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The history of Dutch National Ballet

Explore the rich history of Dutch National Ballet through this timeline, showcasing highlights from its repertoire and tracing the company’s development since its founding in 1961. Immerse yourself in captivating stories and enjoy a wealth of rarely-seen archival images.

Season 61 / 62 group

The 60s

  • 112 New productions
  • circa 50 World premieres

61 / 62

The company in 61 / 62
Photo: Bert Sprenkeling
31 August 1961

Foundation

Dutch National Ballet is founded on 31 August 1961 through a merger of the Nederlands Ballet (led by Sonia Gaskell) and the Amsterdams Ballet (led by Mascha ter Weeme), employing 89 dancers at its inception. Gaskell takes on the position of artistic director and Ter Weeme is responsible for the company’s participation in the productions by De Nederlandse Operastichting.

Irène de Vos
Irène de Vos | Photo: Ger J. van Leeuwen

Thirty-six premieres in the first season

In its first season, the company adds no fewer than 36 works to its repertoire. Most of them are taken over from the Nederlands Ballet, the forerunner of Dutch National Ballet, led by Gaskell.

Billy Wilson, Reuven Vorembergh, Marianne Hilarides Billy Wilson, Reuven Vorembergh, Marianne Hilarides Open afbeelding in een nieuw tabblad

Billy Wilson, Reuven Vorembergh and Marianne Hilarides | Photo: Ger J. van Leeuwen

Irène de Vos | Photo: Ger J. van Leeuwen
Billy Wilson, Reuven Vorembergh, Marianne Hilarides

Thirty-six premieres in the first season

In its first season, the company adds no fewer than 36 works to its repertoire. Most of them are taken over from the Nederlands Ballet, the forerunner of Dutch National Ballet, led by Gaskell. World premieres are given of works by resident choreographers Rudi van Dantzig and Robert Kaesen, the Englishman Jack Carter and the Americans Pearl Lang (leading soloist with the Martha Graham Dance Company) and Herbert Ross.

Sonia Gaskell
Sonia Gaskell | Photo: Maria Austria

Resident choreographers

Rudi van Dantzig and Robert Kaesen are both appointed resident choreographers.

Dutch National Ballet 61 / 62
Photographer unknown

Three-cornerstone policy

Gaskell immediately unfolds her ‘three-cornerstone vision’, which actually still forms the basis for Dutch National Ballet’s artistic policy today. In the first season already, the company presents a combination of excerpts from the big classical ballets, highlights of the 20th-century ballet repertoire and new creations.

Photo: n.a.
Dutch National Ballet 61 / 62

Three-cornerstone vision

Gaskell immediately unfolds her ‘three-cornerstone vision’, which actually still forms the basis for Dutch National Ballet’s artistic policy today. In the first season already, the company presents a combination of excerpts from the big classical ballets, highlights of the 20th-century ballet repertoire and new creations.

Graduation Ball - Christine Anthony, Inge Dissen and Hans Knill | Photo: n.a.
Graduation Ball - Christine Anthony, Inge Dissen and Hans Knill | Photographer unknown
16 September 1961

First performance

The first performance takes place on 16 September in the Stadsschouwburg Amsterdam (nu ITA), where the company is housed from then on.

Graduation Ball  - Christine Anthony, Inge Dissen and Hans Knill (one of the first performances) | Photo: n.a. Graduation Ball  - Christine Anthony, Inge Dissen and Hans Knill (one of the first performances) | Photo: n.a. Open afbeelding in een nieuw tabblad

Graduation Ball  - Christine Anthony, Inge Dissen and Hans Knill (one of the first performances) | Photo: n.a.

Graduation Ball  - Christine Anthony, Inge Dissen and Hans Knill (one of the first performances) | Photo: n.a.
Graduation Ball | Photo: Meindert Visser
16 September 1961

First performance

The first performance takes place on 16 September in the Stadsschouwburg Amsterdam (nu ITA), where the company is housed from then on.

Benjamin Feliksdal | Photo: Siegfried Regeling
Benjamin Feliksdal | Photo: Siegfried Regeling

An eye for major talent from abroad

No fewer than five works by George Balanchine are danced in the first season (Dutch National Ballet will soon emerge as the leading custodian of the repertoire of the repertoire of the Russian-American master) and one work by Maurice Béjart.

Benjamin Feliksdal | Photo: Siegfried Regeling Benjamin Feliksdal | Photo: Siegfried Regeling Open afbeelding in een nieuw tabblad

Benjamin Feliksdal | Photo: Siegfried Regeling

Jungle - Connie Burgemeestre, Maria Koppers and Billy Wilson | Photo: Joop Gans Jr. Jungle - Connie Burgemeestre, Maria Koppers and Billy Wilson | Photo: Joop Gans Jr. Open afbeelding in een nieuw tabblad

Jungle - Connie Burgemeestre, Maria Koppers and Billy Wilson | Photo: Joop Gans Jr.

The Four temperaments - Inge van Dijken, Reuven Vorembergh and Betty Stuwart | Photo: n.a. The Four temperaments - Inge van Dijken, Reuven Vorembergh and Betty Stuwart | Photo: n.a. Open afbeelding in een nieuw tabblad

The four temperaments - Inge van Dijken, Reuven Vorembergh and Betty Stuwart | Photographer unknown

Benjamin Feliksdal | Photo: Siegfried Regeling
Jungle - Connie Burgemeestre, Maria Koppers and Billy Wilson | Photo: Joop Gans Jr.
The Four temperaments - Inge van Dijken, Reuven Vorembergh and Betty Stuwart | Photo: n.a.

An eye for major talent from abroad

No fewer than five works by George Balanchine are danced in the first season (Dutch National Ballet will soon emerge as the leading custodian of the repertoire of the repertoire of the Russian-American master) and one work by Maurice Béjart. Gaskell had an eye for major talent from abroad, and she acquired works by these choreographers long before they reached their international star status.

Photographer unknown

First tour

Shortly after its foundation, the company travels to Madrid (see photo) for its first tour. In the first season, the company gives a total of 30 performances in Spain and Spanish Morocco, in addition to performances in Germany and France. 

First tour | Photographer unknown
Jazz Nocturne - Billy Wilson and Sonja van Beers | Photo: D.G. Lanting
Jazz Nocturne - Billy Wilson and Sonja van Beers | Photo: D.G. Lanting

Black principal dancers

From the start, Dutch National Ballet has two black principal dancers, Sylvester Campbell and Billy Wilson; a unique situation at the time. Other black principals soon follow, including Benjamin Feliksdal (a member of the company from the start) and Raven Wilkinson.

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Mascha ter Weeme | Photo: Godfried de Groot
Mascha ter Weeme | Photo: Godfried de Groot

Mascha ter Weeme leaves

Following a long period of sick leave, Mascha ter Weeme is laid off and leaves the company. From then on, Sonia Gaskell becomes sole artistic director.

La Sylphide - Jean Atkinson, Irene Vos, Sonja van Beers and Gaby Abbing | Photo: Maria Austria

First full-length production

The first full-length production is taken into the repertoire: La Sylphide, based on the original by August Bournonville from 1836, in a version by the Danish Bournonville specialist Harold Lander. 

La Sylphide - Jean Atkinson, Irene Vos, Sonja van Beers and Gaby Abbing | Photo: Maria Austria
Rehearsal Pavlova memorial - Orlovskaja, Simon André and Olga de Haas | Photo: Hans van den Busken
Rehearsal Pavlova memorial - Orlovskaja, Simon André and Olga de Haas | Photo: Hans van den Busken

Soviet Russian ballet style

Gaskell (of Russian origin herself) brings the Russian ballet mistress Natalia Orlovskaya to the Netherlands, believing it is important to train dancers in the Soviet Russian ballet style.

Petrushka  - Panchita de Péri and Ronald Snijders | Photo: Archives of the Salzburg Festival / Photograph Hildegard Steinmetz
Petrushka - Panchita de Péri and Ronald Snijders | Photo: Archives of the Salzburg Festival / Photograph Hildegard Steinmetz

Petrushka

Another important addition to the repertoire (taken over from the Nederlands Ballet) is Petrushka, created by Michel Fokine in 1911 for Diaghilev’s Ballets Russes. It is one of the first successful examples of a narrative ballet in just one act.

Petrushka  - Panchita de Péri and Ronald Snijders | Photo: Archives of the Salzburg Festival / Photograph Hildegard Steinmetz Petrushka  - Panchita de Péri and Ronald Snijders | Photo: Archives of the Salzburg Festival / Photograph Hildegard Steinmetz Open afbeelding in een nieuw tabblad

Petrushka - Panchita de Péri and Ronald Snijders | Photo: Archives of the Salzburg Festival / Photograph Hildegard Steinmetz

Rehearsal Petrushka  - Mariette Mriyen​​​​​​​, Benjamin Feliksdal​​​​​​​, Maria Austria​​​​​​​, Olga de Haas​​​​​​​, Sonia Gaskell​​​​​​​, Toer van Schayk​​​​​​​, Rudi van Dantzig en Leonide Massine | Photo: Hans van Busken​​​​​​​ Rehearsal Petrushka  - Mariette Mriyen​​​​​​​, Benjamin Feliksdal​​​​​​​, Maria Austria​​​​​​​, Olga de Haas​​​​​​​, Sonia Gaskell​​​​​​​, Toer van Schayk​​​​​​​, Rudi van Dantzig en Leonide Massine | Photo: Hans van Busken​​​​​​​ Open afbeelding in een nieuw tabblad

Rehearsal Petrushka  - Mariette Mriyen, Benjamin Feliksdal​​​​​​​, Maria Austria​​​​​​​, Olga de Haas​​​​​​​, Sonia Gaskell​​​​​​​, Toer van Schayk​​​​​​​, Rudi van Dantzig en Leonide Massine | Photo: Hans van Busken​​​​​​​

Petrushka  - Panchita de Péri and Ronald Snijders | Photo: Archives of the Salzburg Festival / Photograph Hildegard Steinmetz
Rehearsal Petrushka  - Mariette Mriyen​​​​​​​, Benjamin Feliksdal​​​​​​​, Maria Austria​​​​​​​, Olga de Haas​​​​​​​, Sonia Gaskell​​​​​​​, Toer van Schayk​​​​​​​, Rudi van Dantzig en Leonide Massine | Photo: Hans van Busken​​​​​​​

Petrushka

Another important addition to the repertoire (taken over from the Nederlands Ballet) is Petrushka, created by Michel Fokine in 1911 for Diaghilev’s Ballets Russes. It is one of the first successful examples of a narrative ballet in just one act. The famous dancer and choreographer Léonide Massine, who often danced the title role in Fokine’s masterpiece, teaches the ballet to Dutch National Ballet.

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Les Mirages - Peter Appel and Marianne Hilarides | Photo: Maria Austria, Henk Jonker
Les Mirages - Peter Appel and Marianne Hilarides | Photo: Maria Austria, Henk Jonker

Marianne Hilarides

Principal dancer Marianne Hilarides has to leave the company, following a conflict with Gaskell. Hilarides is regarded as one of the most talented dancers of her generation and referred to as the first prima ballerina of Dutch origin. 

Les Mirages - Peter Appel and Marianne Hilarides | Photo: Maria Austria, Henk Jonker Les Mirages - Peter Appel and Marianne Hilarides | Photo: Maria Austria, Henk Jonker Open afbeelding in een nieuw tabblad

Les Mirages - Peter Appel and Marianne Hilarides | Photo: Maria Austria, Henk Jonker

Les Mirages - Peter Appel and Marianne Hilarides | Photo: Maria Austria, Henk Jonker

Marianne Hilarides

Principal dancer Marianne Hilarides has to leave the company, following a conflict with Gaskell. Hilarides is regarded as one of the most talented dancers of her generation and referred to as the first prima ballerina of Dutch origin. Her amazing technique forms the basis for legendary interpretations that inspire fellow dancers and raise dance to a higher level in the Netherlands. Following Gaskell’s departure in 1967, Hilarides returns to the company for one season. 

Rudi van Dantzig | Photographer unknown
Rudi van Dantzig | Photographer unknown

Nachteiland

One of the new works in the repertoire is Nachteiland (taken over from the Nederlands Ballet). Rudi van Dantzig makes his debut as a choreographer with this ballet in 1955. 

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La Bayadère premiere - Olga de Haas | Photo: John de Rooij
La Bayadère premiere - Olga de Haas | Photo: John de Rooij

Olga de Haas

Olga de Haas (1944-1978) is promoted to principal dancer at the age of 19. The promising star and audience favourite goes on to become a legendary Dutch ballerina.

La Bayadère premiere - Olga de Haas | Photo: John de Rooij La Bayadère premiere - Olga de Haas | Photo: John de Rooij Open afbeelding in een nieuw tabblad

La Bayadère premiere - Olga de Haas | Photo: John de Rooij

Olga de Haas | Photo: Atelier voor Beeldende Kunst Olga de Haas | Photo: Atelier voor Beeldende Kunst Open afbeelding in een nieuw tabblad

Olga de Haas | Photo: Atelier voor Beeldende Kunst

La Bayadère premiere - Olga de Haas | Photo: John de Rooij
Olga de Haas | Photo: Atelier voor Beeldende Kunst

Olga de Haas

Olga de Haas (1944-1978) is promoted to principal dancer at the age of 19. The promising star and audience favourite goes on to become a legendary Dutch ballerina.

Swan Lake - Willy de Boer, n.a., Yvonne Vendrig and Helene Pex | Photo: n.a.

First Swan Lake

In March 1965, Dutch National Ballet’s first complete production of Swan Lake is premiered, in a version by the Russian choreographer Igor Belski.

Swan Lake - Willy de Boer, n.a., Yvonne Vendrig and Helene Pex | Photo: n.a.
Swan Lake - Willy de Boer, n.a., Yvonne Vendrig and Helene Pex |Photographer unknown Swan Lake - Willy de Boer, n.a., Yvonne Vendrig and Helene Pex |Photographer unknown Open afbeelding in een nieuw tabblad

Swan Lake - Willy de Boer, n.a., Yvonne Vendrig and Helene Pex | Photographer unknown

Swan Lake - Willy de Boer, n.a., Yvonne Vendrig and Helene Pex |Photographer unknown
Swan Lake | Photo: Ger J. van Leeuwen

First Swan Lake

In March 1965, Dutch National Ballet’s first complete production of Swan Lake is premiered, in a version by the Russian choreographer Igor Belski. The role of Odette/Odile is danced alternately by Olga de Haas and Maria Koppers. Sylvester Campbell and Simon André take turns to dance the role of Prince Siegfried.

Severance scheme

Dutch National Ballet is the first Dutch company (and until 1986 the only one) to set up a severance scheme to provide financial assistance to dancers at the end of their dancing career.

De groene tafel | Photo: Siegfried Regeling
De groene tafel | Photo: Siegfried Regeling

The Green Table

Another important acquisition is The Green Table, the gripping ‘anti-war ballet’ by Kurt Jooss (one of the figureheads of German Ausdruckstanz). 

The Green Table | Photo: Siegfried Regeling The Green Table | Photo: Siegfried Regeling Open afbeelding in een nieuw tabblad

The Green Table | Photo: Siegfried Regeling

The Green Table- Olga de Haas and Jessica Folkerts | Photo: Siegfried Regeling The Green Table- Olga de Haas and Jessica Folkerts | Photo: Siegfried Regeling Open afbeelding in een nieuw tabblad

The Green Table - Olga de Haas and Jessica Folkerts | Photo: Siegfried Regeling

The Green Table - Helene Pex, Simon Andre, Hans Knill and Olga de Haas | Photo: Siegfried Regeling The Green Table - Helene Pex, Simon Andre, Hans Knill and Olga de Haas | Photo: Siegfried Regeling Open afbeelding in een nieuw tabblad

The Green Table - Helene Pex, Simon Andre, Hans Knill and Olga de Haas | Photo: Siegfried Regeling

The Green Table | Photo: Siegfried Regeling
The Green Table- Olga de Haas and Jessica Folkerts | Photo: Siegfried Regeling
The Green Table - Helene Pex, Simon Andre, Hans Knill and Olga de Haas | Photo: Siegfried Regeling

The Green Table

Another important acquisition is The Green Table, the gripping ‘anti-war ballet’ by Kurt Jooss (one of the figureheads of German Ausdruckstanz). At its world premiere in Paris, in 1932, the ballet was awarded first prize. 

Monument for a Dead Boy - Toer van Schayk, n.a. | Photo: Siegfried Regeling
Monument for a Dead Boy - Toer van Schayk, n.a. | Photo: Siegfried Regeling
19 June 1965

Monument for a Dead Boy

On 19 June 1965, the premiere takes place of Rudi van Dantzig’s Monument for a Dead Boy. The ballet about budding homosexuality – a taboo at the time – gains fame for Van Dantzig. The main role is impressively interpreted by guest artist Toer van Schayk, who joins the company a year later as a soloist. 

Monument for a Dead Boy - Toer van Schayk en ? | Foto: Siegfried Regeling Monument for a Dead Boy - Toer van Schayk en ? | Foto: Siegfried Regeling Open afbeelding in een nieuw tabblad

Monument for a Dead Boy - Toer van Schayk, n.a. | Photo: Siegfried Regeling

Toer van Schayk | Photo: n.a. Toer van Schayk | Photo: n.a. Open afbeelding in een nieuw tabblad

Monument for a Dead Boy - Toer van Schayk and n.a. | Photographer unknown

n.a., José Lainez, Christina Anthony, Jean Atkinson, Yvonne Vendrig and Benjamin Feliksdal | Photo: Atelier voor de Beeldende Kunst n.a., José Lainez, Christina Anthony, Jean Atkinson, Yvonne Vendrig and Benjamin Feliksdal | Photo: Atelier voor de Beeldende Kunst Open afbeelding in een nieuw tabblad

Monument for a Dead Boy - n.a., José Lainez, Christina Anthony, Jean Atkinson, Yvonne Vendrig and Benjamin Feliksdal | Photo: Atelier voor de Beeldende Kunst

Monument for a Dead Boy - Toer van Schayk en ? | Foto: Siegfried Regeling
Toer van Schayk | Photo: n.a.
n.a., José Lainez, Christina Anthony, Jean Atkinson, Yvonne Vendrig and Benjamin Feliksdal | Photo: Atelier voor de Beeldende Kunst
19 June 1965

Monument for a Dead Boy

On 19 June 1965, the premiere takes place of Rudi van Dantzig’s Monument for a Dead Boy. The ballet about budding homosexuality – a taboo at the time – gains fame for Van Dantzig. The main role is impressively interpreted by guest artist Toer van Schayk, who joins the company a year later as a soloist. Since the foundation of Dutch National Ballet, Van Schayk had already created many costume and set designs for the company, mostly for Rudi van Dantzig’s ballets.

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Rudi van Dantzig, Sonia Gaskell en Robert Kaesen | Photo: Hans van den Busken
Rudi van Dantzig, Sonia Gaskell en Robert Kaesen | Photo: Hans van den Busken

Van Dantzig and Kaesen as artistic directors

Rudi van Dantzig and Robert Kaesen are appointed artistic directors of Dutch National Ballet, alongside Sonia Gaskell.

Anatoli Nisnevitsj en Natalia Makarova | Photo: Joop van Bilsen / Anefo; Auteursrechthebbende: Nationaal Archief
Anatoli Nisnevitsj en Natalia Makarova | Photo: Joop van Bilsen / Anefo; Auteursrechthebbende: Nationaal Archief

First Giselle

Dutch National Ballet dances its first Giselle, one of the oldest surviving full-length Romantic ballets (from 1841), which is still danced all over the world today. The production is rehearsed by the Russian teacher Natalia Orlovskaya. 

Arrival of the two Russian principals, Anatoli Nisnevich and Natalia Makarova Arrival of the two Russian principals, Anatoli Nisnevich and Natalia Makarova Open afbeelding in een nieuw tabblad

Arrival of the two Russian principals, Anatoli Nisnevich and Natalia Makarova, who will perform with Dutch National Ballet during the Holland Festival | Photo: Joop van Bilsen / Anefo; Copyright holder: Nationaal Archief 

Jessica Folkerts and René Vincent Jessica Folkerts and René Vincent Open afbeelding in een nieuw tabblad

Jessica Folkerts and René Vincent | Photo: Ger J. van Leeuwen

Sylvester Campbell Sylvester Campbell Open afbeelding in een nieuw tabblad

Sylvester Campbell | Photo: Hans van den Busken

Arrival of the two Russian principals, Anatoli Nisnevich and Natalia Makarova
Jessica Folkerts and René Vincent
Sylvester Campbell

First Giselle

Dutch National Ballet dances its first Giselle, one of the oldest surviving full-length Romantic ballets (from 1841), which is still danced all over the world today. The production is rehearsed by the Russian teacher Natalia Orlovskaya. The main roles are danced by guest artists Natalia Makarova (one of the stars of the former Kirov Ballet who was to flee to the West in 1970) and Anatoli Nisnevitch.

Sonia Gaskell
Sonia Gaskell | Photo: Anefo

Gaskell’s twentieth anniversary

Gaskell’s 20th anniversary as artistic director (including the forerunners of Dutch National Ballet) is celebrated with a tribute performance, where she is appointed Officer of the Order of Orange-Nassau.

New Balanchines

Two special early Balanchine ballets are acquired: Apollon Musagète (1928) and The Prodigal Son (1929), both created for Diaghilev’s Ballets Russes. This brings the number of Balanchine works in Dutch National Ballet’s repertoire to eight (nowadays the total is 33). 

Dutch National Ballet on tour

First tour outside Europe

Dutch National Ballet goes over the borders of Europe for the first time, giving 11 performances in Buenos Aires, six in Bogotá, three in Puebla (Mexico) and six in Lima.

On tour | Photographer unknown

Foundation of Dutch Ballet Orchestra

Dutch Ballet Orchestra is founded. Today, the orchestra still provides the musical accompaniment to performances by Dutch National Ballet and Nederlands Dans Theater.

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Hans Vonk | Photo: Jaap Pieper
Hans Vonk | Photo: Jaap Pieper

Conductors

Alongside musical director André Presser (associated with Dutch National Ballet since its foundation), Hans Vonk is appointed assistant conductor, remaining in the position for four years.

Hans Vonk | Photo: Jaap Pieper
Andre Presser

Conductors

Alongside musical director André Presser (associated with Dutch National Ballet since its foundation), Hans Vonk is appointed assistant conductor, remaining in the position for four years.

Simon André en Yvonne Vendrig | Photo: Ger J. van Leeuwen
Romeo en Julia - Simon André en Yvonne Vendrig | Photo: Ger J. van Leeuwen

Romeo and Juliet

At the insistence of Sonia Gaskell, Rudi van Dantzig produces the first full-length ballet created in the Netherlands: Romeo and Juliet, based on Shakespeare’s famous love tragedy. Although Van Dantzig initially finds the task a difficult one, the ballet is to grow into one of the company’s biggest audience hits of all time. 

Simon André and Yvonne Vendrig | Photo: Ger J. van Leeuwen Simon André and Yvonne Vendrig | Photo: Ger J. van Leeuwen Open afbeelding in een nieuw tabblad

Romeo and Juliet- Simon André and Yvonne Vendrig | Photo: Ger J. van Leeuwen

Yvonne Vendrig and Olga de Haas | Photo: Ger J. van Leeuwen Yvonne Vendrig and Olga de Haas | Photo: Ger J. van Leeuwen Open afbeelding in een nieuw tabblad

Romeo and Juliet - Yvonne Vendrig and Olga de Haas | Photo: Ger J. van Leeuwen

Yvonne Vendrig | Photo: Ger J. van Leeuwen Yvonne Vendrig | Photo: Ger J. van Leeuwen Open afbeelding in een nieuw tabblad

Romeo and Julia - Yvonne Vendrig | Photo: Ger J. van Leeuwen

Simon André and Yvonne Vendrig | Photo: Ger J. van Leeuwen
Yvonne Vendrig and Olga de Haas | Photo: Ger J. van Leeuwen
Yvonne Vendrig | Photo: Ger J. van Leeuwen

Romeo and Juliet

At the insistence of Sonia Gaskell, Rudi van Dantzig produces the first full-length ballet created in the Netherlands: Romeo and Juliet, based on Shakespeare’s famous love tragedy. Although Van Dantzig initially finds the task a difficult one, the ballet is to grow into one of the company’s biggest audience hits of all time. The title roles are danced at the premiere by principal dancer Simon André and the young soloist Yvonne Vendrig. 

Koert Stuyf and Ellen Edinoff
Koert Stuyf and Ellen Edinoff | Photographer unknown

Premiere scandal

At the end of the season, Gaskell’s preference for experiment reaches a high point according to some, and a low point according to others, with the world premiere of Koert Stuyf’s postmodern work Visibility… By Chance. Dozens of audience members walk out, fruit is thrown at the stage and one audience member even runs on stage and tears up his programme.

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Advisory position for Gaskell

At her own request, artistic director Sonia Gaskell takes up an advisory position, but leaves following an internal conflict. From then on, the company’s artistic directors are the resident choreographers Rudi van Dantzig and Robert Kaesen.

Photo: Hans van den Busken
The Sleeping Beauty | Photo: Hans van den Busken

The Sleeping Beauty

Dutch National Ballet presents its first production of The Sleeping Beauty, in a very distinctive version by the Polish choreographer Conrad Drzewiecki. Just three well-known fragments of the original choreography by Marius Petipa are retained (rehearsed by Roland Casenave).

Photo: Hans van den Busken Photo: Hans van den Busken Open afbeelding in een nieuw tabblad

The Sleeping Beauty | Photo: Hans van den Busken

René Vincent and Maria Bovet | Photo: Hans van den Busken René Vincent and Maria Bovet | Photo: Hans van den Busken Open afbeelding in een nieuw tabblad

The Sleeping Beauty - René Vincent and Maria Bovet | Photo: Hans van den Busken

Photo: Studio Lemaire Photo: Studio Lemaire Open afbeelding in een nieuw tabblad

The Sleeping Beauty - Photo: Studio Lemaire

Photo: Hans van den Busken
René Vincent and Maria Bovet | Photo: Hans van den Busken
Photo: Studio Lemaire

The Sleeping Beauty

Dutch National Ballet presents its first production of The Sleeping Beauty, in a very distinctive version by the Polish choreographer Conrad Drzewiecki. Just three well-known fragments of the original choreography by Marius Petipa are retained (rehearsed by Roland Casenave).

Simon André en Yvonne Vendrig | Photo: Siegfried Regeling
Vuurvogel - Simon André en Yvonne Vendrig | Photo: Siegfried Regeling

Firebird

Other prominent acquisitions in this season are Michel Fokine’s fairy-tale ballet The Firebird, with a starring role for principal dancer Maria Koppers, and Ivesiana and La valse by George Balanchine. 

Simon André and Yvonne Vendrig | Photo: Siegfried Regeling Simon André and Yvonne Vendrig | Photo: Siegfried Regeling Open afbeelding in een nieuw tabblad

Firebird - Simon André and Yvonne Vendrig | Photo: Siegfried Regeling

Maria Bovet | Photo: Siegfried Regeling Maria Bovet | Photo: Siegfried Regeling Open afbeelding in een nieuw tabblad

Firebird- Maria Bovet | Photo: Siegfried Regeling

Simon André and Yvonne Vendrig | Photo: Siegfried Regeling
Maria Bovet | Photo: Siegfried Regeling

Firebird

Other prominent acquisitions in this season are Michel Fokine’s fairy-tale ballet The Firebird, with a starring role for principal dancer Maria Koppers, and Ivesiana and La valse by George Balanchine. 

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Ivan Kramar, Rudolf Nureyev en Benjamin Feliksdal | Photo: Siegfried Regeling
Ivan Kramar, Rudolf Nureyev en Benjamin Feliksdal | Photo: Siegfried Regeling

Rudolf Nureyev

The Russian star dancer Rudolf Nureyev makes his first guest appearances with Dutch National Ballet, in the Grand Pas de Deux from The Nutcracker (with the French étoile Noëlla Pontois), in Giselle (with Olga de Haas) and – at his own express request – in Van Dantzig’s Monument for a Dead Boy. Nureyev’s association with Dutch National Ballet, which was to continue into the late seventies, brought international fame to the company. 

Ivan Kramar, Rudolf Nureyev and Benjamin Feliksdal | Photo: Siegfried Regeling Ivan Kramar, Rudolf Nureyev and Benjamin Feliksdal | Photo: Siegfried Regeling Open afbeelding in een nieuw tabblad

Ivan Kramar, Rudolf Nureyev and Benjamin Feliksdal | Photo: Siegfried Regeling

Yvonne Vendrig and Rudolf Nureyev | Photo: Siegfried Regeling Yvonne Vendrig and Rudolf Nureyev | Photo: Siegfried Regeling Open afbeelding in een nieuw tabblad

Yvonne Vendrig and Rudolf Nureyev | Photo: Siegfried Regeling

Yvonne Vendrig and Rudolf Nureyev | Photo: Siegfried Regeling Yvonne Vendrig and Rudolf Nureyev | Photo: Siegfried Regeling Open afbeelding in een nieuw tabblad

Yvonne Vendrig and Rudolf Nureyev | Photo: Siegfried Regeling

Ivan Kramar, Rudolf Nureyev and Benjamin Feliksdal | Photo: Siegfried Regeling
Yvonne Vendrig and Rudolf Nureyev | Photo: Siegfried Regeling
Yvonne Vendrig and Rudolf Nureyev | Photo: Siegfried Regeling

Rudolf Nureyev

The Russian star dancer Rudolf Nureyev makes his first guest appearances with Dutch National Ballet, in the Grand Pas de Deux from The Nutcracker (with the French étoile Noëlla Pontois), in Giselle (with Olga de Haas) and – at his own express request – in Van Dantzig’s Monument for a Dead Boy. Nureyev’s association with Dutch National Ballet, which was to continue into the late seventies, brought international fame to the company. 

Julias Ceasar | Photo: Maria Austria

Opera productions

This season, Dutch National Ballet dancers take part in a record number of productions by De Nederlandse Operastichting (now Dutch National Opera): Un ballo in maschera, Carmen, Hänsel und Gretel, Julius Caesar, Das Rheingold, Le rossignol and Der Zigeunerbaron. 

Julias Ceasar | Photo: Maria Austria
Sylvester Campbell and Olga de Haas | Photo: Hans van den Busken
Sylvester Campbell and Olga de Haas | Photo: Hans van den Busken

Honorary titles

Rudi van Dantzig is appointed Knight of the Order of Orange-Nassau. Olga de Haas reaches the finals of the International Ballet Competition in Moscow and receives an honourable mention for her performance. 

Facetten - Wilma Kraaijeveld, Nino van Tijn and Ans Lubinkhof
Facetten - Wilma Kraaijeveld, Nino van Tijn and Ans Lubinkhof | Photo: Siegfried Regeling

'Jongeren in beweging'

Under the title 'Jongeren in beweging' (Youth in Movement), the company gives its first series of performances for a young audience, performed by the young dancers of the company, who thus gain stage experience.

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Departure Sonia Gaskell - Olga de Haas, Sonia Gaskell and Maria Bovet | Photo: Pieter Kooistra
Departure Sonia Gaskell - Olga de Haas, Sonia Gaskell and Maria Bovet | Photo: Pieter Kooistra

Gaskell’s departure

Following her previous departure, an official, large-scale farewell event is held for Sonia Gaskell, whereby 'Mevrouw' – as the dancers called her – is presented with the Silver Medal of the City of Amsterdam.

Toer van Schayk | Photo: Siegfried Regeling
The Ropes of Time | Toer van Schayk | Photo: Siegfried Regeling

The Ropes of Time

Rudi van Dantzig creates his first work for Rudolf Nureyev and dancers of the prestigious Royal Ballet in London. Three months after its premiere, the ballet, The Ropes of Time, is also premiered by Dutch National Ballet, as De touwen van de tijd.

Helene Pex, Rudolf Nureyev, Sonja Marchiolli and Olga de Haas | Photo: Jorge Fatauros
Apollon musagète - Helene Pex, Rudolf Nureyev, Sonja Marchiolli and Olga de Haas | Photo: Jorge Fatauros

Nureyev and Fonteyn and the first tour to London

The British prima ballerina Margot Fonteyn performs for the first time with Dutch National Ballet, as the partner of Rudolf Nureyev in Giselle. And the company appears in London for the first time – with great success – giving seven performances with Nureyev as guest artist.

Helene Pex, Rudolf Nureyev, Sonja Marchiolli and Olga de Haas | Photo: Jorge Fatauros Helene Pex, Rudolf Nureyev, Sonja Marchiolli and Olga de Haas | Photo: Jorge Fatauros Open afbeelding in een nieuw tabblad

Apollon musagète - Helene Pex, Rudolf Nureyev, Sonja Marchiolli and Olga de Haas | Photo: Jorge Fatauros

Olga de Haas and Rudolf Nureyev | Photo: Jorge Fatauros Olga de Haas and Rudolf Nureyev | Photo: Jorge Fatauros Open afbeelding in een nieuw tabblad

Apollon musagète - Olga de Haas and Rudolf Nureyev | Photo: Jorge Fatauros

Helene Pex, Rudolf Nureyev, Sonja Marchiolli and Olga de Haas | Photo: Jorge Fatauros
Olga de Haas and Rudolf Nureyev | Photo: Jorge Fatauros

Nureyev and Fonteyn and the first tour to London

The British prima ballerina Margot Fonteyn performs for the first time with Dutch National Ballet, as the partner of Rudolf Nureyev in Giselle. And the company appears in London for the first time – with great success – giving seven performances with Nureyev as guest artist. In the Netherlands, Nureyev’s appearance in Apollon musagète  is a big hit, with Olga de Haas, Sonja Marchiolli and Hélène Pex as his muses.

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Photo: D.G. Lanting
Benjamin Harkarvy | Photo: D.G. Lanting

Kaesen’s departure

Artistic director Robert Kaesen leaves the company, initially on a temporary basis, to choreograph some shows for Bavarian television, but he does not return. He is replaced for a short while by the American teacher and choreographer Benjamin Harkarvy, who had also previously directed Nederlands Dans Theater.e.

Sonja Marchiolli and Han Ebbelaar | Photo: Siegfried Regeling
Onvoltooid verleden tijd - Sonja Marchiolli and Han Ebbelaar | Photo: Siegfried Regeling

Choreographic debut by Toer van Schayk

Urged by Van Dantzig, principal dancer and set and costume designer Toer van Schayk makes his debut as a choreographer with Onvoltooid verleden tijd. “A remarkably sound and pure work (..) clear in line and form, stripped of all superfluity, without becoming cold or sterile”, wrote dance critic Ine Rietstap in NRC Handelsblad. 

Sonja Marchiolli and Han Ebbelaar | Photo: Siegfried Regeling Sonja Marchiolli and Han Ebbelaar | Photo: Siegfried Regeling Open afbeelding in een nieuw tabblad

Onvoltooid verleden tijd - Sonja Marchiolli and Han Ebbelaar | Photo: Siegfried Regeling

Sonja Marchiolli and Han Ebbelaar | Photographer unknown Sonja Marchiolli and Han Ebbelaar | Photographer unknown Open afbeelding in een nieuw tabblad

Onvoltooid verleden tijd - Sonja Marchiolli and Han Ebbelaar | Photographer unknown

Sonja Marchiolli and Han Ebbelaar | Photo: Siegfried Regeling
Sonja Marchiolli and Han Ebbelaar | Photographer unknown

Choreographic debut by Toer van Schayk

Urged by Van Dantzig, principal dancer and set and costume designer Toer van Schayk makes his debut as a choreographer with Onvoltooid verleden tijd. “A remarkably sound and pure work (..) clear in line and form, stripped of all superfluity, without becoming cold or sterile”, wrote dance critic Ine Rietstap in NRC Handelsblad. 

Photo: Siegfried Regeling

Arrival of Alexandra Radius and Han Ebbelaar

At Van Dantzig’s invitation, Alexandra Radius and Han Ebbelaar join the company as principals, after dancing for two years with the renowned American Ballet Theatre. Radius had previously danced with the Nederlands Ballet, switching to Nederlands Dans Theater in 1959, where she got to know Ebbelaar. After their return from the US, they go on to become the most famous dance couple ever in the Netherlands.

Photo: Siegfried Regeling
Epitaaf - Toer van Schayk and Erna Droog | Photo: Jorge Fatauros
Epitaaf - Toer van Schayk and Erna Droog | Photo: Jorge Fatauros

Paris debut

Dutch National Ballet performs in Paris for the first time, at the international dance festival at Théâtre des Champs Elysées. The first evening, attended mainly by high society, leads to a scandal because of the – in the words of a shocked reporter – practically naked dancers in Van Dantzig’s Epitaaf and the completely naked ‘Apollos’ in his new creation Onderweg.

Season
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