The Australian Ballet presents a Year of Beauty - 2015 Season

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2015 S E ASON

A YE AR OF B E AUT Y

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WELCOME TO 2015

DON’T MISS A MOMENT WITH A 2015 SEASON PACKAGE

Ballet embodies all that is beautiful about the human experience. It tells stories without uttering a word. Beauty is ballet’s driving force, and its demanding aesthetic – once mastered – frees the dancer and choreographer to create art that can transport us to a different time and place.

We have our own unique Australian beauty, powered by athleticism, and our dancers have a strength that is dynamic and exciting. They are fearless and optimistic, thriving on the myriad challenges of ballet in the 21st century, and their diversity beautifully reflects our rich and inclusive Australian culture.

Beauty, magic and romance are the elements that bind our 2015 season. There are happy endings for Cinderella and her Prince, and for the fairies and immortals in Frederick Ashton’s The Dream. There is redemption through tragedy for Siegfried and Odette, Albrecht and Giselle. There is also the sharp-edged, modern beauty of Balanchine and Stravinsky, Tharp and Glass, and a new work by Tim Harbour, each capturing the contemporary splendour of its time.

Then there is our new production of The Sleeping Beauty. I could not be more excited to take on this monumental work – a magical ballet where fairies and royalty live side by side and the birth of a princess brings out both the good and evil of the kingdom.

I undertake this huge challenge in the best company, working with the extraordinary set and costume designer Gabriela Tylesova, the amazing lighting designer Jon Buswell and the inspiring dancers of The Australian Ballet.

Our Principal Partner Telstra shares our passion for innovation and connection, and, along with our Lead Partners Qantas and Samsung, enables us to share the beauty of ballet. From our Government partners comes funding that helps maintain the creativity of the nation; and it’s wonderful to celebrate our triumphs with our passionate donors, whose philanthropic support helps us realise our dreams. Finally, I want to thank you, our audiences, for the vital support which has made us the creative company we are today. I hope you will join us in 2015 as we strive to bring yet a little more beauty into your lives.

David McAllister AM Artistic Director

“ WE HAVE A UNIQUE AUSTRALIAN BEAUTY, POWERED BY ATHLETICISM”

A YEAR OF BEAUTY

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Adam Bull and Amber Scott in Graeme Murphy’s Swan LakePhotography Liz Ham

“A masterpiece of design, concept and choreography, requiring outstanding dancers ... This company deserves to hold its head high as one

of the greatest in the world.”

HERALD SUN

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TRAGIC BEAUTY

EXCLUSIVE SYDNEY SEASON 20 – 28 FEBRUARY

Capitol Theatre with Orchestra Victoria

Curate as part of your Sydney Experience Package or add as an additional ballet to your Sydney Principal Package

Graeme Murphy’s modern-day classic is a Swan Lake for the 21st century, charged with sensuality and heartbreak. The Australian Ballet’s most performed and most successful work has swept the world before it,

reaping standing ovations and storms of tears in London, Paris, Tokyo, and New York. After a sell-out season in Melbourne in 2013, this powerful

production returns to Sydney for the first time since 2008.

The romance of Odette and Prince Siegfried is updated (and complicated) to a contemporary love triangle with the addition of the Baroness von Rothbart, a slinky mistress who has no intention of releasing her freshly married lover. Murphy’s breathtaking pas de deux and massed swans

are framed by legendary designer Kristian Fredrikson’s darkly sparkling lake, contrasted with the glittering magnificence of regal weddings and

ballrooms. This is Swan Lake as you’ve never seen it before.

Choreography Graeme Murphy Creative associate Janet Vernon Music Piotr Ilyich Tchaikovsky Concept Graeme Murphy, Janet Vernon and Kristian Fredrikson

Costume and set design Kristian Fredrikson Original lighting design Damien Cooper

A POWERFUL MASTERPIECE OF LOVE AND REDEMPTION

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Adam Bull and Juliet Burnett in GisellePhotography Georges Antoni

“It’s a defining example of a classic restored with that uniquely

Australian zeal … It has heart, story and an emotional truth.”

HERALD SUN

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ROMANTIC BEAUTY

MELBOURNE 13 – 23 MARCH

Arts Centre MelbourneState Theatre

with Orchestra Victoria

SYDNEY 2 – 22 APRIL

Joan Sutherland Theatre Sydney Opera Housewith Australian Opera and Ballet Orchestra

CANBERRA 21 – 26 MAY

Canberra Theatre Canberra Theatre Centrewith Canberra Symphony

Orchestra

ADELAIDE 2 – 6 JULY

Festival Theatre Adelaide Festival Centrewith Adelaide Symphony

Orchestra

Love conquers death in the ultimate Romantic ballet. Since its premiere in 1841, Giselle has captured the imagination and torn at the heart.

A village girl falls in love with a man who is not all he seems. When she finds out his deception, she dies of a broken heart. Transformed into a spirit, she battles

to save her lover in a wood haunted by the ghosts of jilted women.

For the ballerina, it offers a career-making opportunity to show off not just technique but emotional range, as she moves from an innocent girl to a tender,

womanly spirit. Maina Gielgud’s acclaimed production, with Peter Farmer’s atmospheric designs, perfectly captures the ballet’s dramatic blend of

real-life passions and otherworldly apparitions. Yearning, madness, supernatural forces and transcendent, redemptive love: Giselle is the

Romantic era crystallised in one perfect work of art.

Choreography Marius Petipa after Jean CorelliProduction by Maina Gielgud Music Adolphe Adam

Costume and set design Peter Farmer Original lighting design William Akers

Lead & Production Partner

LOVE, TRAGEDY AND UNEARTHLY GLAMOUR

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“This ballet is totally alive with both Shakespeare’s poetry and his earthy, timeless human comedy, all magically enmeshed in a gossamer web of choreography shimmering

like moonlight on dewdrops”

NEW YORK POST ON THE DREAM

Chengwu Guo and Madeleine Eastoe in The DreamPhotography Georges Antoni

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SYDNEY 29 APRIL – 16 MAY


MELBOURNE 4 – 13 JUNE



ADELAIDE 8 – 9 JULY

Festival Theatre Adelaide Festival Centrewith Adelaide Symphony

Orchestra

Mischievous sprites, troublesome loves and dazzling dance: this sparkling triple bill celebrates Frederick Ashton, one of the greatest influences on 20th-century

ballet and the epitome of the English classical style.

Shakespeare’s most charming comedy is the basis for Ashton’s whimsical take on A Midsummer Night’s Dream. The fate of humans and fairies are hilariously

entwined in a flowery bower designed for The Royal Ballet’s original 1960s production. Ashton traces the tangled love lines of the characters with warmth

and wit, and Mendelssohn’s A Midsummer Night’s Dream is the perfect soundtrack for his elegant, playful choreography.

Two Ashton gems, Monotones II and Symphonic Variations, show the choreographer delighting in music and pure, airy movement.

This playful, captivating triple bill is perfect for all ages.

THE DREAMChoreography Frederick Ashton Music Felix Mendelssohn orchestrated by John Lanchbery

MONOTONES IIChoreography Frederick Ashton Music Erik Satie orchestrated by Roland Manuel

SYMPHONIC VARIATIONSChoreography Frederick Ashton Directed, supervised and staged

by Wendy Ellis Somes and Malin Thoors Music César Franck

Production Partner Media Partner

ENCHANTING BEAUTY

AN EFFERVESCENT EVENING OF WONDER FOR THE WHOLE FAMILY

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Amber Scott in CinderellaPhotography Lynette Wills

“Ratmansky has packed his Cinderella with loveable characters, warm humour

and meaty choreography, creating a wonderful modern fairytale.”

THE AGE

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EXCLUSIVE MELBOURNE ENCORE SEASON

19 – 27 JUNEArts Centre Melbourne

State Theatrewith Orchestra Victoria

Witty, vibrant, glamorous and romantic, Alexei Ratmansky’s Cinderella will sweep you off your feet. By popular demand, and after sell-out seasons in Melbourne, Sydney and Adelaide, this smash-hit crowd-pleaser returns

to bewitch us again in an exclusive encore season.

Ratmansky, the most in-demand choreographer in the world and the master of the modern story ballet, fills every bar of Prokofiev’s cinematic score as he charts Cinderella’s journey from rags to rapture. Jerôme Kaplan’s vivid, sophisticated

designs draw inspiration from Dior, Schiaparelli, the elegance of 1940s Hollywood, and Surrealist art. Like Ratmansky’s Cinderella – transported to the ball by planets

and stars – we are whisked by this magical ballet to new heights of wonder.

Hailed as “effervescent and fun as festive champagne” [Daily Telegraph] and “exquisite from start to finish” [Crikey], Cinderella is “a triumphant addition to

the repertoire” [Dance Australia]. Get ready to fall in love all over again!

Choreography Alexei RatmanskyMusic Sergei Prokofiev Costume and set design Jérôme Kaplan

Original lighting design Rachel Burke Projection design Wendall K Harrington

FAIRYTALE BEAUTY

EVERYONE’S FAVOURITE FAIRYTALE – WITH A TWIST

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Andrew KillianPhotography Justin Ridler

“It is a ballet that pushes excitingly from one climax to another”

THE NEW YORK TIMES ON SYMPHONY IN THREE

MOVEMENTS

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MODERN BEAUTY

The best of the 20th century, the freshest of the 21st: this electrifying triple bill showcases two giants of the New York dance scene

and our newest resident choreographer.

George Balanchine’s Symphony in Three Movements is inspired by the revolutionary music of Igor Stravinsky, his friend and muse. This provocative

piece kicks off with a line of chic dancers haughtily tossing their ponytails and blends the rigour of ballet with the vigour of jazz.

Twyla Tharp’s pulse-pounding In the Upper Room sets the stage alight

with scarlet pointe shoes and sneakers, the driving music of Philip Glass and a bracing blend of classical and contemporary technique. It’s described

by Tharp as “the only piece I’ve done that generates a standing ovation at almost every performance”.

Be there for the unveiling of Resident Choreographer Tim Harbour’s

newest ballet – a stripped-down work set to a contemporary electronic score, featuring set designs by cutting-edge architect Kelvin Ho.

20:21 – the most thrilling night of modern dance you’ll see this year.

Media Partner

MELBOURNE 27 AUGUST – 5 SEPTEMBER



SYDNEY 5 – 21 NOVEMBER


SYMPHONY IN THREE MOVEMENTSChoreography George Balanchine ©The George Balanchine Trust Music Igor Stravinsky

IN THE UPPER ROOMChoreography Twyla Tharp Music Philip Glass

NEW WORK Choreography Tim Harbour Set design Kelvin Ho, Akin Creative

CELEBRATING THE PHYSICAL EXTREMES OF MODERN BALLET

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Lana Jones in The Sleeping Beauty, styled in an archival costume by Hugh Colman. Roses by Cecilia Fox floral studio.Photography Georges Antoni

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THE ULTIMATE BEAUTY

MELBOURNE15 – 26 SEPTEMBER



PERTH7 – 10 OCTOBER

Crown Theatre Perthwith West Australian Symphony Orchestra

SYDNEY27 NOVEMBER – 16 DECEMBER


Fairies, bluebirds, a gilded court and a spell-shattering kiss: the world’s most extravagant ballet is awakened to new life by our Artistic Director David McAllister.

The Sleeping Beauty, with its Rose Adage, its grand pas de deux, its charming variations and its enchanting Tchaikovsky score, is the zenith of ballet’s golden age.

Keeping true to the spirit of the traditional Beauty, David McAllister will direct

a production that gives thrilling rein to the talents of the entire company. Lavish sets and costumes by Gabriela Tylesova, whose work for ballet, opera and theatre includes the much-lauded designs for Love Never Dies, will evoke the splendour

of the Imperial court and the magic of fairies, nymphs and visions.

The much-anticipated world premiere of this landmark production will be the crowning moment of the year. Don’t miss the moment

when this majestic Beauty opens her eyes.

Director David McAllister Choreography Marius Petipa Music Piotr Ilyich Tchaikovsky Costume and set design Gabriela Tylesova Lighting design Jon Buswell

We celebrate the philanthropists who have made this production possible, with special thanks to:

THE PRINCE Kenneth R Reed AM

BLUEBIRD Francesca Roslyn Packer

Barham Indigo Alice Packer Emmanuelle Sheelah Packer

THE ROYALS The Australian Ballet Society

Friends of The Australian Ballet (NSW) Ltd

McCusker Charitable Foundation

Media PartnerSupporting Partner

A LAVISH NEW BEAUTY FOR THE MODERN AGE

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CAR ABOSSE by Gabr ie la Ty lesova

These illustrations by acclaimed designer Gabriela Tylesova for David McAllister’s new production of The Sleeping Beauty give a taste of what is to come: a fresh and inventive ballet with a glorious heritage look.

Follow the creation of David McAllister’s The Sleeping Beauty on behindballet.com

THE MAKING OF THE SLEEPING BEAUTY

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FAIRY OF GR ACE by Gabr ie la Ty lesova

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AN INVITATION FROM SARAH MURDOCH, DEPUTY CHAIR OF THE AUSTRALIAN BALLET

“I can think of no greater nor more exciting ballet for David McAllister to put his name to than The Sleeping Beauty. Showcasing Petipa’s choreography, Tchaikovsky’s colourful score, a designer of international repute and the great artists of this company, this new work has all the hallmarks of success. I invite you to embrace this rare and exciting chance to be a part of the creative journey from the very beginning and to support David’s breathtaking new Beauty for The Australian Ballet.”

DAVID MCALLISTER ON HIS VISION

“In 2015, 40 years after first watching the Bluebird Pas de deux as a young boy, I am taking on the mantle of director to create a new production of the third and greatest of the Tchaikovsky ballets, The Sleeping Beauty. This production will be a 19th-century classic for a 21st-century audience, following Petipa’s choreography but deepening and clarifying the drama. Knowing the talented dancers that we have in the company today, I really look forward to letting them shine in this brand-new traditional production.

“The sets and costumes will be by acclaimed designer Gabriela Tylesova, who says, ‘The Sleeping Beauty is a fantastic piece which has been on my dream list for a long time … There will be hundreds of costumes: bejewelled, enchanting tutus; ornate robes; layered period dresses; sparkling headdresses; wings, and more. Embarking on this journey will be like travelling back to the land of my childhood dreams.’

“I hope you will join me in bringing the magic and glory of this fairytale favourite to life.”

BECOME A PART OF THE SLEEPING BEAUTY

Join us by making a gift with your 2015 Season Package.

We invite donors both new and longstanding to go above and beyond to access this rare creative opportunity and make your mark onstage.

BALLET CHAMPIONS

Become a campaign “Champion”, aligned with the gifts of jewels and character presented to Aurora by the fairies of The Sleeping Beauty.

· Diamond (The Gift of Grace) $20,000 +

· Sapphire (The Gift of Generosity) $10,000 – $19,999

· Gold (The Gift of Joy) $5,000 – $9,999

· Silver (The Gift of Temperament) $1,000 – $4,999

DEVOTEES

· Friends $500 – $999

· Garland $100 – $499

Ballet Champion and Devotee donors will receive regular email updates about the creative journey – providing a rare insight into the creative process – and will be recognised on our website and in our 2015 annual report. Champions will also be acknowledged in The Sleeping Beauty souvenir program.

With your generous support we can create a masterpiece that we can proudly present to the world. Join us!

Kenneth WatkinsDirector of Philanthropy 03 9669 [email protected]

We celebrate the magnanimity of our donors, to inspire and encourage others to give; however, we respect your privacy, so please advise if you wish to remain anonymous.

All gifts $2 and over are tax deductible. ABN 57 004 849 987.

BRING BEAUTY TO LIFE

A RARE OPPORTUNITY TO SUPPORT THE CREATION OF THE SLEEPING BEAUTY

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1984 The Australian Ballet opens the new Victorian Arts Centre with the world premiere of Maina Gielgud’s The Sleeping Beauty, designed by Hugh Colman. The production will later be acclaimed by London critics and audiences when it is performed at Covent Garden.

2005Stanton Welch, one of The Australian Ballet’s resident choreographers, creates a new Beauty for the company with fanciful costumes by Kristian Fredrikson.

2012 Matthew Bourne reimagines The Sleeping Beauty as a Gothic romance, with a vampire Lilac Fairy and a tomboy Aurora who falls in love with the gamekeeper.

2015 David McAllister’s vision for a 21st-century Beauty comes to life. Sumptuously designed by Gabriela Tylesova, this fresh traditional version is a culmination of the ballet’s long and illustrious journey from the Russian Imperial court to the stages of the West.

A HISTORY OF THE SLEEPING

BEAUTY

1890 Marius Petipa works with Piotr

Ilyich Tchaikovsky to create the first Beauty for the Imperial

Theatres in St Petersburg. This lavish, hours-long pageant

becomes the city’s latest craze, and inspires nine-year-old Anna

Pavlova to become a dancer.

1921 Sergei Diaghilev’s Ballets Russes

premieres its production in London. Renamed The Sleeping

Princess, the ballet features designs by Léon Bakst of such

opulence that they push the production wildly over budget.

Unable to meet its debts, the Ballets Russes is forced to flee

the city, leaving the ballet’s sets and costumes behind.

1946 The Royal Ballet reopens Covent

Garden after World War II with an exquisite version of The

Sleeping Beauty starring Margot Fonteyn and Robert Helpmann.

Choreographed by Frederick Ashton, it begins the West’s

infatuation with the ballet.

1964 The Australian Ballet gets its first

taste of Beauty when Artistic Director Peggy van Praagh

choreographs a production of its final act, Aurora’s Wedding.

1973 The new Sydney Opera House

opens with the world premiere of The Sleeping Beauty, directed

by Robert Helpmann.

Photography Georges Antoni

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THE CRAFTSMANSHIP OF THE BALLET

STEP INSIDE OUR WORLD AND YOU’LL FIND A BUSY NETWORK OF ELITE ARTISANS CREATING THE

SPLENDOUR YOU SEE ON STAGE

Photography John Tsiavis and Kate Longley

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THE COSTUME ATELIER

Tutus are cut using centuries-old techniques,

beads and brocades are sewn by hand, tiaras and headdresses are

fashioned by our milliner and feathers and fabrics are dyed to the perfect

shade. Our costumes are made with the care

given to couture.

THE PRODUCTION CENTRE

Treasured tutus, magicians’ cloaks, enchanted glades and glittering ballrooms nestle inside a vast purpose-built warehouse in Altona, Melbourne that contains our 30,000 cherished costumes and our lovingly made props, scenery and sets.

THE SHOE ROOM

A satin wonderland of hand-made, customised ballet slippers in all shades of pearl, shell-pink and russet. The pointe shoe is perfectly moulded to each dancer’s foot.

Visit behindballet.com for more stories from inside our world

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EXCLUSIVE TOUR: WHERE THE MAGIC HAPPENS For the first time, we’re offering Season Package holders the exclusive opportunity to visit The Australian Ballet’s Production Centre in Altona, Melbourne – a 10,000 square-metre, custom-designed wonderland that houses over 50 years’ worth of archival costumes and over 130 large containers of props. You’ll be whisked to the Centre in a town car, hear incredible insights from our production team, get a tour of the costume archives and maybe catch a glimpse of our new production of The Sleeping Beauty in the making.

Season Packages holders will receive their invitation to purchase tickets in January 2015. Places are strictly limited.

SPECIAL TALKS: STORIES FROM BEHIND THE CURTAIN Don’t miss our series of special talks hosted by Artistic Director David McAllister, featuring guests from ballet and beyond. Add McAllister in Conversation to your Season Package for the special price of $10.

For more information visit australianballet.com.au/mcallister

Our full program of public talks, tours and events will be launched in early 2015. For more information visit australianballet.com.au

JOIN US BEHIND THE SCENES

EXCLUSIVE EVENTS WITH YOUR 2015 SEASON PACKAGE

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Photography Jess Bialek

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EXPLORE OUR YEAR OF MUSIC

MUSIC DIRECTOR AND CHIEF CONDUCTOR NICOLETTE FRAILLON ON THE SEASON’S

MUSICAL HIGHLIGHTS

The music for our 2015 season is incredibly diverse. It ranges from the early 19th-century beginnings of ballet music through to sophisticated works in which music, emotion and drama closely match staging and steps, to avant-garde, out-there-sounding scores.

SWAN LAKE

Part of the brilliance of Graeme Murphy is that he juxtaposes seemingly light, bright, brillante music with the desperation of Odette and her psychological and emotional breakdown.

Act IV is the most incredible piece of music and runs the gamut of all the emotions we’ve experienced in the rest of the ballet, and I think it’s one of the most brilliant pieces of theatrical music ever created.

THE DREAM

The Dream is one of my favourite ballets. I’ve wanted The Australian Ballet to perform this ever since I joined the company. We have the perfect potential casts: you need technically brilliant boys as well as noble male heroes, from Puck to King Oberon, through to comic actors for the role of Bottom. You also need fairy-like, fleet-of-foot women and a very elegant, gracious Tatiana, and we have all of these.

Ashton, in Symphonic Variations, is continuing the development of abstract ballet in which the music is the starting point for the dance. Great choreographers take the the structure and the emotional expression of the music and create a choreographic partner. The absence of one specific story allows us as an audience to create our own multiple stories.

CINDERELLA

One of Prokofiev’s greatest strengths in his ballets is his really quirky instrumentation to represent characters or narrative. A great example is the use of the tuba and the lower end of the orchestra for the comic moments for the ugly sisters or stepmother on stage … or magical moments like Cinderella appearing at the ball, accompanied by violin harmonics, flutes and the bell-like celeste, all of which reflect this moment of naïve wonderment. SYMPHONY IN THREE MOVEMENTS

Stravinsky created this symphony of war in 1945, just as World War II was ending ... it’s full of evocative and quite violent imagery. It’s not light entertainment at all; it’s Balanchine getting right inside Stravinsky’s head and reflecting, through very powerful choreography, everything that the musical score represents.

It is very clean, clear, crisp neo-classic expression, definitely classical music of the 20th century but with real populist jazz and filmic feel. A truly great score and ballet.

THE SLEEPING BEAUTY

The Sleeping Beauty is recognised as being probably the greatest of all 19th-century ballet scores. Tchaikovsky uses every possible compositional device in creating powerful musical/dramatic storytelling: his genius permeates every single moment of the score.

The Rose Adage is a gem. Musically, Aurora is growing up in front of our ears and eyes: the music builds and builds and builds, becomes texturally more complex and dynamically louder, to a strong and emotionally compelling climax.

Join Nicolette Fraillon for a series of FREE Music Talks throughout the year. Full program announced in early 2015.

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“ Bodytorque is such an important event and crucial to nurturing the next wave of dance makers” HERALD SUN

This season of Bodytorque has been supported by the William Arthur Hugh Gordon Fund, managed by Perpetual

Get ready to see the future of ballet unfold. The Australian Ballet’s Bodytorque season continues to evolve in 2015 with unique “pop-up” performances after selected shows of The Dream and 20:21 in Melbourne and Sydney. For over a decade now, Bodytorque has showcased the best new talent in ballet. Artists of The Australian Ballet – from Tim Harbour (now our Resident Choreographer) to Alice Topp – have been given the opportunity to create world-premiere ballets on the company’s best up-and-coming dancers, often playing to sold-out houses. Bodytorque will be reimagined for the future, but in the meantime, select audiences will be treated to surprise pop-up performances. It’s Bodytorque … Up Late. More information to be revealed in early 2015.

SURPRISE PERFORMANCES THROUGHOUT 2015

BODY TORQUE UP LATE

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THANK YOU

THE AUSTRALIAN BALLETArtistic Director David McAllister AM

Executive Director Libby Christie

Music Director & Chief Conductor Nicolette Fraillon

CAMPAIGN CREDITS Campaign creative by The Australian Ballet

Hero photography art direction & production by Qube Konstrukt

Hero photography by Justin Ridler

Dancers styled by Kate Gaskin, wearing Ellery, Alex Perry, Aurelio Costarella, Collette Dinnigan, Akira Isogawa and pieces from The Australian Ballet’s costume archives

Flowers by Flowers Vasette

2015 film by The Apiary with music by Movement (Modular Recordings)

BROCHURE CREDITSFront cover Vivienne Wong

Page 02 Amber Scott

Page 03 Vivienne Wong

Page 04 Ako Kondo

Page 27 Adam Bull and Amber Scott

Page 29 Ako Kondo and Chengwu Guo

Page 31 Ako Kondo

Back cover Amber Scott

CONTACT USThe Australian Ballet Box Office Level 4, The Primrose Potter Australian Ballet Centre 2 Kavanagh Street Southbank Victoria 3006

Customer Services Team PO Box 838 South Melbourne Victoria 3205

1300 369 741

customerservices @australianballet.com.au

ABN 57 004 849 987

2015 season information australianballet.com.au/beauty

INSTAGRAM @ausballet

FACEBOOK theaustralianballet

YOUTUBE theaustralianballet

PINTEREST behindballet

BLOG behindballet.com

TWITTER @theausballet

WEBSITE australianballet.com.au

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The Australian Ballet is assisted by the Australian Government through the Australia Council, its arts funding and advisory body

The Australian Ballet is supported by the NSW Government through Arts NSW

The Australian Ballet is supported by the Victorian Government through Arts Victoria

The Australian Ballet presents a Year of Beauty - 2015 Season

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