The final dress rehearsal for New York Dialects, The Australian Ballet’s return to the stage in 2021.
This triple bill is David Hallberg’s first program as Artistic Director and features two revered classics from George Balanchine, the great game-changer of ballet, with a brand-new creation from a 21st-century innovator.
Serenade Balanchine’s deeply rooted knowledge of Russian classicism grounded his inspired deviations from it, which galvanised modern dance. Serenade, considered one of the greatest works of the 20th century, was the first work he made on American dancers. The poetry of women in long ice-blue tutus moving in unison to Tchaikovsky’s Serenade for Strings in C has a simplicity and purity still breathtaking today.
The Four Temperaments If Serenade is Balanchine at his most lyrical, The Four Temperaments is the epitome of his stark neo-classical style: dancers in black and white leotards and tights performing stripped-back ballet steps skewed in unexpected directions. The score, which Balanchine commissioned from Paul Hindemith, was inspired by the medieval notion that four ‘humours’ govern personality type; it is both sparse and luscious as it explores each of those temperaments.
Watermark Pam Tanowitz, from a contemporary dance background, has created work for major ballet companies, including New York City Ballet and The Royal Ballet, as well as for the hallowed modern-dance companies of Martha Graham and Paul Taylor. She will bring her vision for ensemble choreography and her fresh approach to gender roles to a work using the male dancers of The Australian Ballet. The Pulitzer-prize winning composer Caroline Shaw will extend her concerto Watermark as a partner to Tanowitz’s exciting creative vision.
FRIENDS IN VIRTUAL CONVERSATION
JOINTS AND WELL-BEING
In recognition of your ongoing support of The Friends of The Australian Ballet we invite you to join us for a warm interactive conversation via Zoom.
Friends of The Australian Ballet Chair Greg Khoury and Friends sub-committee member, dancer and remedial therapist Gayle Wakeling-Taylor will explore some of the ideas recently shared by The Australian Ballet and La Trobe University into joint management and treatment.
We recently asked unstoppable arts and theatre publicist Bruce Pollack to answer five fun facts for FAB. Enjoy reading about his involvement in The Friends and the hold ballet has on his heart.
What is your name and role at FAB? Bruce Pollack Deputy Chair, Friends of the Australian Ballet
How long have you been involved with FAB? I joined in 2006
What is your earliest ballet memory? I grew up in a house that we used an old wind up gramophone to listen to records. We used that machine until we got an electric. My favourite recordings, old 78rpm’s, was a set of 8 records of highlights from Swan Lake. I can still sing this music as I knew it so well. The Australian Ballet did not exist when I was a child, but I do remember being taken to see a ballet, no idea which one. My greatest ballet memory is seeing Fonteyn and Nureyev perform Swan Lake in Melbourne
Bruce Pollack preparing for COVID-19 and stocking up
Why is FAB important to you? I have worked in the theatre from the age of 10 and I am happy that I have received a pay packet from the arts ever since. Working in the theatre I see as much on stage as I possibly can, and I see many ballet performances. In the 1970’s for 4 years I was the Drama Teacher at the Australian Ballet School. I love being a part of a Committee for not for profit arts organisations. They are essential for our way of life and imperative for maintaining a level of “culture” in our community. This is the 4th arts board that I have been on.
What are you doing to stay connected to ballet & dance at this time? I look at every possible ballet link that I can get my hands on!
Header image Bruce Pollack and other members of The Friend’s council presenting David McAllister with an oversized cheque in 2008