Karen Kain to Retire as Artistic Director of The National Ballet of Canada in 20 janvier2021
To Be Named Artistic Director Emeritus
25 octobre 2019... The Board of Directors of The National Ballet of Canada today announced that Karen Kain will retire as Artistic Director in 20 janvier21 and will be named Artistic Director Emeritus.
“Karen Kain is an extraordinary artist and an extraordinary leader,” said Cornell C.V. Wright, Board Chair of The National Ballet of Canada. “This great organization has been so fortunate to benefit from her brilliance for the past 50 years. When Karen agreed to take on the role of Artistic Director, she identified three distinct goals: to return the company to the international stage, to attract the world’s greatest choreographers and dancers and to cultivate Canadian talent. To say she achieved these goals is an understatement. Karen surpassed expectations of all three. The National Ballet is now in demand around the world, receiving accolades from audiences and critics in Moscow, New York and Paris to name just a few. The world’s greatest choreographers including Crystal Pite, Christopher Wheeldon, Wayne McGregor and Alexei Ratmansky have created or set work on the company. Canadian choreographic talent has been fostered through exciting programmes she initiated. Karen continues to inspire excellence in all who have the privilege to work with her. While her visionary leadership will be greatly missed by all of us when she steps down as Artistic Director in 20 janvier21, I am so pleased and grateful she has agreed to continue her connection with the company as Artistic Director Emeritus.”
Ms. Kain is one of Canada’s most renowned and committed arts leaders. She is the longest serving Artistic Director of the National Ballet since Founder Celia Franca and has led the organization with great success. She has had an invaluable impact, as both an artist and a leader, on the National Ballet as well as the arts in Canada and around the globe. One of the greatest classical dancers of her generation, she joined The National Ballet of Canada in 1969 and went on to a distinguished career that included international guest performances with such companies as Paris Opéra Ballet, Roland Petit’s Le Ballet de Marseille, The Bolshoi Ballet, London Festival Ballet and The Hamburg Ballet. During her career she developed a close creative partnership with Rudolf Nureyev and often performed with him. Ms. Kain retired from dancing following a cross-Canada farewell tour in 1997 and took up the position of Artist-in-Residence, a role later expanded to Artistic Associate. She was appointed Artistic Director in 2005. Under her tenure, the National Ballet embarked on 23 international tours, commissioned, co-commissioned and co-produced 24 new works from international and Canadian choreographers, received worldwide acclaim for the calibre of dancing and achieved financial success with 10 years of operating surpluses and the completion of the $104 million Soaring Campaign, the largest fundraising campaign in the history of the National Ballet. Ms. Kain also launched CreativAction, a new initiative to support Canadian choreographers and the dance community and appointed three Choreographic Associates. Ms. Kain’s commitment to education and community engagement saw over 5,9 million children and their families enjoy free programming during her time as Artistic Director.
“I am so proud of The National Ballet of Canada and feel so fortunate to have had this wonderful company as my artistic home for 50 years. The role of Artistic Director is the most challenging, and the most rewarding, of my career,” said Ms. Kain. “The goals I set when I assumed this position required a huge commitment from our dancers, staff, board and donor community. The unwavering support I received allowed my dreams to become a reality and I am so grateful. A new generation of National Ballet dancers have taken international stages by storm and thrilled even the most discerning ballet audiences. The world’s most in demand choreographers have come to our studios to work with our artists and shared exciting new work with our audiences. We have fostered Canadian talent through CreativAction, the appointment of Choreographic Associates and Innovation, our all-Canadian programmes. I look forward to celebrating my 50th anniversary during the 2019/20 season and unveiling programming for 2020/21 in February. Being Artistic Director of this organization has been the greatest honour of my life. When I step down in 20 janvier21, I know I leave a financially stable company with the very best dancers in the world, one of the most diverse and coveted repertoires and an international reputation for the highest level of excellence.”
Executive Director Barry Hughson has partnered with Ms. Kain in achieving her vision since joining the company in 2014. “Karen Kain has been an extraordinary partner, collaborator and has become a dear friend. She has impeccable taste, a keen eye for talent and a deep and abiding passion for this country, company and artform. As a Canadian cultural icon, she is also remarkably humble, kind, and generous. When she steps down in January of 2021, we will have worked together for seven years and they have been some of the most exciting, satisfying and meaningful in my career because of her. It should also be noted that, while her tenure as Artistic Director has established The National Ballet of Canada as one of the world’s best ballet companies, her legacy will also include leaving the company in the strongest financial condition in its history. This has been driven by her vision, understanding of the financial implications of every artistic decision and the trust she has engendered among the generous donors who have fuelled her dreams. I look forward to sharing many more highlights with Karen throughout 2020 and I’m thrilled that she will be named Artistic Director Emeritus, staying close to the company that she has led as a world-class ballerina and Artistic Director over half a century,” said Mr. Hughson.
Au cours de sa carrière, Mme Kain a reçu de nombreux prix canadiens et internationaux soulignant aussi bien ses réalisations artistiques que les actions qu’elle a entreprises pour la promotion des arts. Elle est Compagnon de l’Ordre du Canada et récipiendaire de l’Ordre de l’Ontario, première lauréate canadienne du prix Cartier Lifetime Achievement Award et le gouvernement français lui a remis les insignes d’Officier de l’ordre des Arts et des Lettres. Le Gouverneur général lui a remis le prix du Centre national des Arts en 1997 et un prix pour l’ensemble de sa carrière en 2002. From 2004 to 2008, she was Chair of the Canada Council for the Arts and was presented with the Barbara Hamilton Memorial Award in 2007 for demonstrating excellence and professionalism in the performing arts. La Karen Kain School for the Arts a officiellement ouvert ses portes en 2008, un hommage aux contributions continues de Mme Kain à la vie culturelle canadienne. En 2011, Mme Kain a reçu le Distinguished Artist Award de l’International Society for the Performing Arts. In 2019, Ms. Kain was the first Canadian to be honoured with the prestigious Queen Elizabeth II Coronation Award, the highest honour given by the Royal Academy of Dance.
Ms. Kain commissioned and acquired an astonishing total of 65 works for the company, including such memorable full-length productions as Romeo and Juliet by Alexei Ratmansky, Nijinsky, The Seagull and A Streetcar Named Desire by John Neumeier, Alice’s Adventures in Wonderland and The Winter’s Tale by Christopher Wheeldon, Frame by Frame by Robert Lepage and Guillaume Côté, Le Petit Prince also by Mr. Côté, Hamlet by Kevin O’Day, Pinocchio by Will Tuckett and she will be directing and staging a new Swan Lake in 20 juin20.
The one-act ballets that Ms. Kain commissioned or acquired for the company include Emergence by Crystal Pite, Chroma and Genus by Wayne McGregor, Petite Mort by Jiří Kylián, The Man in Black by James Kudelka, The Vertiginous Thrill of Exactitude and Approximate Sonata 2016 by William Forsythe, Watch her by Aszure Barton and The Dreamers Ever Leave You by Robert Binet.
Ms. Kain has led the National Ballet on 23 international tours and 29 Canadian tours. She most recently took the company on the first-ever tour to Moscow and St. Petersburg where the National Ballet was embraced by audiences and critics alike. She also toured the company to Paris for their first appearance in 45 years as well as such dance centres as London, Hamburg, New York City, San Francisco, Washington, D.C. and Los Angeles. Under Ms. Kain, the company also returned to Québec City after a 20-year absence and Montréal after a 7-year absence. The National Ballet also made annual appearances at the National Arts Centre in Ottawa as well as embarked on 4 tours to Western Canada with performances in Saskatoon, Calgary, Edmonton, Victoria, Nanaimo and Vancouver.
The National Ballet of Canada was formed in 1951 and has had the following Artistic Directors:
Celia Franca (Founder), 1951 – 1974
David Haber, 1974 – 1975
Celia Franca, 1975 – 1976
Alexander Grant, 1976 – 1983
Erik Bruhn, 1983 – 1986
Valerie Wilder and Lynn Wallis, 1986 – 1989
Reid Anderson, 1989 – 1996
James Kudelka, 1996 – 2005
Karen Kain, 2005 – 2020
Quotes About Karen Kain:
“Under the enlightened and demanding direction of Karen Kain, former great international ballet star, the company has earned its place at the highest level, enriching its repertory considerably by collaborating with the greatest choreographers of our time.” Danses Avec La Plume, Paris
“New work. Life blood. Thought for the future. Cheers and more cheers for Karen Kain and her company.” Financial Times, London, UK
“Under the reign of Karen Kain, The National Ballet of Canada has flowered into one of the most thrilling companies in the world.” Toronto Life
“Company of the Year: The National Ballet of Canada. How smart is artistic director Karen Kain? Delivering two original superhits by red-hot choreographers – Christopher Wheeldon’s Alice’s Adventures in Wonderland and Alexei Ratmansky’s Romeo and Juliet – in the same calendar year was an incredible feat. Not only were both shows box-office champions; they have opened the door to international touring. Now the National, ballet’s best-kept secret, will get the worldwide profile it deserves.” The Globe and Mail
"Kain has reinvigorated the company by hiring some superb dancers and courting the world's top choreographers. She is also assembling one of the most diverse repertoires in the company's history." Maclean’s Magazine
The Board of Directors has established a Search Committee to conduct an international search for Ms. Kain’s successor.
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BMO Financial Group presents the 2019/20 season.
Lead philanthropic support for Orpheus Alive is provided by The Producers’ Circle.
Support for the World Premiere by Crystal Pite is generously provided by Rosamond Ivey, The Producers’ Circle, The Volunteer Committee of The National Ballet of Canada and The Gail Hutchison Fund.
Tricon Capital Group presents Swan Lake.
Lead philanthropic support for Swan Lake is provided by The Walter Carsen New Creations Fund, with generous underwriting from Richard M. Ivey, C.C., an anonymous friend of the National Ballet, The Catherine and Maxwell Meighen Foundation, Gail Drummond & Bob Dorrance, Nancy Pencer, Sandra Pitblado & Jim Pitblado, C.M., Gretchen Ross & Donald Ross, O.C., Anne-Marie Canning, Tim & Frances Price, Kevin Garland & Roger Garland, C.M. and Aaron & Heather Regent. Appui supplémentaire fourni par The Producers’ Circle.
Le Cercle des producteurs : Gail & Mark Appel, John & Claudine Bailey, Inger Bartlett & Marshal Stearns, Laura Dinner & Richard Rooney, Gail Drummond & Bob Dorrance, The Thor E. and Nicole Eaton Family Charitable Foundation, Sandra Faire & Ivan Fecan, Kevin & Roger Garland, C.M., Ira Gluskin & Maxine Granovsky Gluskin, The William & Nona Heaslip Foundation, Anna McCowan-Johnson & Donald K. Johnson, O.C., Judy Korthals & Peter Irwin, Mona & Harvey Levenstein, Jerry & Joan Lozinski, The Honourable Margaret Norrie McCain, C.C., Julie Medland, Sandra Pitblado & Jim Pitblado, C.M., Lynda & Jonas Prince, Susan Scace & Arthur Scace, C.M., Q.C., The Harry & Lillian Seymour Family Foundation, Gerald Sheff & Shanitha Kachan and The Jack Weinbaum Family Foundation.
The National Ballet also acknowledges support for Swan Lake provided by Judi Conacher, Sherry and Edward Drew and Julie Medland.
Guillaume Côté est parrainé par Emmanuelle Gattuso, C.M. et Allan Slaight C.M. par l’entremise de Dancers First.
The National Ballet of Canada’s CreativAction programme is made possible by the generous support of Robyn McCallum & Stephen Delaney.
The National Ballet of Canada’s Education and Community Engagement programmes are generously supported by the Anna McCowan-Johnson Dance Accessibility Fund at The National Ballet of Canada, Endowment Foundation.
The company’s Canadian tours are made possible with the generous support of The John and Margaret Bahen Fund of The National Ballet of Canada, Endowment Foundation.
The National Ballet of Canada gratefully acknowledges the ongoing support of the Canada Council for the Arts; the Ontario Arts Council; the City of Toronto through the Economic Development & Culture Department; the Government of Canada – Department of Canadian Heritage, through the Honourable Pablo Rodriguez, Minister of Canadian Heritage and Multiculturalism; and the Government of Ontario through The Honourable Lisa MacLeod, Minister of Tourism, Culture and Sport.