review our operations to ensure we can continue to share our love and joy of ballet with you well into the future.
If you have purchased tickets to attend any of our future events, including Volt, Anna Karenina, Meet the New Dancers, and Friends in Conversation with Chris Yates, we will be contacting all ticket holders separately and will offer the following options:
- Donate your ticket purchase to The Friends of The Australian Ballet
- Keep a credit for a future performance
- A full refund of the ticket value
The Friends has always relied on the generous support of our members. If you are able, we ask you to consider donating your ticket purchase so we can continue to provide unique events and experiences to our dedicated community of ballet lovers well into the future.
If you select a credit, exchange or a refund, we will aim to process your request within 10 business days.
Please refrain from calling our office due to high demand and staff working from home.
Please contact us through firstname.lastname@example.org and we will be posting regular updates on social media (Facebook and Instagram) as well as www.fab.org.au
We thank you for your patience and understanding during this difficult time.
With kind regards,
The Office of The Friends of The Australian Ballet
As we all have heard by now, Mr. David Hallberg will be succeeding David McAllister as Artistic Director of the Australian Ballet in 2021. Hallberg has had a long and intimate relationship with the company, so it comes as no surprise that we are thrilled to hear that The Ballet will be left in such capable hands!
However, when it comes down to it, as Hallberg made his name across the pond in the US, some of our members may need a quick crash course on all things Hallberg!
“I am thrilled for the future of this company, a company that inspires me with its level of excellence and global standard. I look forward to using the experience I’ve garnered over my 20-year career around the world and funnelling it into the culture of The Australian Ballet. The future looks very bright for this world class company.” ~ David Hallberg
How did Hallberg rise up?
Inspired to dance by a Fred Astaire film in his childhood, Hallberg joined the American Ballet Theatre in 2000, joining the corps de ballet in 2001. His talent was clearly noted as within five years he was promoted to Principal Artist. From this starting point, he became a resident guest artist with an eclectic mix of countries, from the Paris Opera Ballet, the Bolshoi Ballet in Moscow, and of course, The Australian Ballet. In 2011, he became the first American Principal Dancer with the Bolshoi Ballet. He is also a Principal Guest Artist with both the Australian Ballet and the Royal Ballet in London.
Why The Australian Ballet?
Hallberg has had a long history with The Australian Ballet throughout his career, including a long period of residence as he recovered for two years from injury. He has been a regular guest artist with the Australian Ballet for over 10 years and appreciates the sense of inclusivity he feels when he returns to Australia.
Since the beginning, he has always aspired to direct a company, however, he reported to the NY Times that he has “felt satiated on a certain level as a dancer,” and is ready to transition forward with a company he is deeply connected with.
Where will he take our company?
The big question. From McAllister, we have seen an era of stability and international growth, but where to from now? Hallberg reports he will be very focused on curating innovative ideas and nurturing a positive environment for dancer growth and training. He thrives on spectating different cultures and training regimes, so we have no doubt he will transform our company to new levels of ability.
Although his programming intentions are kept securely under lock and key, Hallberg has brainstormed certain names and choreographers he thinks should visit and debut down-under. I think we can expect that under his directorship, The Australian Ballet will be increasingly thrusted into the limelight of the global ballet arena.
However, the beauty of the Ballet is that it is not made up by any one person. It is a team, a Company, and Hallberg reported to the New York times that “Come January 2021, it won’t be about me anymore; it will be about this institution and its dancers.”
Here’s to the next era of The Australian Ballet.