Kota Sato

Seconde soliste

Kota Sato

Kota Sato. Photo par Karolina Kuras. 

En bref

Lieu de naissance : Tokyo, au Japon
Formation : École de ballet Shimura au Japon et École nationale de ballet du Canada
Au BNC depuis : 2012
Second soliste depuis : 2019

Kota Sato is sponsored through Dancers First by Tony Arrell, C.M. & Anne Arrell.

 

Cinq choses à savoir

  1. 1Kota has loved acting since he was a child and relishes the opportunity to perform dramatic roles. In 2018, he performed the emotional role of Levin in John Neumeier’s Anna Karenina.
     
  2. 2Born in Tokyo, Kota moved to Toronto at the age of 15 to attend Canada’s National Ballet School. He joined the company as an RBC Apprentice in 2012.
     
  3. 3In 2020, he returned to Japan to perform the famous Grand Pas Classique with Shimura Ballet, where he received his early dance training.
  4.  
  5. 4He dances featured roles such as The Fool in Swan Lake, Bluebird in The Sleeping Beauty, Brother Clown in The Winter’s Tale, an Icicle in The Nutcracker, the Golden Slave/the Faun in Nijinsky and L’Ivrogne in Le Petit Prince.
     
  6. 5
  7. His repertoire of classical and contemporary works includes Romeo and Juliet, Giselle, Cinderella, Frame by Frame, Manon, Chroma, The Man in Black, Angels’ Atlas and Orpheus Alive, among others.

 

Ballets préférés

  1. 1Nijinsky
     
  2. 2Onéguine
     
  3. 3Anna Karenina
     
  4. 4The Man in Black
     
  5. 5Les quatre saisons

 

 

 

Critiques

Nijinsky
“Kota Sato absolutely stole the show (and more than a few hearts) as both the Golden Slave and the Faun, dancing with dazzling athleticism and almost scandalous sensuality, all bedroom eyes and supple hips.”
– ArtsFile.ca

La Veuve joyeuse
“Kota Sato as the lead Pontevedrian dancer… his whiz kid technique is right up there with Russian classical pyrotechnics…”
— Ludwig Van Toronto

Anna Karenina
“Kota Sato is the Mushik, or peasant, a railway worker whose death Anna witnesses. Neumeier has him weave in and out of the ballet, performing slow, twisted movement as an ever-present symbol of death, and Sato is impressive in the role.”
— Ludwig Van Toronto

Prix

Peter Dwyer Scholarship (2011)
prix d’excellence des mécènes (2019)

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