Artistic Committee

ARTISTIC COMMITTEE

Reid Anderson
David Bintley
Eliot Feld
William Forsythe
Nikolaj Hübbe
Karen Kain
Roy Kaiser
Brigitte Lefèvre
Jean-Christophe Maillot
Kevin McKenzie
John Neumeier
Mikko Nissinen
Kevin O'Hare
Helgi Tomasson
     Stuttgart Ballet
Birmingham Royal Ballet
BalletTech
The Forsythe Company
Royal Danish Ballet
National Ballet of Canada
Pennsylvania Ballet
Paris Opera Ballet
Les Ballets de Monte Carlo
American Ballet Theater
Hamburg Ballett
Boston Ballet
The Royal Ballet
San Francisco Ballet

REID ANDERSON
Artistic Director, Stuttgart Ballet
  Reid Anderson was appointed Artistic Director of Stuttgart Ballet in September 1996. Born in New Westminster, British Columbia, Mr. Anderson trained at the Dolores Kirkwood Academy in Burnaby, BC, before receiving a full scholarship to study at The Royal Ballet School in London at the age of 17. At the age of 18, he was invited to join Stuttgart Ballet by John Cranko, the choreographer and director of the company at the time. Over the course of his 17-year career as a dancer with Stuttgart Ballet, Mr. Anderson danced leading roles in many of Cranko's works including Onegin, The Taming of the Shrew, Romeo and Juliet, and Initials R.B.M.E.

Mr. Anderson also worked with choreographers Sir Kenneth MacMillan, Glen Tetley, John Neumeier, Jiří Kylián, and William Forsythe. While with Stuttgart Ballet, he performed as a guest artist with The Royal Swedish Ballet, London Festival Ballet, La Scala Opera Ballet, Hamburg Opera Ballet, Prague State Opera, and The National Ballet of Canada. In 1984, Mr. Anderson staged and produced The National Ballet of Canada's televised production of Onegin, which received a nomination for an International Emmy two years later. In August 1987, he was appointed Artistic Director of Ballet British Columbia, a position he held until June 1989. In July 1989, Mr. Anderson was appointed Artistic Director of The National Ballet of Canada. Seven years later, in 1996, he rejoined Stuttgart Ballet as Artistic Director. In addition, since 1984, Mr. Anderson has staged and produced the works of John Cranko for companies such as the Australian Ballet, the Deutsche Staatsoper in Berlin, La Scala Opera in Milan, the Hamburg Ballet, Teatro de Colon in Buenos Aires, Boston Ballet, Rome Opera Ballet, and the Norwegian National Ballet.
     
DAVID BINTLEY
Artistic Director, Birmingham Royal Ballet
  David Bintley was appointed Artistic Director of the Birmingham Royal Ballet in 1995. Born in Huddersfield in 1957, he trained at the Royal Ballet School. He choreographed his first ballet to Igor Stravinsky's Soldier's Tale, at the age of 16, followed two years later by his first professional work for Sadler's Wells Ballet, The Outsider. In 1976, Mr. Bintley joined Sadler's Wells Ballet (now Birmingham Royal Ballet), where he performed a number of character roles, including Alain and Widow Simone in Sir Frederick Ashton's La Fille Mal Gardee; Bottom in The Dream; Ugly Sister in Ashton's Cinderella; the Red King in Nanette Valois' Checkmate; and the Rake in Valois' Rake's Progress. From 1986 to 1993, he served as resident choreographer for Sadler's Wells Ballet until his appointment as Artistic Director in 1995. Mr. Bintley's works include Swan of Tuonela (1982), Consort Lessons (1983), Flowers of the Forest (1985), Gallantries (1986), The Snow Queen (1986), Allegri Diversi (1987), "Still Life" at the Penguin Café (1988), Hobson's Choice (1989), Cyrano (1991), Tombeau (1993), Edward II (1995), Carmina Burana (1995), Far from the Madding Crowd (1996), and The Nutcracker Sweeties (1996).
     
ELIOT FELD
Artistic Director, Ballet Tech
  Eliot Feld established Eliot Feld Ballet in 1974, Feld Ballets/NY in 1990, and Ballet Tech in 1997. Born in Brooklyn, New York, he studied at the School of American Ballet, New Dance Group, the High School of Performing Arts, and with Richard Thomas. At age 12, Mr. Feld performed with New York City Ballet as the Child Prince in George Balanchine's The Nutcracker™. He has also performed in the Phoenix Theater's musical Sandhog; with the companies of Mary Anthony, Pearl Lang, Sophie Maslow, and Donald McKayle; and with American Ballet Theatre, American Ballet Company, and Feld Ballets/NY. At 16, Mr. Feld joined the Broadway cast of West Side Story and appeared as Baby-John in the movie version of the show. His other Broadway appearances include I Can Get It For You Wholesale and Fiddler on the Roof. He has also performed on the Voice of Firestone and L'Enfant et les Sortileges with the Little Orchestra Society, and has appeared on television on the Gary Moore and Ed Sullivan shows. As a choreographer, Mr. Feld has created 112 ballets since 1967 for companies around the world, including American Ballet Theatre, American Ballet Company, Royal Danish Ballet, The Joffrey Ballet, The National Ballet of Canada, The Royal Swedish Ballet, The Royal Winnipeg Ballet, John Curry Skating Company, New York City Opera, New York City Ballet, and Feld Ballets/NY. He founded Ballet Tech Company and School (formerly Feld Ballets/NY and its associate school, The New Ballet School), Kids Dance, New York Public School for Dance, The Joyce Theater, and The Lawrence A. Wien Center for Dance & Theater (co-founded with American Ballet Theatre).
     
WILLIAM FORSYTHE
Artistic Director and Founder, The Forsythe Company
 
  After more than 20 years at the head of Ballett Frankfurt, Forsythe founded The Forsythe Company in 2005. He was born in New York City in 1949 and trained at Jacksonville University, Florida and the Joffrey Ballet School. He joined the Stuttgart Ballet in1973, and, over the next seven years, choreographed over 20 ballets, both for his own company and others, including the Joffrey Ballet, Basel Ballet, Munich Ballet, the Deutsche Opera Ballet in Berlin, and Nederlands Dans Theater. In 1984, Mr. Forsythe was appointed Director of Ballett Frankfurt, the company for which he had created the full-length ballet Gange the year before. Mr. Forsythe’s key works include Artifact (1984), Impressing the Czar (1988), Limb's Theorem (1991), The Loss of Small Detail (1991), A L I E/NA(C)TION (1992), Eidos: Telos (1995), Endless House (1999), and Kammer / Kammer (2002). His choreography appears in the repertories of New York City Ballet, San Francisco Ballet, The National Ballet of Canada, The Royal Ballet (Covent Garden), and The Royal Swedish Ballet, among others.
     
NIKOLAJ HÜBBE
Artistic Director, Royal Danish Ballet
  Nikolaj Hübbe was born and raised in Copenhagen, Denmark. He began his dance training at age 10 with the Royal Danish Ballet School and became an apprentice with the Royal Danish Ballet in 1984, joining the corps de ballet in 1986. In 1986 Hübbe was awarded the Silver Medal in the Paris Ballet Competition, as well as the French Critics Prize. He won first prize in the 1987 Eurovision Ballet Competition and in 1988, he was promoted to the rank of principal dancer with the Royal Danish Ballet. Hübbe danced many of the works in the Royal Danish Ballet repertory, ranging from romantic leads in Romeo and Juliet and August Bournonville’s La Sylphide to the neo-classical works of George Balanchine, such as Apollo and Tschaikovsky Pas de Deux.
 
Hübbe joined New York City Ballet in July of 1992 as a principal dancer. He made his debut with the Company during their annual season at the Saratoga Performing Arts Center in Saratoga Springs, New York. His first performance was in Balanchine’s Donizetti Variations, a work that exhibits much of the clarity and purity associated with the Bournonville style, in which Hübbe was trained. In addition, he has performed leading roles in Balanchine’s Agon, Apollo, Bourrée Fantasque, Brahms-Schoenberg Quartet, Concerto Barocco, Coppélia, Cortège Hongrois, Divertimento from “Le Baiser de la Fée,” Duo Concertant, George Balanchine’s The NutcrackerTM, Rubies from Jewels, Liebslieder Walzer, Mozartiana, Scotch Symphony, La Sonnambula, La Source, Square Dance, Stravinsky Violin Concerto, Sylvia Pas de Deux, Tschaikovsky Suite No. 3, Tzigane, Union Jack, Vienna Waltzes, Western Symphony, and Who Cares?; Jerome Robbins’ Afternoon of a Faun, Andantino, The Cage, The Four Seasons, Gershwin Concerto, I’m Old Fashioned, In the Night, Moves, Opus 19/The Dreamer, Other Dances, Suite of Dances, and West Side Story Suite; Peter Martins’ The Sleeping Beauty and Swan Lake; Robert La Fosse and Robert Garland’s Tributary; Sean Lavery’s Romeo and Juliet; and Richard Tanner’s A Schubert Sonata.

Hübbe originated principal roles in Robbins’ Brandenburg and Martins’ Adams Violin Concerto, Eros Piano, Jazz (Six Syncopated Movements), Quartet for Strings, Symphonic Dances, Todo Buenos Aires, and Zakouski, and the role of Friar Lawrence in his full length Romeo + Juliet. Hübbe has also worked with choreographers David Allan, Stephen Baynes, Anna Laerkesen, Robert La Fosse, Kevin O’Day, and Twyla Tharp. For NYCB’s premiere of Robbins’ West Side Story Suite in spring 1995, Hübbe danced and sang the role of Riff.
 
In 2002, Hübbe appeared in the nationally televised Live From Lincoln Center broadcast “New York City Ballet’s Diamond Project: Ten Years of New Choreography” on PBS, dancing in Mr. Martins’ Jeu de Cartes and Them Twos, and in May of 2004 he appeared in the Live From Lincoln Center broadcast of “Lincoln Center Celebrates Balanchine 100,” dancing in Liebeslieder Walzer.

In addition to his performing career, Nikolaj Hübbe is a highly esteemed ballet teacher and ballet master. He is often invited to stage Bournonville ballets around the world. He studied acting with Laurie Kennedy and Sheila Gray, and at the HB Studio in New York. In the fall of 1998, Hübbe played the role of Puck in a production of A Midsummer Night’s Dream in Denmark with Gladsaxe Theatre.
 
During the season of 2007-2008, Nikolaj Hübbe worked in New York as well as in Copenhagen. As Head Ballet Master to the Royal Danish Ballet, he was “in apprenticeship” for the position as Artistic Director while still being active as principal dancer with the New York City Ballet where he gave his farewell performance on February 10, 2008. On his return to Copenhagen, he performed in his very last role as James in La Sylphide with the Royal Danish Ballet at the company’s headquarters in Copenhagen on April 2, 2008. Nikolaj Hübbe is currently working as Artistic Director to the Royal Danish Ballet.
     
KAREN KAIN
Artistic Director, National Ballet of Canada
  It is a truism to say that the cultural life of any country is dependent first and foremost upon its artists who, through their creative energies and shaping visions, help forge the distinctive character of their nation’s identity. But it is perhaps no less the case that a country’s cultural selfhood and heritage also rely upon the efforts of those who strive to provide the sort of sympathetic and nurturing setting that allows the work of those artists to take flight, flourish and find its ideal expression.

Karen Kain, Artistic Director of The National Ballet of Canada, is one of those rare individuals whose contributions to Canada’s cultural life have encompassed both of these fields of endeavor — artist and arts advocate — and who has served both roles with the same unswerving sense of commitment and enriching passion. Indeed, few Canadian performers can be said to have combined a career of peerless artistry with such a far-reaching and generous presence beyond the stage as has Ms. Kain.

Her incomparable and unforgettable work as one of international ballet’s finest dancers — work defined by its superb emotional intelligence as well as its vivid sense of character — is matched both by her impact as a role model for younger dancers and by her invaluable contributions to the project of sustaining and strengthening the art of ballet within a Canadian context. Admired during her years on stage for her singular and often definitive performances in an extraordinary range of ballets, she has also come to personify the ongoing commitment to furthering the life and legacy of the arts in Canada.

Born in Hamilton, Ontario, Ms. Kain studied at Canada’s National Ballet School in Toronto before joining The National Ballet of Canada in 1969. Her extraordinary gifts were recognized early on and she was promoted to Principal Dancer with the company after her galvanizing debut as the Swan Queen in Swan Lake.

In 1973, Ms. Kain won the Silver Medal in the Women’s Category at the prestigious International Ballet Competition in Moscow and, along with her frequent partner at the time, Frank Augustyn, was also awarded a special prize for Best Pas de Deux. Following this, she embarked on a remarkable international career which saw her dance many of ballet’s greatest roles with some of the world’s finest companies and work with some of the most illustrious choreographers of her day.

She danced and maintained a close creative relationship with Rudolf Nureyev for many years and delighted audiences the world over, performing with such companies as Roland Petit’s Le Ballet de Marseilles, The Bolshoi Ballet, London Festival Ballet, Vienna State Opera Ballet and the Eliot Feld Company. In addition, she premiered numerous new and important ballet works, many of which were created specifically for her, such as James Kudelka’s The Actress and Musings, Eliot Feld’s Echo and John Neumeier’s Now and Then. In 1997 Ms. Kain announced her retirement from the stage and undertook a rapturously and emotionally received cross-Canada farewell tour. Shortly thereafter, she assumed the position of Artist-in-Residence with the National Ballet, a role that was expanded two years later to that of Artistic Associate.

As Artistic Associate with The National Ballet of Canada, Ms. Kain continued her vital association with the company. Working as an integral member of the senior management team, she brought both her inestimable artistic experience and her deep understanding of the broader ballet and cultural scene to bear on the vital tasks of coaching dancers, staging ballets, fundraising for the company and advising, then Artistic Director, James Kudelka.

In March of 2004, Ms. Kain restaged to great acclaim one of the company’s best-loved and most revered works, Rudolf Nureyev’s famous version of The Sleeping Beauty. In September of the same year, Ms. Kain was named Board Chair of The Canada Council for the Arts. In June 2005, Ms. Kain was appointed Artistic Director of The National Ballet of Canada.

In the fall of 2005, Tundra Books published Ms. Kain’s children’s book, The Nutcracker, based on the National Ballet’s production.

Ms. Kain has received numerous national and international awards, both for her work as a performer and her tireless efforts as an advocate for the arts and cultural development. She is a Companion of the Order of Canada, a recipient of the Cartier Lifetime Achievement Award (the first Canadian to be so honored) and in 2001 was named an Officer of the Order of Arts and Letters by the French Government. In 2002 she received the Governor General’s Performing Arts Award for Lifetime Achievement, and in 2007 she received the Barbara Hamilton Memorial Award.
     
ROY KAISER
Artistic Director, Pennsylvania Ballet
  Mr. Kaiser joined Pennsylvania Ballet in 1979 and was promoted first to soloist, then to principal dancer in 1990. In 1987, while still performing, Mr. Kaiser became Assistant Ballet Master. Finding that he enjoyed teaching and the administrative aspects of ballet, he was named Ballet Master upon his retirement from performing in 1992; and to Associate Artistic Director of the company in October 1993.

Since his appointment to Interim Artistic Director in May 1994 and then Artistic Director in February 1995, Mr. Kaiser has been committed to advancing Pennsylvania Ballet’s artistic achievements and bringing an eclectic and diversified repertory to audiences. During his tenure as Artistic Director, the Company has premiered an array of classical and contemporary ballets including The Sleeping Beauty, David Parsons’ Mood Swing, Agnes de Mille’s Rodeo, Lar Lubovitch’s Waiting for the Sunrise, George Balanchine’s Apollo and Slaughter on Tenth Avenue, Alvin Ailey’s The River, Peter Martins’ Fearful Symmetries and The Waltz Project, John Cranko’s The Taming of the Shrew, and Paul Taylor’s Company B.

In addition to teaching and coaching the company, Mr. Kaiser’s commitment to Pennsylvania Ballet’s artistic growth has included the creation and/or staging of new works by both emerging and established choreographers such as Dwight Rhoden, Kevin O’Day, Alan Hineline, and Trey McIntyre; as well as company dancer/choreographers Jeffrey Gribler, Matthew Neenan and Meredith Rainey. By combining new works with classical favorites and nurturing the company’s Balanchine legacy, Mr. Kaiser is developing Pennsylvania Ballet as a company for both the present and future of American dance.

Under his direction as Ruth and A. Morris Williams, Jr. Artistic Director, the company launched its 1994-1995 season with a critically acclaimed appearance at The Kennedy Center in Washington, D.C., and was invited to return for The Kennedy Center’s Balanchine Celebration in 2000. The company also performed at The Sintra Festival in Portugal and The Meadows Award ceremony honoring Paul Taylor at Southern Methodist University. An active member of the dance community, Mr. Kaiser has served on dance panels for the National Endowment of the Arts and the Princess Grace Foundation.
     
BRIGITTE LEFÈVRE
Artistic Director, Paris Opera Ballet
  Brigitte Lefèvre joined the Paris Opera Ballet School at the age of eight and entered the corps de ballet at the age of sixteen.  During her years at the Opera she studied with Yvette Chauviré, Gérard Mulys, Serge Peretti, Yves Brieux, Rita Thalia, Janine Schwarz, Serge Perrault and Raymond Franchetti, dancing in ballets by George Balanchine, Roland Petit, Maurice Béjart, Michel Descombey and Gene Kelly, as well as in the major classical works.  Interested from early on in different techniques of dance, Brigitte Lefèvre studied jazz with Gene Robinson and participated in numerous courses given by Alwin Nikolaïs, Merce Cunningham and Paul Taylor.

In 1970 she choreographed her first work, Mikrocosmos (to music by Bartok), for Jacques Garnier, Michaël Denard and herself. The ballet was presented at the Avignon Festival, in the Cour d’honneur.  She has also worked for the theatre and for musical comedy in productions by Jean-Michel Ribes, Jean Mercure and Serge Peyrat at the Théâtre de la Ville.  She also created the choreography for La Révolution Française at the Palais des Sports in Paris and made her debut as an actress in the role of Lisa, in Dostoïevsky’s The Possessed, directed by Jean Mercure at the Théâtre de la Ville in Paris.

She left the Opera in 1972 to found the Théâtre du Silence together with Jacques Garnier. Situated in La Rochelle between 1974 and 1985, this was to be one of the first regionally-based companies in France. In addition to works by Jacques Garnier and Brigitte Lefèvre, the choreographies of Merce Cunningham, Lar Lubovitch, David Gordon and Robert Kovich came to enrich the company’s repertoire. They toured extensively (visiting twenty-one countries worldwide). Greatly interested in teaching, Brigitte Lefèvre gave both classical and contemporary classes within the company (which she directed single-handed from 1980 onwards), as well as running various courses.

In 1985, she was appointed Principal Inspector of Dance for the Ministry of Culture and, in 1987, promoted to General Inspector and Chief Dance Delegate.

In September 1992, she was appointed General Administrator of the Paris Opéra-Garnier and, in February 1994, Associate Director, Head of Dance. In August 1995, she was made Director of Dance at the Paris Opera.

Since her appointment, Brigitte Lefèvre has set out to create a living repertoire rhyming not only with the past and the present but also with the future.

Whilst reserving a special place for traditional works and the great classical ballets — including the productions of Rudolph Nureyev — she regularly includes in the Paris Opera season works that have marked the 20th century and invites contemporary choreographers to revive ballets or create new works. Hence, since 1995, several works have joined the Paris Opera Ballet's repertoire (The Rite of Spring in 1997 and Orphée et Eurydice in 2005 by Pina Bausch , Glacial Decoy by Trisha Brown in 2003, La Dame aux camélias in 2006 and Troisième Symphonie de Gustav Mahler in 2009 by John Neumeier) and numerous choreographers have created works for the company (Maurice Béjart, Trisha Brown, Mats Ek, William Forsythe, Jirí Kylián, Blanca Li, Wayne McGregor, Benjamin Millepied, José Montalvo, John Neumeier, Robyn Orlin, Roland Petit, Angelin Preljocaj, Saburo Teshigawara, Sasha Waltz).

Brigitte Lefèvre is Vice President of the Conservatoire national supérieur de musique et de danse de Paris, Administrator of the Centre National de la Danse (since 1998), and Administrator of La Société Radio France (since September 2004).

Brigitte Lefèvre has received the following honours : Officier de l’Ordre national du Mérite, Officier de la Légion d’Honneur and Commandeur des Arts et Lettres.
     
JEAN-CHRISTOPHE MAILLOT
Artistic Director, Les Ballets de Monte Carlo
  Jean-Christophe Maillot was born in Tours, France, where he studied dance and piano at the Conservatoire National before joining Rosella Hightower's International School of Dance in Cannes. In 1977, he won the Prix de Lausanne, and in 1978, he was invited to join the Hamburg Ballet, where director John Neumeier created numerous principal roles for him. In 1983, Mr. Maillot was appointed choreographer and director of the Ballet du Grand Theatre in Tours. He choreographed some 20 ballets for this company, and in 1985, he founded "Le Chorégraphique" festival. Mr. Maillot is also the founder and president of the Monaco Dance Forum.

In 1993, H.R.H. the Princess of Hannover invited Mr. Maillot to become director of the Ballets de Monte-Carlo. As the principal choreographer for the company, he has created ballets such as Bêtes Noires, Home, Sweet Home, Dov'è la Luna, Vers un Pays Sage, Roméo et Juliette, Recto Verso, L'Ile, Cendrillon, Entrelacs, Oeil pour oeil, and La Belle, among others. For the Printemps des Arts 2000 season in Monaco, he created Opus 40, to music by Meredith Monk and set and costumes by New York painter George Condo.

In 1992, Mr. Maillot was awarded the title of Chevalier de l'Ordre des Arts et des Lettres by the French Minister of Culture. In November 1999, he was awarded the title of Officer de l'Ordre du Merite Culturel of the Principality of Monaco. In July 2002, Mr. Maillot was appointed to the rank of Chevalier de la Légion d'Honneur by French President Jacques Chirac.
     
KEVIN McKENZIE
Artistic Director, American Ballet Theatre
  Kevin McKenzie is Artistic Director of American Ballet Theatre, a position he has held since October 1992. Trained at the Washington Ballet School, he won a Silver medal at the Sixth International Competition in Varna, Bulgaria, in 1972. Mr. McKenzie went on to dance with the National Ballet of Washington and The Joffrey Ballet until March 1979, when he joined American Ballet Theatre as a soloist. He was promoted to the rank of principal dancer in December of that same year. During his 12 years as a dancer with American Ballet Theatre, Mr. McKenzie performed leading roles in numerous ballets, including Solor in La Bayadère, Don Jose in Carmen, Albrecht in Giselle, Prince Siegfried in Swan Lake, and James in La Sylphide. He also created leading roles in Martine Van Hamel's Amnon V'Tamar and Clark Tippet's S.P.E.B.S.Q.S.A. Mr. McKenzie also appeared as a guest artist with leading ballet companies such as the London Festival Ballet, the Bolshoi Ballet, the National Ballet of Cuba, and the Universal Ballet in Seoul. In September 1989, he became a permanent guest artist with The Washington Ballet and was appointed Artistic Associate in 1991. Among Mr. McKenzie's choreographic works are Groupo Zamboria (1984) and Transcendental Études (originally Liszt Études, 1991) for Martine Van Hamel's New Amsterdam Ballet; Lucy and the Count (1992) for The Washington Ballet, and The Nutcracker (1993), Don Quixote (a collaboration with Susan Jones, 1995) and Swan Lake, all for American Ballet Theatre.
     
JOHN NEUMEIER
Artistic Director, Hamburg Ballett
  Since 1973 John Neumeier has been Artistic Director and Chief Choreographer of The Hamburg Ballet, since 1996 he has been "Ballettintendant" (General Manager). He was born in 1942 in Milwaukee, Wisconsin, U.S.A., where he also received his first dance training. He went on to study ballet both in Copenhagen and at the Royal Ballet School in London. He acquired a Bachelor of Arts degree in English Literature and Theater Studies from Marquette University, Wisconsin, where he created his first choreographic works. In 1963 he was "discovered" in London by Marcia Haydée and Ray Barra, leading John Cranko to engage him at the Stuttgart Ballet, where he progressed to solo dancer.

In 1969 Ulrich Erfurth appointed Neumeier as Director of Ballet in Frankfurt, where he soon caused a sensation. This was largely due to his new interpretations of such well-known ballets as The Nutcracker, Romeo and Julia and Daphnis and Chloe. In 1973, August Everding brought him to Hamburg. Under Neumeier's direction The Hamburg Ballet became one of the leading ballet companies in the German dance scene and soon received international recognition.

His Work
As a choreographer, Neumeier has continually focused on the preservation of ballet tradition, while giving his works a modern dramatic framework. His commitment to this end has manifested itself particularly in his revised versions of the classical "Story Ballets". For his new works he has created his own narrative forms, resulting in ballets such as: The Saga of King Arthur; a series of Shakespeare ballets, including A Midsummer Night's Dream, Hamlet, Othello, As You Like It and VIVALDI or What You Will; the Literature Ballets created for Marcia Haydée: Lady of the Camellias and A Streetcar Named Desire, and his adaptation of Ibsen's Peer Gynt to a commissioned score by Alfred Schnittke and Homer's epic poem Odyssey which had its world premiere in Athens in November 1995. In 1997 he created Sylvia for The Ballet of the Paris Opera. American Ballet Theatre gave a world premiere of his ballet Getting Closer in 1999 and the Tokyo Ballet, in February 2000, premiered Seasons - The Colors of Time. John Neumeier has received particular acclaim throughout the world for his choreographies on symphonies by Gustav Mahler; to Bach's Saint Matthew Passion and Christmas Oratorio, Mozart's Requiem and Handel's Messiah. John Neumeier has always been fascinated by Vaslaw Nijinsky, this famous dancer and choreographer inspired him to create three biographical ballets: Vaslaw (1979), Nijinsky (2000) and Le Pavillon d'Armide (2009). Other important works for the 21st century are Winterreise in December 2001, The Seagull in June 2002, Préludes CV in June 2003, Death in Venice in December 2003 and Parzival – Episodes and Echo in December 2006. In 2005 he created a new ballet for the Royal Danish Ballet: The Little Mermaid, a homage to Hans Christian Andersen to celebrate the writer's bicentenary, which was premiered on April 15 for the opening of the new Opera House of Copenhagen. In 2009 he created Le Pavillon d'Armide, another ballet about Nijinsky's life, and 2011 Liliom.

John Neumeier has also directed operas and musicals. At the Bavarian State Opera he directed Verdi's Otello, at the Hamburg State Opera Gluck's Orpheus and Eurydice and Leonard Bernstein's West Side Story and On the Town.

The Ballet Workshop events (lecture demonstrations in which aspects of current repertoire or general dance themes are analysed) enjoy great popularity in Hamburg. In 1978 Neumeier received the Golden Camera for a four-part television series recorded by North German Radio (NDR). A further four "Workshops" were produced for television in 1981. In addition German Television (ZDF) and North German Radio (NDR) have recorded four of Neumeier's ballet productions: Third Symphony of Gustav Mahler, Wendung (String Quintet in C-Major by Franz Schubert), Scenes of Childhood and Othello. His version of  Lady of the Camellias, produced 1986 by Polyphon GmbH, was awarded a gold medal at the International Television Festival in New York. In 2002 a live performance of the ballet Illusions – like Swan Lake was released on DVD. In 2004 and 2005 Death in Venice and Saint Matthew Passion were filmed by the TV station SWR at the Festspielhaus Baden-Baden. In 2005 Sylvia was filmed at the Opera Bastille in Paris with the dancers of the Ballet of the Paris Opera, as well as Lady of the Camellias in 2008.

In 1975, in only his second season in Hamburg, Neumeier brought The Hamburg Ballet Festival into being – a climax and end to each season: they culminate in the annual Nijinsky-Gala which is always dedicated to a dance-specific or ballet-historical theme. The Hamburg Ballet has given numerous guest performances in Europe, Russia, North and South America and Asia.

The Guest Choreographer
John Neumeier has worked as guest choreographer with many companies, including The Royal Ballet in London, The Vienna, Munich and Dresden State Operas, The Ballet of the German Opera in Berlin, The Stuttgart Ballet (for which he has created several works), The Royal Danish Ballet, The Royal Swedish Ballet, The Finnish National Ballet, Le Ballet du XXème Siècle in Brussels, The Ballet of the Paris Opera, The Tokyo Ballet, The American Ballet Theatre in New York, The Royal Winnipeg Ballet, The National Ballet of Canada, The Ballet of the Mariinsky Theater, and the San Francisco Ballet among others.

Since 1981 John Neumeier has been dancing the lead role of  Saint Matthew Passion. In 1984 Maurice Béjart re-choreographed Les Chaises (The Chairs), after Ionesco's play, for Neumeier and Marcia Haydée. This ballet became part of the repertoire of both The Hamburg and Stuttgart Ballets and was performed on numerous tours in cities including New York, Zurich, Buenos Aires, São Paulo, Rio de Janeiro, Tel Aviv, Berlin, Essen, Dresden, Paris, and Copenhagen.

The Ballet School
In 1978 John Neumeier founded The School of The Hamburg Ballet. In the autumn of 1989 the school, together with the company, moved into its own "Ballettzentrum" (ballet center) provided by the city of Hamburg. Its facilities include nine studios and a boarding school for over thirty students. Today more than 80% of the company's dancers are graduates from the school.

Prizes and Recognitions
John Neumeier is holder of the German Federal Grand Cross of Merit. as well as the In 1983 he received the Dance Magazine Award. In 1987 he was awarded a honorary doctorate in the Fine Arts by Marquette University in Milwaukee, and was granted the title of Professor by the Senate of the Free and Hanseatic Town of Hamburg. In 1988 he was awarded the German Dance Prize and the Prix Diaghilev. In 1991 at the instigation of the French Minister of Culture he was admitted as Knight to the Ordre des Arts et des Lettres. In 1992 he received the Benois de la Danse in Moscow. In 1994 he was awarded the Medal of Honor of the city of Tokyo, the Carina-Ari-Goldmedal (Sweden's highest dance award), and the Hamburg Bürgerpreis. In 1995 he received the Bible and Culture Foundation Prize and in 1996 the Nijinsky Medal of the Polish Minister of Culture. In 1997 he received in Tokyo the Min-On International Award for Arts. In 2000 John Neumeier received the European Prince Henrik of Denmark Award and the Medal of the Knight's Cross of the Dannebrog in gold from Queen Margrethe II of Danemark. His ballet Messiah was awarded the DANZA & DANZA Magazine Award for the best production of the season 2000/2001 and he received for his choreography of Nijinsky the Bayerischer Theaterpreis 2001. In 2002 Neumeier received the highest theatre prize of Russia, the Golden Mask, the first prize for best contemporary choreography at the Varna Ballet Competition 2002, the Danish Wilhelm Hansen Prize, and was named Honorary Member of the Semper Oper. In 2003 he received the Medal for Art and Science, the highest cultural distinction of the city of Hamburg and was appointed to the rank of Knight of the Legion of Honor by French President Jacques Chirac. In 2004 he received the Porselli Prize - A Life for the Dance in Reggio Emilia, Italy and was appointed Hans Christian Andersen Ambassador 2005 for Germany for the worldwide celebration of the writer's bicentenary. In 2005 he received the SAECULUM Prize in Dresden and in November the Steffen Kempe Prize in Hamburg. Neumeier's production for the Bolshoi Theatre of his A Midsummer Night's Dream received the Golden Mask for Moscow's Best Contemporary Dance Production in 2005. In May 2006 he received in Hamburg the Portugaleser in Silver, in December the Nijinsky Award 2006 for Lifetime Achievement was presented to him by Princess Caroline of Hanover in Monte-Carlo and in Hamburg he was named Citizen of the Year 2006 in recognition of his contribution to culture. In May 2007 he received the German Critic Prize for Life Achievement, in June John Neumeier was made an honorary citizen of the city of Hamburg and in October he received in Baden-Baden the Herbert von Karajan Music Prize 2007. In March 2008, he was awarded for the second time with the German Dance Prize on the occasion of their 25th jubilee - this time with a jubilee edition for his lifetime work. He is the recipient of the Hans Christian Andersen Award 2009. In 2012 he received the Gustaf Gründgens Prize, the Transatlantic Media & Communication Award of the American Chamber of Commerce in Germany and the Order of Friendship of the Russian Federation from president Vladimir Putin in Moscow.

In February 2006 John Neumeier established the John Neumeier Foundation with the aim of bringing together his collection of Dance and Ballet related objects and his vast oeuvre. The "John Neumeier Foundation" will maintain and secure his life's work.

In 2011, John Neumeier founded the National Youth Ballet in Germany. The company of eight young dancers will be based at the Ballettzentrum in Hamburg.

John Neumeier has been supporting Hamburg Leuchtfeuer and its hospice since its foundation. He is Board of Directors member of the Center for Cardiology and Cardiovascular Surgery in Hamburg.
     
MIKKO NISSINEN
Artistic Director, Boston Ballet
  Mikko Nissinen is the Artistic Director of Boston Ballet and the Boston Ballet Center for Dance Education, positions he has held since September 2001. He also continues to teach at a number of dance schools and summer intensives. Born in Helsinki, Finland and trained at the Finnish National Ballet School and The Kirov Ballet School, he won First Prize at The National Ballet Competition in Kuopio, Finland in 1978. Mr. Nissinen subsequently danced with the Dutch National Ballet, Basel Ballet, and San Francisco Ballet, where he was a principal dancer for 10 years. After retiring from San Francisco Ballet in 1996, he was appointed Artistic Director of the Marin Ballet in San Rafael, California. Two years later, he was appointed Artistic Director of Alberta Ballet. In 1992 Mr. Nissinen was the subject of a cover story in Dance Magazine and a profile on the television program "CNN Worldwide". In the summer of 2002, he completed the Executive Program for Nonprofit Leaders in the Arts at Stanford’s Graduate School of Business.
     
KEVIN O'HARE
Director, The Royal Ballet
  Kevin was trained by Louise Browne, then at The Royal Ballet School and, through an exchange programme, Royal Danish Ballet. He joined SWRB and was promoted to Principal in 1990 (BRB). His repertory included all the leading classical roles and works by Balanchine, Cranko, Van Manen, Tudor and Tharp, aside from numerous international guest appearances. He also created many roles, working with Ashton, De Valois, MacMillan, David Bintley and Peter Wright, among others. He retired from dancing in 2000 to work with the RSC, training in company management. He returned to BRB as Company Manager in 2001, joined The Royal Ballet as Company Manager in 2004 and then become Administrative Director in 2009. He is a governor of The Royal Ballet School.

Kevin became Director of The Royal Ballet on the retirement of Monica Mason in July 2012.
     
HELGI TOMASSON
Artistic Director, San Francisco Ballet
  Helgi Tomasson was appointed Artistic Director of San Francisco Ballet in 1985. Born in Reykjavik, Iceland, he trained with the National Theatre's affiliated school and the Pantomime Theatre in Copenhagen's Tivoli Gardens. At age 17, Mr. Tomasson caught the eye of Jerome Robbins, who offered him a scholarship to study at the School of American Ballet in New York. He began his professional career dancing with the Joffrey Ballet for two years before joining The Harkness Ballet, where he danced for the next six years. In 1970, he joined New York City Ballet as a principal dancer and originated several roles in ballets by George Balanchine and Robbins. In 1980, Mr. Tomasson choreographed his first ballet for the annual School of American Ballet Workshop. While at San Francisco Ballet, Mr. Tomasson has choreographed over 30 ballets, including four full-length ballets: Giselle, Swan Lake, The Sleeping Beauty, and Romeo and Juliet. His other works include Con Brio, Handel - A Celebration, Meistens Mozart, "Much Ado...," Nanna's Lied, Sonata, Prism, Bartok Divertimento, and Chi-Lin. Mr. Tomasson's ballets have been performed by New York City Ballet, Royal Danish Ballet, Houston Ballet, Alberta Ballet, and Asami Maki Ballet. Mr. Tomasson also serves as Director of San Francisco Ballet School.