Kunstkamer

Kunstkamer

Never before has The Australian Ballet presented contemporary dance of this scale and ambition.

Commissioned for the 60th anniversary of Nederlands Dans Theater, the world’s most celebrated contemporary company, Kunstkamer is the joint creation of four choreographers: frequent collaborators Paul Lightfoot and Sol León; Marco Goecke; and the Canadian prodigy Crystal Pite.

Inspired by the 18th-century cabinet of curiosities, this work draws together diverse elements – stark movement, song, film, spoken word – into an eclectic and fascinating whole, bound together by recurring motifs and characters and featuring music by a vast array of composers from Beethoven to Bach to Britten, Janis Joplin to Joby Talbot.

The choreography, moving from the intimacy and humour of solos and pas de deux to intricate waves of ensemble movement, references dance theatre traditions while exploring new frontiers of expression.

Like a modern museum curated with wit and incisive intelligence, Kunstkamer invites you to wonder at the endless possibilities of art.

The final dress rehearsal for Kunstkamer will be on Thursday 28 April, 7pm at Sydney Opera House.

Tickets for the final dress rehearsal of The Australian Ballet’s Kunstkamer, are on sale Tuesday 11am 8 March!

BOOK

IN ACCORDANCE WITH GOVERNMENT RESTRICTIONS proof of full COVID-19 vaccination or valid medical exemption will be required for anyone over the age of sixteen to attend this dress rehearsal. 

Anna Karenina

Anna Karenina

The Australian Ballet are welcoming you back to the theatre with the exquisite and tragic Anna Karenina.

Cinematic staging, elegant costumes and Yuri Possokhov’s sensual choreography illuminate the tragedy of Anna Karenina, whose desire brings about her ruin. When Anna meets Vronsky, a handsome young officer, the instant connection between them flames into an affair – with disastrous consequences. Anna leaves her conservative husband and relinquishes her son to be with her lover, but her bliss is fleeting, and when Vronsky’s passion cools she takes desperate action.

Possokhov, formerly a principal dancer with Bolshoi Ballet and San Francisco Ballet and now a major international choreographer, does full justice to Tolstoy’s novel, distilling its central romances and conflicts into a fast-moving, immersive narrative.

Anna Karenina shows the power of storytelling through the beauty of dance.”
David Hallberg, Artistic Director of The Australian Ballet

After standing ovations and critical acclaim in its debut season, the final dress rehearsal for Anna Karenina will be on Monday 4 April, 7pm at Sydney Opera House.

Tickets for the final dress rehearsal of The Australian Ballet’s Anna Karenina, are on sale now!
BOOK

IN ACCORDANCE WITH GOVERNMENT RESTRICTIONS proof of full COVID-19 vaccination or valid medical exemption will be required for anyone over the age of sixteen to attend this dress rehearsal. 

5 Reasons to See Anna Karenina

5 Reasons to See Anna Karenina

With Anna Karenina finally open in Melbourne and soon due to arrive in Sydney, here are five reasons why you need to see this not to be missed co-production from The Australian Ballet and Joffrey Ballet.

PASSION TO MOVE YOU

The story of Anna, whose life-destroying desire for the handsome and faithless Vronsky is palpable through a series of rapturous pas de deux.

Soloist Imogen Chapman who is dancing the role of Anna says “You really get taken on that journey with Anna and Vronsky. I feel like audiences will really relate to that, and go on this journey with the characters,”

 

Robyn Hendricks and Callum Linnane, photo Jeff Busby, courtesy of The Australian Ballet

 

GLAMOUR AND GRANDEUR

The costumes by veteran theatre designer Tom Pye capture the elegance of Imperial Russian society with luxurious fabrics and jewel tones.

 

A BALLET LIKE A MOVIE

Chicago’s PBS station, WWTW, called Possokhov’s Anna Karenina “A magnificent classical ballet in the guise of a great work of modern cinema.” Pye’s opulent yet minimal sets and projections by Finn Ross (Harry Potter and The Cursed Child) – which include footage of the dancers taken backstage in real time – conjure ballrooms, bedrooms, a race track and that fateful train station, lending a filmic scale and atmosphere to this immersive piece of theatre.

Robyn Hendricks and Callum Linnane, photo Jeff Busby, courtesy of The Australian Ballet

 

THE MUSIC

Teaming up with the Joffrey Ballet to co-produce Anna Karenina meant that the ballet could have specially commissioned music by multi-award-winning composer Ilya Demutsky. Inspired by Tolstoy, Demutsky has created a sweeping, textured score with all the scale and grandeur of his countrymen Tchaikovsky and Prokofiev. A mezzo soprano will appear at key moments to amplify Anna’s emotion through song.

 

THE ROLE OF A LIFETIME

A very human heroine, Anna holds our sympathy even as she flounders into disaster. She adores, she suffers, she is torn between her life and the love of her life – no wonder actors from Greta Garbo to Vivien Leigh to Keira Knightly have been attracted to the role. We can’t wait to see our brilliant dancers embody Anna.

 

Robyn Hendricks as Anna, photo Jeff Busby, courtesy of The Australian Ballet

 

Tickets for final dress rehearsal performance of Anna Karenina on Monday 4 April at the Sydney Opera House are available now. Click here to secure yours.

CELEBRATION GALA DRESS REHEARSAL

CELEBRATION GALA DRESS REHEARSAL

Celebration Gala Final Dress Rehearsal 

SENIOR STARS SHINE IN A RANGE OF PAS DE DEUX 

The final dress rehearsal for the Celebration Gala, featuring grand classical showpieces, thrilling contemporary excerpts, perennial favourites and more, will be on Wednesday 24 November, 7pm at Sydney Opera House.

The Australian Ballet’s Artistic Director, David Hallberg, has curated this exhilarating celebration of his dancers’ artistry and commitment to maintaining the highest standards over the past 18 months. 

The Sydney program will feature excerpts from classical favourites such as Swan Lake, The Merry Widow, Anna Karenina and The Nutcracker; lovers of modern work will revel in contemporary pas de deux from revered 20th-century choreographer Kenneth MacMillan, British wunderkind Wayne McGregor and the company’s resident choreographer, Alice Topp.  

The Celebration Gala program:  

LA FAVORITA  
Pas de deux from CONCERTO 
CLAY (excerpt from LOGOS
White Swan Pas de deux from SWAN LAKE  
Black Swan Pas de deux from SWAN LAKE  
Pas de deux from Act II of ANNA KARENINA
Pas de deux from CHROMA  
Pas de deux from Act II of THE MERRY WIDOW 
Pas de deux from AFTER THE RAIN© 
Pas de deux from Act II of THE NUTCRACKER 

Tickets for the final dress rehearsal of The Australian Ballet’s Celebration Gala, are on sale now!
BOOK

IN ACCORDANCE WITH GOVERNMENT RESTRICTIONS proof of full COVID-19 vaccination or valid medical exemption will be required for anyone over the age of sixteen to attend this dress rehearsal. 

Counterpointe Dress Rehearsal

Counterpointe Dress Rehearsal

Counterpointe Dress Rehearsal

BALLET AS PRISTINE TRADITION AND CONTEMPORARY FORCE

The final dress rehearsal for Counterpointe, a double bill of the elegant 19th-century classic Raymonda with the vigour and attack of Artifact Suite by William Forsythe, who stretches classical forms into original modernity, will be on Monday 26 April, 7pm at Sydney Opera House. Audiences will also enjoy a performance of George Balanchine’s Tchaikovsky Pas De Deux, a brief but thrilling divertissement.

Artifact Suite
The American choreographer William Forsythe revolutionised the European dance scene, reimagining classical technique and challenging his dancers with extended shapes. Devotees of his In the Middle, Somewhat Elevated, shown most recently as part of The Austrlaian Ballet’s Vitesse program, will relish experiencing the ensemble work that defined his groundbreaking style: clarified speed, extensions of form and dynamically fast weight changes. Bach’s sublime Chaconne for solo violin is contrasted to the repetitive urgency of piano pieces by composer Eva Crossman-Hecht.

Raymonda (Act III)
The third act of Marius Petipa’s Raymonda depicts the wedding of the hero and heroine. As in his Sleeping Beauty and Paquita, Petipa uses the celebration to create a sparkling display of classical technique, with Hungarian-inflected dances culminating in one of ballet’s most famous solos for a leading ballerina. This staging, based on the traditional Petipa choreography, will be David Hallberg’s first for The Australian Ballet.

Tschaikovsky Pas de Deux​
In 1953, a piece of music Tchaikovsky composed for Swan Lake, thought lost, was discovered in the archives of the Bolshoi Ballet. The Russian choreographer George Balanchine gained permission to use the rediscovered music for this piece. Tschaikovsky Pas de Deux, with its lyrical duet and delicate female variation, its spectacular jumps and fishdives, is a tribute to the era of Russian ballet but it also has the speed and attack, the giddying lifts and plunges that gave Balanchine’s choreography an edge of risk and modernity.

Tickets on sale from Thursday 25 March

BOOK TICKETS NOW