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tamara rojoThe charismatic Spanish ballerina, who directs the English National Ballet, will become the artistic director of the San Francisco Ballet, which she directed for a long time. Helgi Tomasson resigns At the end of 2022, the company announced on Tuesday.
Rojo will become the first woman and fourth director to lead the group, the oldest professional ballet troupe in the United States, founded in 1933. 37 years.
“I think it’s the most creative company in North America,” said Rojo, 47, in a video interview, adding that his vision is “to keep our art form relevant to a younger audience that sometimes has new values.” and its principles.”
Rojo has converted the image He has been in London since he took over as artistic director of the English National Ballet in 2012. Established in 1950 (as the London Festival Ballet) to bring ballet to the countryside, the company struggled for many years in the shadow of the Royal Ballet and the opera house. .
Rojo, principal dancer with the Royal Ballet and remaining marquee ballet dancer for most of her tenure, gave the English National Ballet a new, international appeal with innovative programming and risk-taking commissions. Akram Khan’s “Giselle”” “Raymonda” is his own production, which preserves the traditional 19th century choreography. Sets the story during the Crimean Warwill open on January 18.
spearheaded a $49 million fundraising campaign to build large headquarters for the company – the new building opened in east London in 2019 – and has formed a partnership with Sadler’s Wells Theatre, which gives the English National Ballet a regular London performance house.
“He actually turned that ship around,” said Alistair Spalding, artistic director and CEO of Sadler’s Wells. “As a dancer and director, she led the front, was brave about programming, took risks and made very good choices.
“Most importantly,” Spalding added, “he had a vision, said ‘This is what I want,’ and found ways to make it happen.”
Rojo’s appointment is a sea change for the San Francisco Ballet. founded in 1933 It became an independent company in 1942 as part of the San Francisco Opera. It was first run by Willam Christensen, then run by his brother Lew Christensen, who shared the business with Michael Smuin from 1973 to 1984. The company commissioned approximately 195 new ballets and established an international reputation for stylistic versatility and technical aplomb.
“Helgi brought to the San Francisco Ballet exquisite taste, an adventurous spirit, a willingness to take risks, and an ability to solve any and all problems,” said Sunnie Evers, co-chairman of the search committee Fran Streets. – Chairman of the board of the company. “Finding someone to fill your shoes was a daunting prospect.”
Evers said the committee is committed to a global search for “people who are ethnically and gender inclusive and not necessarily standard candidates.” He said more than 200 candidates were contacted when they started the process in February, and the list had dropped to eight by July. “We had people of three colors and three women on that tour,” she said. “There’s been a lot of talk about white male ballet dominance, so I’m super excited that we’re not.”
In a video interview, Tomasson said he had no say in the choice of his successor, but hoped the person would continue to “build a great company and try new things.” Rojo said, “It has taken the English National Ballet to a much higher level internationally, which is what I was asked to do when I came to San Francisco. He acquired new choreography and respected the classics. So there is some comparison. ”
Rojo has been cautious about his repertoire plans for the San Francisco Ballet, saying it’s too early to get into details and will spend the next year learning more about the company and its work. (Tomasson will schedule the 2022-23 season, including a new choreography festival.)
“I’m close to Europe and I’ll bring a bit of the flavor of my 25 years in London,” he said. “And I will continue to focus on female choreographers and bring in new voices to interpret the classics.” “I love how theater in the UK works with and subverts the traditional canon like Shakespeare. This inspired me to invite Akram Khan to do ‘Giselle’ and I want to do more work like this.”
Rojo noted that one consequence of Covid-19 was the explosion of digital dance. “I think the San Francisco Ballet has a real opportunity to lead in this field,” he said. “San Francisco is close to Los Angeles and lots of filmmakers and media companies. Up until now we were reacting to a situation, but I think the possibilities are huge.”
Rojo’s husband Isaac Hernandez She recently rejoined the San Francisco Ballet, where she danced early in her career, becoming principal of the English National Ballet.
Rojo said he would bring to San Francisco Ballet a “system of checks and balances” developed at British National, in which the broader artistic team is involved in casting and dancer evaluations. “I love transparency in leadership. I think it’s important for dancers to understand how decisions are made.” (He also said he’s retiring from the stage this year, apart from a few commitments.)
Evers wonders how the search committee will choose Hernandez over Rojo, and also how Articles in the British press Announcing complaints about management at the English National Ballet in 2018.
“Tamara wasn’t afraid to admit mistakes and find solutions,” Evers said.
Rojo said she “didn’t come from an established, traditional ballet school that had a legacy to preserve or preserve.”
“I’m a foreigner,” he continued, “and I’m interested in inviting foreigners into the art form and creating the future with them – whatever.”
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