Below you will find links for our Patrons page pertaining to;
Dame Lucette Aldous A.C
Former Principal Dancer, The Royal Ballet & The Australian Ballet
New Zealand-born Lucette Aldous trained in Brisbane and Sydney before entering the Royal Ballet School in 1955 on a Royal Academy of Dancing scholarship. In 1957 she began her professional career with Ballet Rambert. Following her time with Rambert she danced with London Festival Ballet and then with the Royal Ballet. During her time in England she danced the lead in many of the traditional classics, such as Giselle, Coppelia and La Sylphide, and appeared in many contemporary ballets including Antony Tudor’s Lilac Garden.
She first worked with Rudolf Nureyev during her time at the Royal Ballet, partnering him in Nutcracker during a European tour. On her return to Australia in 1970 Aldous made her debut with the Australian Ballet as a guest artist, and the following year, 1971, was appointed a resident principal dancer. Her partnership with Nureyev developed at this time when Nureyev asked her to partner him in his production of Don Quixote for the Australian Ballet, which premiered in Adelaide on 28 March 1970. The role of Kitri particularly suited the vivacious, effervescent and technically accomplished Aldous and in 1973 she repeated her stage success as Kitri and as Nureyev’s partner when the Australian Ballet filmed the Nureyev production of Don Quixote.
Another milestone in her career occurred in 1975 when Ronald Hynd created the role of Valencienne on her in his production of The Merry Widow for the Australian Ballet. During the 1970s Aldous continued to guest with companies in England, America and Europe and had a featured role with Fernando Bujones in the film The Turning Point.
After retiring from full-time performing in the mid 1970s Aldous taught at the Australian Ballet School and then in 1982 joined the faculty of the West Australian Academy of Performing Arts (WAAPA), Edith Cowan University, Perth. She and husband Alan Alder also spent a number of months in St Petersburg studying the teaching methods and philosophy behind the Vaganova system of training as espoused by the Kirov ballet school.
Aldous has also been an advocate of Boris Kniaseff’s floor barre as a system of training. Now retired from full-time work at WAAPA, Aldous continues to live in Perth and to coach, adjudicate and teach. She received the award for services to dance at the 2001 Australian Dance Awards and in 2009 was honoured with the award for lifetime achievement. Lucette received an Honorary Doctorate of Letters from Edith Cowan University in 1999, and in 2008 she was made a Dame of the Sovereign Order of Saint John of Jerusalem.
Lucette Aldous was recently made a Companion of the Order of Australia, the highest merit in the Australia Day Honours List. From henceforth she’s gained the distinction “AC” to accompany her name.
Lucette Aldous AC is a legend in the Australian dance community, inspiring everyone as she continues working into her 80th year, having now instructed young dancers in Perth’s ballet schools for quite some time after retiring from an impressive career on stage. Her award is for “eminent service to the performing arts, particularly to ballet, as a principal artist at the national and international level, to dance education, and as a mentor and role model for young performers”. This award arrives about 10 years after she was recognised at The Australian Dance Awards with a Lifetime Achievement Award at age 70. She is thrilled to receive her AC designation.
Principal Dancer, San Francisco Ballet
BORN: Juiz de Fora, Brazil
TRAINING: The Royal Ballet School
Joined the San Francisco Ballet Company as a principal dancer in 2009
Vitor Luiz has danced major roles in Tomasson’s Giselle (Albrecht), Nutcracker(King of the Snow and Grand Pas de Deux Prince), Romeo & Juliet (Mercutio), The Sleeping Beauty (Prince Desiré), and Swan Lake (Prince Siegfried); Tomasson/Possokhov’s Don Quixote (Basilio); Balanchine’s Coppélia (Franz); Cranko’s Onegin (Onegin); Scarlett’s Frankenstein (The Creature); Balanchine’s Prodigal Son; and Makarova’s (after Petipa) “The Kingdom of the Shades” from La Bayadère, Act II (Solor). He created roles in Tomasson’s Trio; Caniparoli’s Tears; Liang’s The Infinite Ocean and Symphonic Dances; Lopez Ochoa’s Guernica; Possokhov’s “Adagio” from Carmen, Swimmer, and Talk to Her (hable con ella); Wheeldon’s Number Nine; and Zanella’s Underskin.
His repertory includes principal roles in Ashton’s Symphonic Variations; Balanchine’s Divertimento No. 15, Serenade, Pas de Deux from Stars and Stripes, Symphony in C, and Theme and Variations; Bubeníček’s Gentle Memories; Caniparoli’s Ibsen’s House and No Other; Lifar’s Suite en Blanc; MacMillan’s Winter Dreams; Millepied’s The Chairman Dances—Quartet for Two; Nureyev’s Raymonda—Act III; Petipa’s Le Corsaire Pas de Deux; Possokhov’s Classical Symphony, RAkU, and The Rite of Spring; Ratmansky’s Russian Seasons, Seven Sonatas, and Shostakovich Trilogy; Robbins’ Dances at a Gathering; Scarlett’s Fearful Symmetries and Hummingbird; Thatcher’s Otherness; Tomasson’s 7 for Eight, Concerto Grosso, The Fifth Season, Haffner Symphony, On a Theme of Paganini, and Prism; and Wheeldon’s Within the Golden Hour. He danced a featured corps role in King’s The Collective Agreement.
Vitor was nominated for an Isadora Duncan Dance Award for Best Ensemble Performance in Possokhov’s Classical Symphony during the 2010 Repertory Season.
Former Principal Dancer, The Australia Ballet
Brisbane-born Daniel Gaudiello strapped on his first pair of dancing shoes at the age of six at the Johnny Young Talent School, then at Promenade Dance Academy. Later he completed the Queensland Dance School of Excellence and Queensland Ballet professional year before being accepted into The Australian Ballet School, where he participated as an exchange student with The National Ballet School of Canada and the School of American Ballet.
Daniel joined The Australian Ballet in 2004 and in early 2007 participated in classes with some of the world’s finest ballet companies in London, Amsterdam, Munich and Paris. Daniel made his choreographic debut with a piece called Notte in Bianco for ‘Bodytorque. To the Pointe’ in 2009 and was promoted to principal artist in 2010.
Daniel’s repertoire highlights include;
- Franz in Coppélia 2010,
- Basilio in Don Quixote 2010,
- Lescaut in Kenneth MacMillan’s Manon 2008,
- Christopher Wheeldon’s Continuum© 2004,
- Petrouchka in Petrouchka 2009.
Daniel’s guest appearances include;
- English National Ballet in Le Spectre de la rose,
- London and Barcelona 2009 Awards,
- Australian Dance Award nomination for Dyad 1929 2010,
- Green Room Award nomination for Petrouchka 2010,
- Helpmann Award nomination for Graeme Murphy’s The Silver Rose 2010
- Telstra Ballet Dancer Award Winner 2007,
- Freda Irving Scholarship 2006,
- BJ Sutton Scholarship.
He won the Telstra Ballet Dancer Award for 2007 and was guest artist with the English National Ballet for performances ofLe Spectre de la rose in London and Barcelona, 2009.
Since leaving The Australian Ballet, Gaudiello has performed as guest artist with the Royal New Zealand Ballet, dancing Count Albrecht in Giselle in 2016 and Don José in Carmen in 2017.
- Des Grieux and Lescaut in Kenneth MacMillan‘s Manon, 2014 and 2008
- Petrouchka in Petrouchka, 2009
- Franz in Coppélia, 2010
- Basilio in Don Quixote, 2010
- Camille in Ronald Hynd‘s The Merry Widow, 2011
- Romeo and Mercutio in Graeme Murphy‘s Romeo and Juliet, 2011
- Red Knight in Ninette de Valois‘ Checkmate, 2011
- Lensky in John Cranko‘s Onegin, 2012
- Albrecht in Giselle, Queensland Ballet, 2013
- The Prince in Alexei Ratmansky‘s Cinderella, 2013
- Prince Désiré in David McAllister‘s Sleeping Beauty, 2015
- Tristan and Isolde for Bodytorque.Muses, 2011
- South of Eden for Bodytorque.a la Mode, 2010
- Australian Dance Awards, Outstanding Performance by a Male Dancer, 2011 for Franz in Coppelia
- Telstra Ballet Dancer Award, 2007