Marius Petipa

Patrice Bart
Patrice Bart is a French choreographer and was ballet-master and member of the Board of Ballet at the Opéra National de Paris until 2011. He has been connected with this theatre for over fifty years now. This is where his career began and this is where he won international acclaim.
Patrice Bart was born in Paris. He was twelve years old when he took his first steps and joined the École de Danse of the Opéra National de Paris, and just two years later he joined the theatre’s corps de ballet. He was then not yet fifteen, and so he had to obtain special permission to work. In 1963 Patrice Bart was made a coryphée and won the René Blum Prize for talented young French dancers for his achievements. As a first soloist of the Opéra de Paris, in 1969 he was a prize-winner at the I International Ballet Competition in Moscow, where he performed with Francesca Zumbo.
In 1972 Patrice Bart was awarded the honorary French title of 'danseur étoile', while in 1974 he won the Prix Nijinski, which is presented by Paris’ Université de la Danse.

Patrice Bart's repertoire at the Opéra de Paris included lead roles in the ballets The Sleeping Beauty, Don Quixote, Pétrouchka, Prodigal Son, Serge Lifar's Constellations (1969), Roland Petit's Mouvances (1976), Kenneth MacMillan's Métaboles (1978) and Rudolf Nureyev's production of Swan Lake (as Rothbart, 1984). Bart won acclaim as a brilliant virtuoso dancer (the pas de six in Auguste Bournonville's Napoli and the soloist in Arthur Saint-Léon's La Vivandière) and as a wonderful partner (Balanchine's Symphony in C and Le Corsaire), as well as an artist with an unexpected gift for comedy (Pierre Lacotte's version of Coppélia after Saint-Léon and Heinz Spoerli's La Fille mal gardée).
Patrice Bart's career as a dancer came to an end in 1986, but for a few more years he appeared on stage in character roles. At this time he also started coaching with the company's younger performers, and in 1987 became its ballet-master.

Patrice Bart has won acclaim for his active support of high standards and the preservation of the great traditions of the ballet company of the Opéra National de Paris. In 1991 together with Yevgeny Polyakov he prepared a classical version of the ballet Giselle to mark one hundred and fifty years since the work's premiere.
In 1992 Patrice Bart was Rudolf Nureyev's assistant on his production of the ballet La Bayadère at the Opéra National de Paris.
In 1993 Patrice Bart made his debut as a choreographer at the Berliner Staatsoper with a new production of the ballet Don Quixote, and in 1995 he staged this work with the Finnish National Ballet. In 1996 Patrice Bart staged productions of Giselle at the Teatro alla Scala in Milan and Coppélia at the Opéra National de Paris. In 1997 the choreographer created a new version of Swan Lake at the Berliner Staatsoper and in 1998 a new and completed version of Petipa's La Bayadère for the Bayerische Staatsballett in Munich.
In 1999 Patrice Bart staged a production of Verdiana, his own first original ballet to music from operas by Giuseppe Verdi, and he also staged The Nutcracker with the Staatsballett Berlin. In 2001 Patrice Bart set the ballet Verdiana for the Teatro Comunale in Florence. In 2002 at the Staatsballett Berlin the choreographer staged a production of his own version of Prokofiev's Romeo and Juliet, while in 2003 he presented yet another new ballet at the Opéra de Paris – La Petite danseuse de Degas to new music by Denis Levaillant. His next ballet was to be Tchaikovsky, staged in 2005 for the Finnish National Ballet in Helsinki, while in 2008 the Swedish Royal Ballet invited Bart to stage the grandiose historic production Gustav III to music by Carl Maria von Weber and Joseph Martin Kraus.

Before accepting Waldemar Dombrowski's invitation to stage his new ballet Chopin, the Romantic Artist in Warsaw for the Polish National Ballet, Patrice Bart returned to Berlin, where in 2009 he staged the ballet Das Flammende Herz to music by Felix Mendelssohn-Bartholdy about the English romantic poet Percy Shelley.
Patrice Bart holds several honorary French titles, among them Officier de l'Ordre des Arts et Lettres, Officier de l'Ordre National du Mérite and Chevalier de la Légion d'Honneur.

Tomio Mohri
gilt als einer der namhaftesten und vielseitigsten Künstler Japans. Berühmt ist er für seine exquisiten Kostümentwürfe und Ausstellungsinstallationen, er arbeitet jedoch ebenso als Bühnenbildner und Regisseur. Im Zentrum seines Interesses steht nicht zuletzt die Frage der Beziehungen zwischen Bewegung und Raum, die er multimedial zu erfassen sucht.

Lange Jahre war er künstlerischer Direktor für die Ausstellungen von Issey Miyake. Für diese Kostüminstallationen entwickelte er einen neuen Stil von visueller Performance, der bis heute weltweit als beispielhaft gilt. Darunter befanden sich so spektakuläre Präsentationen wie Issey Miyake A un im Musée d`Art Décoratif in Paris, Arbeiten für das San Francisco Museum of Modern Art und das Victoria and Albert Museum in London. Als Theaterautor und Regisseur zeichnete er in Tokio für verschiedene Produktionen verantwortlich, die sich als Maskentänze zwischen Tanz und No-Theater bewegten. Seine Laufbahn als Kostüm- und Bühnenbildner begann 1980 mit einer Arbeit für Maurice Béjart (Casta Diva) und setzte sich 1984 mit Kostümentwürfen für die Oper Le Coq d'Or für das Theatre Chatelet in Paris fort. Unter seinen Werken in Europa sind vor allem die Kostüme für Schwanensee beim Ballett der Opéra in Paris (1992) zu nennen und die Kostüme für Die Frau ohne Schatten (Bayerische Staatsoper), die als Premiere 1992 in Tokio herauskam und 1993 ins Münchner Nationaltheater einzog, sowie die Kostüme für Madame von Sado an der Berliner Schaubühne. Bei La Bayadère fürs Bayerische Staatsballett in München (Premiere am 23. März 1998 in der Neufassung von Patrice Bart) hat Tomio Mohri sowohl die Kostüme als auch das Bühnenbild entworfen. Tomio Mohris engste Mitarbeiterin bei der Realisierung seiner Entwürfe ist Kumiko Sakurai.   Buch, Regie und künstlerische Leitung:
1988 Kyorai, Ishikawa Prefectural Noh Theater, Kanazawa (Maskentanz 1)
1990 Dance, Spiral Hall, Tokyo (Maskentanz 2)
1991 Rinsoubu, Tanz von Tomio Mohri für NHK (Maskentanz 3) Künstlerische Leitung und Design der Mannequin Objekte für den Raum:
1983 Issey Miyake Körperarbeiten, Ausstellung Laforet Museum Migura, Tokyo; Otia-Parsons Gallery, Los Angeles; San Francisco Museum for Modern Art, San Francisco; Victoria & Albert Museum, Bollerhouse Project, London (1985)

1986 Mohri No Fuku, Installation für Raum und Kostüme. Spiral Hall, Toyko

1988 Issey Miyake A un, Musée des Arts Décoratifs, Paris

1991 3. IAAF Weltmeisterschaft im Turnen, Tokyo. Eröffnungsfeier Teil 3 im Nationalstadion von Tokyo
Mohri No Aka, Zeichnungen in der Parco Gallery, Tokyo Bühnen- und Kostümentwürfe:
1980 Casta Diva (Ballett von Maurice Béjart), IRCAM, Centre Georges Pompidou, Paris
(Zusammenarbeit mit Issey Miyake, Kostüme)

1984 Le Coq d'Or (Oper) Theatre Musical de Paris Chatelet, Paris (Kostüme)

1986 Yamato Takeru (Kabuki), Shinbashi Enbujo, Tokyo (Kostüme)

1989 Ryu-Oh (Kabuki-Peking-Oper), Shinbashi Enbujo, Tokyo (Kostüme)

1991 Oguri (Kabuki)  Shinbashi Enbujo, Tokyo (Kostüme)
Ryusel (Kabuki), Kabukiza, Tokyo (Bühnenbild und Kostüme)
Bokutoukidan (Theaterstück), Imperial Theatre, Tokyo (Bühnenbild und Kostüme)

1992 Turandot (Oper), Auditorium Maurice Ravel, Lyon (Kostüme)
Schwanensee (Ballett) beim Ballet de L'Opéra de Paris, Bastille (Kostüme)
Die Frau ohne Schatten (Oper), Bayerische Staatsoper im Aichi Prefecturai Theater, Nagoya , und NHK Hall, Tokyo , 1993 im Münchner Nationaltheater (Kostüme)

1993 Dakkenden (Kabuki), Shinbashi Enbujo, Tokyo (Kostüme)

1994 Susano, Carrière de Boulbon, Avigon (Kostüme)

1996 Tristan und Isolde, Prinzregententheater München (Kostüme)
Madame von Sado, Schaubühne am Lehniner Platz, Berlin (Kostüme)

1997 La Bayadére, Bayerisches Staatsballett, Nationaltheater, München Veröffentlichungen:
1990 Tomio Mohri Kostüm-Installationen, Rikuyosha

Maurizio Montobbio
Geboren am 10. Juni 1957 in Genua, ausgebildet in den USA. Arbeitet für Oper, Schauspiel und Tanz. U.a. Opéra Paris, Mailänder Scala, Deutsche Oper Berlin. Häufiger Lichtdesigner für Patrice Bart und den kanadischen Choreographen Jean Grand-Maitre. In München bislang Lightdesign für La Bayadère, Ecclesia und Emma B.. Als Beleuchtungschef auch mehrere Jahre lang verantwortlich für die europäischen Vorstellungen von Mikhail Baryschnikow und seinem White Oak Dance Project.

Maria Babanina

Pianist

Maria Babanina was born in St. Petersburg (then Leningrad) on July 2nd, 1952. She studied the piano and musicology at the Leningrad Conservatory and specialised in historic research of ballet music. She taught at the Waganowa Academy, worked as music coach at the Maly Theatre in St. Petersburg and became pianist with the Kirov Ballet in 1978. Since September 1990 she has been pianist for the Bayerische Staatsballett and performed on stage, too, e.g. in Trois Gnossiennes, Other Dances , Songs without words, Zakouski, Jerome Robbins’ In the Night, and, most recently Hans van Manen's Adagio Hammerklavier. She has been responsible for the musical research and new music arrangements of the score for La Bayadère as well as for the musical arrangement of Ray Barra’s Raymonda and Le Corsaire (Liska/Petipa) for the Bavarian State Ballet.

Maria Babanina is chairwoman of the Alexander Glasunow foundation. 

Wolfgang Oberender

Assistant Director of Bavarian State Ballet

He studied German literature and history in Stuttgart, and opera direction in Hamburg. He was engaged as a dramatic adviser at the music theatre in Gelsenkirchen, in Essen, worked in Basel with Heinz Spoerli and in Regensburg.

Since 1992 he has been press officer and head of production at the Bavarian State Ballet. Ivan Liska promoted him - with Bettina Wagner-Bergelt - to Assistant Director.

 

Michael Schmidtsdorff

Svetlana Zakharova
Born in Ukraine, Svetlana Zakharova studied at a local dance studio where she mostly practised folk dancing from the age of 6. Aged 10 she joined the Kiev Choreographic school, where she trained mainly with Valeria Sulegina.

In 1995 she entered the International Young Dancers' Competition in Saint Petersburg. She won the second prize for her performance of Princess Florine in the pas de deux of the Blue Birds in Tchaikovsky's The Sleeping Beauty, the variation of George Balanchine's Tchaikovsky Pas de Deux and the first variation from Paquita.
Following the competition she was allowed to continue her training at the "Agrippina Vaganova" Academy in Saint Petersburg. Instead of the expected second course, she was admitted directly to the third, the graduating course (in the class of Yelena Yevteyeva, the distinguished Kirov ballerina of the previous generation). While still a student at the Vaganova Academy Svetlana performed the Shades Act of La Bayadère, Masha in The Nutcracker, the Queen of the Dryads in Don Quixote, and Dying Swan on the stage of the Mariinsky Theatre.
In June 1996 Svetlana graduated from the Vaganova Academy, performing Balanchine's Tchaikovsky Pas de Deux. She immediately joined the Mariinsky Ballet, where she was promoted to principal dancer a year later.

She has been awarded numerous prizes: "Agrippina Vaganova" at the third International Ballet Competition in Saint Petersburg (second prize) in 1995; special prize "Our Hope", from the Baltica in Saint Petersburg in 1997; "Golden Sophit" in Saint Petersburg in 1998; "Golden Mask Award" for Balanchine's Serenade (1999); "Golden Mask Award" for The Sleeping Beauty (2000); "People of Our City", special prize awarded by the city of Saint Petersburg for her achievement in ballet (2001); prize of the Italian magazine Danza & Danza (2002); Benois de la danse for her performance in A Midsummer Night's Dream (2005).

She danced for the first time Munich in 1999 at the guest performances of the Kirov-Ballet, dancing Odette/Odile in Swan Lake, followed by performances with the Bavarian State Ballet as Manon in Kenneth MacMillan's Manon as well as in the Terpsichore-Gala III, partnered by Igor Zelenski.
In October 2012 she returns dancing Nikija in two performances of La Bayadère, with Marlon Dino as Solor.

Zuzana Zahradníková.

First soloist

Zuzana Zahrdaníková was born in Olomouc (Moravia) and trained at the Prague Conservatory. At competitions in Vienna and Budapest she became finalist and danced in several gala-performances. After being an apprentice in season 1999-2000, she joined the Bavarian State Ballet one year later as a corps de ballet dancer. In autum 2004, Zuzana Zahradníková was promoted to soloist, in 2007/2008 to first soloist. Her repertory includes solo roles in La Bayadère (P. Bart), Don Quichote, Brahms-Schoenberg Quartet (G. Balanchine), the second detail and Limb´s Theorem (W. Forsythe), as well as the White Lady in Raymonda (R. Barra), Helena in Neumeier’s Midsummer Night’s Dream and the fiancée in Kyliáns Svadebka.
She was promoted to first soloist at the beginning of the season 2007/2008.

Debut 2005/2006
Solopartie in Century Rolls (D. Bombana), creation
Myrtha in Giselle (P. Wright)

Debut 2006/2007
Odaliske in Le Corsaire (M. Petipa, I. Liška)
Solopartie in Chamber Symphony (L. Childs)

Debut 2007/2008
Solo-Ariel in Der Sturm (J. Mannes)
Große Fuge (H. van Manen)
White Couple in Katalyse (J. Cranko)

Debut 2008/2009
Sister in A Cinderella Story (J. Neumeier)
Odaliske in Shéhérazade (M. Fokine)
Prudence in Die Kameliendame (J. Neumeier)
Zugvögel (J. Kylián), Kreation

Debut 2009/2010
Lady of the House in Les Biches (B. Nijinska)

Debut 2010/2011
Madame Larina in Onegin (J. Cranko)
Fleur de Farine Fairy and Duchess in Sleeping Beauty (M. Petipa, I. Liška)
Lady of the Street in The Taming of the Shrew (J. Cranko)
Queen Mother in Illusions - like Swan Lake (J. Neumeier)

Debut 2011/2012
Frau Konsulin Stahlbaum/ "La fille du Pharao" in The Nutcracker (J. Neumeier)
Gods and Dogs (J. Kylián)
1. Pas de trois in Goldberg-Variationen (J. Robbins)

Debut 2012/2013
Gamzatti in La Bayadère (M. Petipa/P. Bart)
2. Solo-Girl in Choreartium (L. Massine)

Marlon Dino

Principal dancer

Marlon Dino was born in Albania and trained at the School of Choreography and Ballet in Tirana. In 1998 he joined the Genève Dance Center under the direction of David Allen. Thereafter in 2001 he danced for the Ballet of the Vienna State Opera.

He became member of the Corps de ballet of the Bavarian State Ballet in 2002, where he danced a solo part in Jiří Kylián’s Six Dances. He created two choreographies within the State Ballet’s Young Choreographers Programme.
He was promoted to soloist in autumn 2005 and at the beginning of the season 2007/2008 to soloist. During the season 2009/2010 he became principal dancer.

His classical and contemporary repertoire includes the forth movement of George Balanchines Brahms-Schönberg-Quartett. In season 2004/2005 he debuted as Count Paris and Tybalt in Cranko´s Romeo and Julia and assumed an important part in Balanchine´s Agon (second pas de trois). Furthermore he danced the Gaston in the Lady of the Camellias (J. Neumeier), the solo in Hans van Manen´s Five Tangos and Rotbart in Swanlake (R. Barra). His first own choreography, a Pas de deux for Cheryl Wimperis and himself, was created in summer 2003 in the context of the "Jungen Choreographen". In summer 2004 followed the choreography Nimm´s wie du willst.

Debut 2003/2004
Brahms-Schoenberg Quartett (G. Balanchine)

Debut 2004/2005:
Count Paris and Tybalt in Romeo and Juliet (J. Cranko)
Agon (G. Balanchine), second pas de trois
Gaston in Lady of the Camelias (J. Neumeier)
Solo in Five Tangos

Debut 2005/2006
Berenger in Raymonda (R. Barra)

Debut 2006/2007
Second Pas de deux in Century Rolls (D. Bombana)
Pas de six in Giselle (P. Wright)
Rotbart in Swan Lake (R. Barra)
Ali and Birbanto in Le Corsaire (M. Petipa, I. Liška)
Photographer in Die Silberne Rose (G. Murphy)
Man in Song of the Earth (K. MacMillan)
Pas Fabergé in The Sleeping Beauty (M. Petipa/I. Liška)
Prince Albrecht in Giselle (P. Wright) on the occasion of Ballett und Wildnis

Debut 2007/2008
Onegin in Onegin (J. Cranko)
Alonso in Der Sturm (J. Mannes), creation
Legende (J. Cranko)
Solor in La Bayadère (Bart)

Debut 2008/2009
Romeo in Romeo and Juliet (J. Cranko)
Siegfried in Once Upon An Ever After (T. Kohler), Kreation
Zeman in Shéhérazade (M. Fokine)
Siegfried in Swan Lake (R. Barra)
Adagio Hammerklavier (H. v. Manen)
Jean de Brienne in Raymonda (M. Petipa)

Debut 2009/2010
The golden slave in Shéhérazade (M. Fokine)
Armand in The Lady of the Camellias (J. Neumeier)
Bach in Multiplicity. Forms of Silence and Emptiness (N. Duato)

Debut 2010/2011
Prince Désiré in Sleeping Beauty (M. Petipa, I. Liška)
Petruccio in The Taming of the Shrew (J. Cranko)
The Man in the Shadows in Illusions - Like Swan Lake (J. Neumeier)
The King in Illusions - Like Swan Lake (J. Neuemeier)
El Trianero, Matador in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)

Debut 2011/2012
Günther in The Nutcracker (J. Neumeier)
Broken Fall (R. Maliphant)

Peter Jolesch
Character dancer (guest) / Assistant to the Ballet Director

He was born in Budweis, Bohemia, and started his training at the ballet school in Rosenheim before he joined the ballet classes of Gustav Blank and Michel de Lutry at the conservatory in Munich. In 1970 he became apprentice in the ballet company of the Bavarian State Opera and one year later was engaged as a dancer of the Corps de ballet. Further engagements led him to the London Festival Ballet and the Deutsche Oper am Rhein in Düsseldorf before he returned to Munich in 1977.
Peter Jolesch danced in more than 90 ballet productions with partners like Marcia Haydée, Eva Evdokimova and Natalia Makarova.

Still a guest dancer of the Bavarian State Ballet he appears in several character roles, such as Gremin (Onegin), Monsieur G.M. (Manon), Don Quijote and Manolo (Don Quijote), Father Lorenzo (Romeo and Juliet) and The Duke (The Lady of the Camellias).

In January 2005, he joined the staff of the Bavarian State Ballet as Assistant to the Director, being responsible - among others - for the rehearsal schedules.

Since the Bavarian State Ballet started its extended programme for children, Peter Jolesch has been active in leading workshops for children and is part of the leading team for the projects Dancing Anna and The dancing Classroom.
In 2009, Jiri Kylian created a solo variation for him in his ballet Zugvögel.

Norbert Graf

First soloist

Norbert Graf was born in Cologne (Germany) and attended a local private Ballet school for six years. He received private individual training for two years, and at the age of sixteen passed the entrance exams at the Munich Ballet Academy/Heinz-Bosl-Foundation under the directorship of Konstanze Vernon.
Directly after having obtained his diploma, he joined the Bavarian State Ballet in 1989. He took over solo parts already during his first season.

Among others he has danced Hilarion in Giselle, Paris and Tybalt in Romeo and Juliet, Demetrius in A Midsummer Night’s Dream, The great Brahman in La Bayadère, Onegin in Onegin and various solo parts in contemporary choreographies such as Five Tangos, Trois Gnossiennes, Night, Concertante, Three Pieces, Grosse Fuge, and Lieder ohne Worte by Hans van Manen, Svadebka by Jiří Kylián, Fearful Symmetries by P. Martins, Artifact II by W. Forsythe. Albrecht in Mats Ek's Giselle and Des Grieux in The Lady of the Camellias, Teacher and Officer in Shannon Rose by J. Vamos und Tambourmajor in Woyzeck-Fragmente by D. Bombana.

He created roles in Lucinda Childs's Chamber Symphony and in Hammerklavier; Rothbart in Ray Barra’s Swan Lake and the „man with the strong heart“ in Grand-Maître`s Emma B., the father in Neumeier`s A Cinderella Story, leading parts in Forsythe`s Artifact II, The second detail, Teshigawara`s Le sacre du printemps, Mats Ek‘s Apartment and „A Sort of...“
Norbert’s most recent debuts include Forsythe’s Limb’s Theorem and Hans van Manen’s The Old Man and Me. For his creation So nah so fern, Itzik Galili created a prominent role for him.

In 2001 he worked as a choreographer for the first time, creating Loggia and Richard, of which Loggia was performed during two matinees in the National Theatre. One year later he choreographed Il Combattimento di Tancredi e Clorinda, and in 2003 Insections. In 2005 he created Love letters by Frida Kahlo together with Beate Vollack and a solo variation for Tigran Mikayelyan entitled Evolution. In 2007 he created Letter to Leroy to music of the American composer Andersen and in 2008 the pas de deux Avedis to premiere at the Heinz-Bosl-Matinee on November 16, 2008. In 2010 he was in charge of the new production "Whichever Way he Looks" (J. Mannes).

Norbert Graf was awarded the honorary title "Kammertänzer" by the Bavarian Ministry of Culture in spring 2008. In the same year he received the award "Classique" by the Heinz-Bosl-Foundation.

Norbert Graf is also engaged in the programme the Bavarian State Ballet offers for children and young people. 2011 he is in charge of the project "Young horses Lounge II".

He is married with the first soloist Valentina Divina. They have two sons.

Debut 2005/2006
Baron Ochs in The silver rose (G.Murphy)
Elemental (J. Godani), creation

Debut 2006/2007
Lankedem in Le Corsaire (M. Petipa/I. Liska)

Debut 2007/2008
Gremin in Onegin (J. Cranko)
Gonzalo in Der Sturm (J. Mannes), creation
Cambio d'abito (S. Sandroni), creation

Debut 2008/2009
Schah Zeman in Shéhérazade (M. Fokine)

Debut 2009/2010
Seneschal in Raymonda (M. Petipa)
P.S. Norbert Graf - Schütze, Ascendent Skorpion (S. Sandroni)
The Earl in Série Noire - A choreographic murder mystery (T. Kohler)
Prince Désiré in Once Upon an Ever After (T. Kohler)

Debut 2010/2011
Prince Leopold in Illusions - like Swan Lake (J. Neumeier)
Bach in Multiplicity - Forms of Silence and Emptiness (N. Duato)
Camacho in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)
Don Quijote in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)

Debut 2011/2012
Konsul Stahlbaum/ "La fille du Pharao" in The Nutcracker (J. Neumeier)

Debut 2012/2013
Rajah in La Bayadère (M. Petipa/P. Bart)

Elaine Underwood
was born in Northampton, Great Britain, and started her professional dance education in Newcastle-u-Lyme. She then joined the Royal Ballet School in London for two years where she received her diploma. A two-year engagement in Graz followed, first as a member of the Corps de ballet, then as soloist, before she was engaged at the Bavarian Opera Ballet by John Cranko in 1969. Here she danced for 15 years, 12 years as a soloist, and during that time participated in all ballet premieres in various roles. Her repertoire included f. ex. parts in all the works of Balanchine and Cranko that were performed by the State Ballet; she performed the Myrtha in Giselle as well as Tatjana in Onegin.
In 1984 Elaine finished her active career as a dancer, she started a retraining in office management and received a German language diploma. Since 1996 she has helped the students at the Heinz-Bosl-Stiftung and in 2001 she was engaged at the Bavarian State Ballet to supervise the department of ballet shoes.
In autumn 2012 she returned on stage and played the part of Aiya (Gamzatti's servant) in La Bayadère (M. Petipa/P. Bart). 

Karen Azatyan
First Soloist

Karen Azatyan, born in Armenia, started his dance education at the Yerevan Dancing Art State College and completed it in 2007 at the Dance Academy in Zurich. During his time in Zurich he received the second price at the competition “Tanz Olymp Berlin 2005” in the category classic variation and in the same year the Prix de Lausanne scholarship and won the young promising dancer award of the international ballet competition Varna in 2006.

From the season 2007/2008 on, he has joined the Bavarian State Ballet as a member of the Corps de ballet and becam a soloist in autumn 2010. With the beginning of the season 2012/13 Karen Azatyan became First Soloist.

Debut 2007/2008
Sebastian and Antonio in The Tempest (J. Mannes)

Debut 2008/2009
Romeo in Romeo and Juliet (J. Cranko)
Zugvögel (J. Kylián), creation

Debut 2009/2010
Athlet in Les Biches (B. Nijinska)

Debut 2010/2011
Albrecht in Once Upon an Ever After (T. Kohler)
Daphnis in My Ravel: Daphnis and Chloé (T. Kohler)
Hortensio in The Taming of the Shrew (J. Cranko)
Count Alexander in Illusions - like Swan Lake (J. Neumeier)
Basilio in Don Quijote (M. Petipa, new choreography by R. Barra, A. Gorski, Tradition)

Debut 2011/2012
Fritz in The Nutcracker (J. Neumeier)
Lucentio in The Taming of the Shrew (J. Cranko)
Bluebird in Sleeping Beauty (M. Petipa / I. Liška)
Voices of Spring-Pas de deux (F. Ahston)
Gods and Dogs (J. Kylián)
Pas de six and Russian dance in Swan Lake (R. Barra)

Debut 2012/2013
Golden Idol in La Bayadère (M. Petipa/P. Bart)
4. Solo-Boy in Choreartium (L. Massine)
Birthday Offering (F. Ashton)

Stephanie Hancox
Soloist

Stephanie Hancox was born in Australia and started her training at the Tanya Pearson Classical Coaching Academy in Sydney. In January 2001, Stephanie came to Munich to complete her training at Ballett-Akademie/Heinz-Bosl-Foundation. Among others she danced the Corsaire-Pas de deux, in Paquita, in Light Fandango (Robert North) as well as a solo in In the Future (Hans van Manen).

In September 2003 she became member of the Bavarian State Ballet. In season 2004/2005 she danced in Forsythe’s Limb´s Theorem and Hans van Manen’s Black Cake.
She was promoted to soloist in the season 2008/2009.

Debut 2007/2008:
Solo-Ariel in Der Sturm (Mannes)
Solo variation in Brahms-Schönberg-Quartett (Balanchine)
Cambio d´abito (S. Sandroni), creation

Debut 2008/2009
Sister in A Cinderella Story (J. Neumeier)
Aurora in Once Upon An Ever After (T. Kohler)
Prudence in Die Kameliendame (J. Neumeier)
Zugvögel (J. Kylián), creation
Henriette in Raymonda (Petipa/Barra)

Debut 2009/2010
Giselle in Giselle - Mats Ek (M. Ek)
Five Brahms Waltzes in the manner of Isadora Duncan (F. Ashton)

Debut 2010/2011
Woman 2 in My Ravel: Whichever Way he Looks... (J. Mannes)
Solo in Pas Fabergè 3rd Act in Sleeping Beauty (M. Petipa, I. Liška)
Pas de Six in The Taming of the Shrew (J. Cranko)
Lady of the Street in The Taming of the Shrew (J. Cranko)

Debut 2011/2012
Marie's arty aunt/ "The Beauty of Granada" in The Nutcracker (J. Neumeier)
Fairy Variation in The Sleeping Beauty (I. Liska after M. Petipa)
Gods and Dogs (J. Kylián)
Whore in The Taming of the Shrew (J. Cranko)
Sommer 2012
Gala für Tanya Pearson Taming-Pas de deux, Gala Version

Debut 2012/2013
1. and 2. Shade Variation in La Bayadère (M. Petipa/P. Bart)
Broken Fall (R. Maliphant)
4. Variation in Birthday Offering (F. Ashton)

Ilana Werner
First Soloist

Ilana Werner– whose parents were both dancers - was born in Zurich (Switzerland) and trained in her native town, in Monte Carlo and at the Munich Ballet Academy. She got a scholarship from the Ambrosoli Foundation and the Migros Kulturgenossenschaft.

Having graduated, she joined the Bavarian State Ballet in season 2003/2004 as a Corps de ballet dancer. Her repertoire includes Mats Ek’s Apartment, Forsythe’s Limb’s Theorem, one of the shadow varations in La Bayadère, Kylián's Bella Figura, a solo in van Manens Five Tangos and Balanchines Serenade.
She was promoted to soloist in February 2009 and to First Soloist in July 2012.

Debut 2006/2007
Solo in Song of the Earth (MacMillan)
Fairy variation in The Sleeping Beauty (Petipa, Liška)

Debut 2007/2008
Miranda in Der Sturm (Mannes)

Debut 2008/2009
Sister in A Cinderella Story (J. Neumeier)
Julia in Romeo and Juliet (J. Cranko)
Girl in Grey in Les Biches (B. Nijinska)
Olympia in Lady of the Camelias (J. Neumeier)
Solo in Viola Concerto II (M. Schläpfer)
Odalisque in Le Corsaire (M. Petipa/I. Liška)
Pas de six in Swan Lake (M. Petipa/L. Iwanow/R.Barra)
Clémence in Raymonda (M. Petipa)
Olga in Onegin (J. Cranko)

Debut 2009/2010
Giselle in Once Upon An Ever After (T. Kohler)
Solo in Dämmern in Terpsichore-Gala IX (J. Neumeier)

Debut 2010/2011
Princess Claire in Illusions - Like Swan Lake (J. Neumeier)
2. dream variation in Don Quijote (R. Barra;  M. Petipa, A. Gorski, Tradition)
Rocio in Don Quijote (R. Barra nach M. Petipa, A. Gorski, Tradition)
Princess Florine in Sleeping Beauty (I. Liška,; M. Petipa)

Debut 2011/2012
Bianca in The Taming of the Shrew (J. Cranko)
Voices of Spring (F. Ashton)
Pas fabergée in Sleeping Beauty (M. Petipa / I. Liška)
Marie in The Nutcracker (J. Neumeier)
Solo "Of Youth" in Song of the Earth (K. MacMillan)
The Youngest Sister in Las Hermanas (K. MacMillan)
2. Pas de trois in Goldberg-Variationen (J. Robbins)
Lise in La Fille mal gardée (F. Ashton)

Debut 2012/2013
2. Shade Variation in La Bayadère (M. Petipa/P. Bart)
1. Pas de deux in Goldberg-Variationen (J. Robbins)
3. Solo-Girl in Choreartium (L. Massine)
The Moor's wife in The Moor's Pavane (José Limón)

Luiza Bernardes Bertho
Corps de ballet

Born in Rio de Janeiro, Brazil. Studied at Petite Danse School of Dance and Brazilian Conservatory of Dance in Rio de Janeiro. From 2005, parallel to her studies, dancing in the  Corps de ballet of the Brazilian Company of Ballet, from 2008 also in the Corps de ballet of the Municipal Theatre Ballet of Rio de Janeiro. Gold Medal at the competition of the Dance Festivals of Joinville in Santa Catarina, Brazil in 2007 und 2008. Semi-Finalist at 36th Prix de Lausanne, Switzerland und Bronze Medal at the 2nd International Ballet Competition in Beijing, China in 2008.
Dancing leading roles like the title role in  Giselle, Kitri in Don Quixote, various Soli in The Nutcracker and Gamzatti in La Bayadère with the Brazilian Company of Ballet between 2008 und 2010. In Spring 2010, she performs with the Cuban Classical Ballet of Miami, USA, dancing Mercedes in Don Quixote.

Since September 2010 engaged with the Bavarian State Ballet in Munich and was promoted to a Corps de ballet dancer at the beginning of the season 2011/12.

Debut 2012/2013
2. Solo-Girl in Choreartium (L. Massine)
5. Variation in Birthday Offering (F. Ashton)