Interview with Ksenia Ovsyanick

Between the end of the stunning Staatsballett Berlin season and her busy life as a mum, we were delighted to catch up with Principal dancer, Ksenia Ovsyanick.

A hugely important member of the Covent Garden Dance Company, Ksenia is returning to Hatch House for her tenth year and bringing with her an exciting and unique improvised performance that promises to delight this year’s audience.

British-Belorussian ballet dancer, Ksenia became known for her collaborations beyond the stage with art galleries, artists, fashion designers, musicians and filmmakers. She started her career at English National ballet, joining Staatsballett Berlin in 2016 and over the years performed on stages around the world and winning numerous prestigious dance awards.

Discover more about this year’s performances at Hatch House and how becoming a mother has shaped her dancing in our interview below.

How long you have been working with Covent Garden Dance Company?

I was part of the early performance by CGDC back in 2009/10. And I have been here on numerous occasions since. In fact, I believe I have performed almost at every show in the last 10 years!

Ksenia performing with Dinu Tamazlacaru at Hatch House 2023
Photo credit: Alice Pennefather

What has been your favourite moment whilst performing for CGDC?

I think the locations and performing in the open air are always a very special experience. And the meticulous conditions that Matt creates that enable us to deal with any weather allow to truly enioy performing in such unique settings. 

What are you looking forward to most this year?

This year I’m bringing as a partner, Principal Cellist of Deustche Oper, Arne-Christian Pelz. I think having live music for this evening will be a very special addition and I very much looking forward to bringing to Hatch audience our collaboration with AC.

What inspired you to create the new piece with Arne-Christian?

We have had chances to work with AC before and it inspired me to look for more opportunities for collaboration. Rather than just dancing to the music, communicating with the musician as a partner during the performance creates a very different experience. Instead of telling two parallel stories we create one together in the moment, and while we “speak” in different languages you have to breathe and feel together, and I believe it is palpable for the audience to feel and experience too.

Tell us about the piece of music you are using.

It is classically based but rearranged/recomposed by AC. You will be in for a treat!

What role would you most like to play that you are yet to debut?

Its a long list! There is a lot I still want to do and create.

How important are charities like the Dicky Buckle Fund and Covent Garden Dance Company for the future of dance? 

Dance is one of the least supported art forms, yet it so expressive and relatable. It transcends language bariers, it can portray things you cannot describe in words. It is wonderful to have funds such as Dicky Buckle supporting developments in dance. Sometimes the smallest crops can grow into the biggest harvest. 

Photo credit: Patricio Melo

You will be performing alongside some wonderful artists from all around the world this year, who are you most looking forward to watching perform?

It is always nice to meet new dancers as well as reconnect with those you know. Coming from different places, there is always something you can learn and get inspired from. This year there are quite a few new dancers I haven’t met before and I very much look forward to discovering their art.

How do you juggle your busy life as a ballerina and a mother? 

Its busy… Because I don’t want to sacrifice either time with my son nor the quality of my ballet performances. I guess what gets sacrificed is sleep…

How has being a mother changed you as a dancer? 

The work became very precise and focused, as you can’t afford to waste time. It is very enriching emotionally, giving me more emotions and feelings I can tap into as an actor. Also I had to completely relearn my body and how to use it in dance. As the result of such a process and all the additional training I did, I believe it made me a stronger dancer. 

Can you tell us something people don’t know about you?

I cannot ride a bike. But I can ride a horse. 

Don’t miss this unique opportunity to witness another Hatch House first.

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To enquire about offers, tables, menu and the programme, get in touch via email events@coventgardendance.com or phone: 01749 81 3313

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Interview with Calvin Richardson

Between performances as Oberon in the Royal Ballet’s Midsomer Night’s Dream, we caught up with newly promoted Principal, Calvin Richardson to find out how his new choreographic work, soon to premiere at Hatch House 2024, is progressing.

Photo credit: Andrej Uspenski.

From what inspires him, to how he balances choreography alongside his performances at the Royal Opera House, Calvin explains why he’s so excited to be choreographing on The Royal Ballet’s First Artists and Hatch House performers, Marco Masciari and Viola Pantuso.

Talk us through your journey with choreography

I’ve always choreographed from when I was at school in Melbourne, right through to Upper School at the Royal Ballet, when I became known for my Dying Swan choreography, which I made in my graduate year.

That took me around the world and from there, I have created solos and duets for galas and a piece here at the Royal Opera House’s Linbury Theatre. Then when the pandemic hit, lots of jobs fell through so it was a strange process. Once I came out of the pandemic, my dance career kicked off and I’m a Principal in the company now so the balance has really shifted.

Since my promotion, the focus has been on my dancing, so it’s really nice to have the opportunity to continue nurturing that side of my work as well.

Obviously Marco and Viola are emerging talent within the company. They are amazing artists and so to work with them has been a joyful experience; to be amazed by what they do.

What has been your favourite role since becoming Principal with the Royal Ballet?

Definitely Romeo, The Statement by Crystal Pite and then this year, I performed in Manon with Melissa Hamilton - that was amazing as well. You always have those dreams of like, these are the roles that I want to do. To actually start being able to tick those things off, I have to pinch myself a little bit at times, but it's been a great time.

Photo credit: Andrej Uspenski.

How do you balance your choreography with your dancing?

It’s a balance like everything. When you first start out you’re on stage a lot more, but maybe it’s not the same level of pressure, and then as you work your way up, you’re on stage less, but when you’re on, there’s a bit more pressure to deliver your performance and maintain a certain reputation. So it’s nice to find other things that aren’t always about you, about achieving and about success.

Tell us more about the piece you are choreographing for Hatch House 2024.

I’ve always wanted to create a piece to music by Colin Stetson; I’ve always been a fan. I was listening to his recent album, When We Were That What Wept For The Sea, and I found track The Lighthouse V, which is just beautiful, and I thought it would fit with a lot of images of the natural world. It’s composed by Colin, but it’s featuring Iarla Ó Lionáird who recites poetry throughout.

It’s just a beautiful piece and it’s got a lot of images of the natural world. The Lighthouse evokes images of a journey and when I was doing research on the album that he composed, I discovered that Colin’s father had passed away quite suddenly, so the album was created in a very short space of time and in light of that event.

It’s a bit more of a sombre subject matter, which I didn’t intentionally choose for Hatch, but I just knew that the music spoke to me in a way that would suit the location of the event.

Even just to watch the performance as a whole, in that location is going to be quite the spectacle, and I just thought that it would pair really well with the music’s images of the natural world really nicely.

How does your new piece evoke the natural world?

I want to evoke abstractions of nature in all of its different colours and textures. It highlights the beauty and brutality of our environment, which reflects our own human experiences on this voyage here together.

The dancers in some moments depict waves pushing and pulling and at other times evoke a human, emotional landscape between them. I thought it would be interesting to blur these lines that we enforce in our collective consciousness. The piece seeks to represent this sensed awareness of reality. One where things are not separate but unified by relationship.

What inspired you to create this piece?

Nature has been my inspiration for the movement. The images I’ve been working with are water, life and death journeys and light.

Photo credit: Andrej Uspenski.

My Grandma passed away recently and at the time when I found the music, I was going through that and I think it just spoke to me. It’s not that I am presenting that subject matter as the piece, but I think when I am creating there are always little signs to me and I just follow that even if it’s not directly a presentation of my thoughts or what I am experiencing. But it has been really nice to create movement from a genuine place; I try to maintain authenticity in what I am doing, even if it is not universally the most beautiful.

How much have Viola and Marco influenced the piece?

Marco and Viola are very natural artists and naturally emotive performers in how they use their bodies, so that’s already inherent in what we’re creating, just by being in the studio together. That has been a huge help.

Photo credit: @dancersdiary

Choreography for me has always been a bit of a spontaneous connection that you have with the people in the room. It’s inherent in the work. I always want it to be genuine and authentic in the studio when we’re creating, so I am always working against the idea that I am the choreographer and it’s me trying to tell the dancers what to do and making nice shapes. Obviously sometimes you shift in different roles, but I try to create a space where people can bring their own creativity and have fun with it.

Given the nature of what we do every day, there is always repetition and you are always under the public eye and you’re used to fixing everything to the last detail, so I try to move away from those temptations and sort of move in a felt experience.

Calvin, Viola and Marco in rehearsal at the Royal Opera House.

Why did you want to work with the Covent Garden Company?

I’m really supportive of Matt’s ambition to create a venue to give these sorts of opportunities to people to create new work, especially after the pandemic. I’m really grateful.

To enquire about offers, tables, menu and the programme, get in touch via email events@coventgardendance.com or phone: 01749 81 3313

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It’s our 15th anniversary at Hatch House…

Mara Galeazzi & Gabriele Corrado - Macmillan’s Balcony pas de deux, Romeo & Juliet at Hatch House in 2019.

15 years ago, a quick conversation took place in the 17th Century walled Dutch garden at Hatch House. It was between The Covent Garden Dance Company director Matt Brady and the owner of the gardens, Lady Holly Rumbold.  The latter was being asked if she would mind if the former put a ballet on in her garden.   The response was an emphatic:

‘Oh my gawd yes!’.  

Three months later, the first show was presented to a bijou audience of 120 guests who had been rapidly contacted to try to ensure that the eccentric idea of presenting a ballet in a garden could be realised before the summer passed.

15 years on, Ballet Under The Stars has gone from strength to strength. The walled garden Harlequin Stage has played host to the biggest names in ballet and dance such as Carlos Acosta, Lauren Cuthbertson, Vadim Muntagirov, Valentine Colasante, Myriam Oud Brahm, Mara Galeazzi and too many more to mention in this single blog.

Lauren Cuthbertson & Matthew Golding - Christopher Wheeldon’s, After the Rain:
Hatch House 2018.
Photo credit - Alice Pennefather

For those of you who have not been, the 430 seat dinner theatre is created within the two tiered walled garden to form the dinner theatre. The walled garden is completely covered with a giant bespoke roof for the run of the 4 shows.  Guests arrive generally around 5:30pm to enjoy a drink from the newly created Café Folle Speak Easy cocktail bar and a walk in the sunshine around the gardens.  At 7pm everyone is seated at tables with their party to enjoy their first course of gourmet dining ahead of the first half hour section of performance.  Each half hour of performance takes place after each course of dining.  Each performance section has four short works within it with each work lasting around 5-8 mins.

This year, to celebrate the 15-year milestone, the company has in a way in part returned to their beginnings by inviting the stars of the future to perform alongside some of the more established names.  This year we will be treated to performances by Royal Ballet rising super stars Viola Pantuso and Marco Masciari and they will be joined by newly appointed Birmingham Royal Ballet Principal Beatrice Palma and Max Maslan. 

Viola Pantuso & Marco Masciari
Photo credit: @dancersdiary

The cast list does not end there; with performances by internationally renowned names such as Xander Parish and Ksenia Ovsyanick - who will be accompanied by Virtuoso Cellist Arne Christian Pelz - Hatch House 2024 makes this 15 year celebration a must see. The programme includes works from the greatest choreographers from around the world: Balanchine, Ashton, Petipa and many more.

Ksenia Ovsyanick & Timothy Dutson, Hatch House, 2022. Photo credit: Alice Pennefather

Hatch House 2024 is a feast for the senses for anyone and everyone, especially if you have never been to see ballet or dance.  The combination of the performance and three course dining, in the deeply romantic walled garden is truly something unique and brilliant.  If you can get a ticket….GET A TICKET!

Performance dates are: 25th/26th/27th/28th of July 2024

To enquire about offers, tables, menu and the programme, get in touch via email events@coventgardendance.com or phone: 01749 81 3313

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Interview with James Bamford

Thanks to the Dicky Buckle Fund, James is currently creating a new work for Hatch House 2024. A truly collaborative and transdisciplinary piece, combining music, dance, art and projection, we are incredibly excited to premiere this unique work.

James is a producer, creative, teacher and performer with a passion for freedom of expression and storytelling through dance. In 2018, at the age of 14, James founded arts organisation Project Dance, a vessel he would use to facilitate opportunities for anyone to be able to engage with dance. Six years on, the company now produces original, full length narrative works which tour nationally, alongside the provision of an array of social engagement activities, reflecting the organisation’s commitment to its founding values.

Photo credit: Grace Noelle.

Can you tell me three things people don’t know about you.

I was a footballer for a very long time before I went into ballet. I like Krispy Kremes and I have hayfever!

Can you please tell me how long you have been working with Covent Garden Dance Company?

I first worked with the Covent Garden Dance Company just over a year ago when there was a Dicky Buckle (DBHF) fundraising performance and I presented a new piece especially for that. It was at that point that I found out that fundraising had been secured for me to create a new work for their main event in the summer this year.

Photo credit: Studio H Photography

What has the DBHF grant meant to you?

The Dicky Buckle Fund is really exciting. It’s really empowering and it’s really inspiring. I’ve been able to meet the trustees behind the charity and witness their passion for the arts, for continuing Dicky Buckle’s legacy and supporting the creation of new works. I think in the current climate, where the arts’ sector currently stands, that cannot be underestimated. Its value is incomparable and that is something that I am really excited to foster and champion through this new work.

“I have really enjoyed being able to speak on behalf of this charity and to fly the flag and beat the drum for what they are trying to do. I think it is really exciting.”

What are you looking forward to most about your piece premiering at Hatch House?

I am really excited to premiere something different at Hatch House; a work that I think will stand out for its uniqueness amongst such an exciting bill of works.

I am really excited to present two dancers who are right at the beginning of their professional journey, but are so exquisite at what they do and I feel very, very fortunate to be able to work with them.

“Any opportunity that I have to work with brilliant dancers, I take as an absolute privilege.”

Photo credit: Len Copeland

What inspired you to create this piece?

As the Director of an arts organisation called Project Dance and with the company, I have taken works across England. My favourite thing is narrative dance theatre and we toured with Growing Pains last year and this year we are making a new show called All That Matters.

“This is what makes me most passionate, it’s telling stories which people can connect to.”

How did this new piece come to life?

I first met Matt Brady (Director of Covent Garden Dance Company) when he came to watch my production of Growing Pains where there was an element of transdisciplinary arts engagement between the dancers and projection and art; the three unique disciplines working together to create a spectacle and that was when this concept was first conceived. We’ve taken inspiration from that and expanded it in a really holistic and thorough way, and that was how this new piece came to life.

The possibility of various creative mediums: dance, music, animation, costume, art, uniting together to enrich a single creative output entrances me, and the work presented today is a manifestation of such. Exploring this multitude of outlets has catalysed new opportunities for collaboration, for which have all been joyous and I am immensely grateful for.

“The dancers; young, ambitious, kind, have been magnificent to work with - that’s all I can ever ask for.”

Andrew Parfitt, James Bamford & Grace Noelle in rehearsal.

When you’re watching this piece, how does it make you feel, and what do you hope the audience feels?

I feel very inspired by the work of the dancers and how they are connecting with one another and the intimacy that they are portraying. I am also inspired by the true charisma that they share for one another, the space that they are working in, and the art that they are making.

It is truly exciting to be able to work with the dancers, because there is something very real and very honest and very authentic about them both. It is coming from a very true and organic place and I think that it is very fulfilling to work with as a choreographer, but you can also feel it permeate as an audience member.

Tell us about who will be dancing your new work and why you chose them.

Grace Noelle is a classically trained ballet dancer, originally from California. She trained with Bolshoi Prima Ballerina Alla Khanashvilli and Vera Ninkovic. She has danced principal roles such as Sugarplum Fairy (The Nutcracker), Aurora (Sleeping Beauty), and Mercedes (Don Quixote) with Palos Verdes Performing Arts. She has been a company dancer with Project Dance for over a year and will be the associate producer and rehearsal director in the company’s upcoming show, All That Matters.

Andrew Parfitt is an 18 year old dancer from Hertfordshire and is currently training at London Studio Centre. He previously trained at Italia Conti Junior School, Kreative Dance Academy and MEPA Academy and was an associate at The Royal Ballet School. Andrew is currently a member of 2 companies: Project Dance and the Dane Bates Collective and previously, Sol Dans Youth.

Andrew’s professional credits include the Wicked movie, London Fashion Week, Britain’s Got Talent, ‘Kam’ in Project Dance’s‘ Growing Pains and other corporate jobs.

Watch Andrew dance

Tell us about the piece of music you are using

We are using a brand new piece of music that I have been able to commission thanks to the Dicky Buckle Fund. It is by a fantastic composer called Benjamin Kahn and he has created a really sensitive, thoughtful piece using piano and cello; it will compliment the dancing in a really sensitive way.

I’ve known Ben for a really long time and I’m really excited that finally, I am able to work with him in this way.

How important are charities like the Dicky Buckle Fund for the future of dance?

The future of dance is dependant on charities like the Dicky Buckle Fund. The amount of surplus money that exists currently solely for the creation of art is so minimal. Public funding is in a precarious position at the moment, so having funds like the Dicky Buckle Fund which are able to create and be the catalyst for new work without the process of going through public funding routes, not only does it preserve the creation of new work, but it also makes artists feel like their work is valued and that it is wanted, necessary and valued.

Many children will be coming to watch the premiere of your piece at the rehearsal on the 24th July - you do so much to support the future generations of dance already, what will it mean to you to watch them watching your new work?

One of the massive things that I enjoy working with Project Dance is how we are able to engage with the communities that we work in, so I am really excited that the dress rehearsal is opened up to so many children in the local area so that they can get their first taste of what ballet actually looks and feels like.

Photo credit: Meg Sayer

“It is such a special thing. I feel very proud that I can contribute a work that will be part of that and it resonates really deeply with the values of Project Dance.”

Don’t miss out on James’ exciting new collaborative work.

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Interview with Beatrice & Max

Ahead of an exciting international tour and fresh from her promotion to Principal in March, we caught up with Birmingham Royal Ballet partners, Beatrice Parma and Principal, Max Maslen.

Beatrice & Max dancing Hobson’s Choice by David Bintley.
Photo credit: Bill Cooper.

Italian born, Beatrice Parma is a Principal dancer with Birmingham Royal Ballet (BRB). Originally from Livorno, Italy, she trained at Accadamia Teatro alla Scala and English National Ballet School. Upon graduating, Beatrice worked for three years in Turkey in a company in Mersin, before joining the Birmingham Royal Ballet.

Her partner in life and on the stage, Max Maslen, Principal of BRB, was born in Bradford where he trained locally until the age of 16, before moving to London to train full time at Central School of Ballet.

Can you tell us three things people don’t know about you?

“I am a hobbyist DJ, I play guitar in a band and I can’t sing!”
Max

“I’m the happiest by the sea, I love watching Formula 1, I can’t go to bed without fluffing the sofa’s cushions.”
Beatrice

What has been your favourite role that you have danced? 

“Juliet is without a doubt my favourite role that I’ve performed so far. I love how in MacMillan’s Romeo and Juliet the choreography meets the music perfectly. Performing this role is always so special as you can bring so much individuality to it.”

Beatrice

“My favourite role I have performed would have to be Mercutio in Romeo and Juliet. The sword fighting, the drama and fun make each show unique!”

Max

What role would you most like to dance that you are yet to debut?

“A dream role of mine has always been Marguerite in the Lady of the Camellias by John Neumeier. I remember watching it at the Teatro alla Scala when I was younger and completely falling in love with the role. The choreography is absolutely stunning and I would love the challenge of performing such a complex and dramatic role.”
Beatrice

“The role I would love to perform is Sergeant Francis Troy in David Bintley’s Far from the Madding Crowd. Some of the pas de deux are extremely challenging and I’d love to have a chance to dig deep into the character.”
Max

What has been the highlight of your year with BRB?

Carlos Acosta promoting Beatrice to Principal
Photo credit: Birmingham Royal Ballet

“My highlight of the season has to be watching my girlfriend get promoted to Principal dancer on stage after her performance of Aurora in Sleeping Beauty. It’s a special moment for anyone and even more so knowing all the hard work and dedication that she put in.”
Max

“Getting promoted to principal was not only the most special moment of this season with BRB, but of my career. Carlos walking on stage and announcing the promotion after my Aurora show is a moment I will forever cherish. I never expected to get to the top so I’m so grateful and honoured to start next season as a Principal dancer of the company.”
Beatrice

What are you looking forward to most about dancing at Hatch House with the Covent Garden Dance Company this year?

“Galas are always a great opportunity to meet new people and dancers. I’m looking forward to dancing in such a beautiful location and get inspired by all the other dancers performing there.”
Beatrice

“I’m looking forward to being able to meet other artists from around the world and to try and learn and take inspiration from them.”
Max

Beatrice Parma - Nutcracker
Photo credit: Bill Cooper

What will you be dancing?

“We will be performing Sir Frederick Ashton’s wedding pas de deux from La Fille Mal Gardée and another Ashton iconic pas de deux - Rhapsody.”
Beatrice

What inspired you to dance these pieces?

“We chose these pieces as we’ve performed them before, got to grips with the way they move and flow, and now can push them to go further.”
Max

“We are about to perform La Fille Mal Gardée with BRB next season so we thought it would also be a nice addition to the evening as it’s just a beautiful pas de deux.”
Beatrice

When you’re dancing these pieces together how does it make you feel?

“Being together in life, it’s always nice to share moments not only off stages, but on as well. It adds onto memories we’ve built together.”
Beatrice

“We’ve always enjoyed performing together! it’s usually only outside of the company that we get to choose what repertoire we dance together as well!”
Max

Beatrice in Juliano Nunes’ Interlinked
Photo credit: Tristan Kenton

You will be performing alongside some wonderful artists from all around the world this year, who are you most looking forward to watching perform?

“I’m excited to watch everyone perform, there’s always things you can learn from different dancers and get inspired in a different ways”
Beatrice

“I wouldn’t want to say individually who I’m looking forward to see perform, but more the collective and how each artist will bring something completely different to the evenings.”
Max

What do you like most about performing for events such as this?

“I’d say the most special thing about Galas like this one, is how dancers from all over the world come together for a few days sharing what we love.”
Beatrice

Want to watch Beatrice and Max performing as part of this world class line up of artists?

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