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International Dance Competition
Dance Open America Spain
Dance Open America has the pleasure to announce our Third International Regional Competition in Spain,Madrid Aranjuez in partnership with Fundacion SMEDIAN group and El Teatro Real Carlos III of Aranjuez. February 15 - 18 of 2024. Welcome Spain and countries near by.
Aranjuez was declared a World Heritage Site by Unesco in December 2001. Aranjuez is a Spanish municipal located in the south of Madrid with a great history related to the Queen and King Of Spain. The city that can be visited in one day, which is located 62 kilometers south of Madrid and is bathed by the Tagus River.
Jueces España 2024
Frédéric Olivieri | Dance Open America
Born in Nice, he trained and graduated from the city’s Music and Dance Conservatoire. In 1977, he was a Prize Winner of the Prix de Lausanne, entitling him to enter the Paris Opera Ballet School. In 1978, he joined the Paris Opera Ballet under the direction of Violette Verdy and later of Rosella Hightower. He was appointed soloist in 1981, when Rudolf Nureyev was artistic director of the Paris Opera Ballet. With the company, he danced the most important roles in the classical and contemporary repertoire, working with several guest choreographers such as Maurice Béjart, John Neumeier, Kenneth MacMillan, Alwin Nikolais, Alvin Ailey, Paul Taylor, Glen Tetley and Roland Petit.
In 1985, he joined as Leading Dancer during the founding year of the Ballets de Monte-Carlo under the direction of Pierre Lacotte and Ghislaine Thesmar. Just a few months after, in the presence of HRH Princess Caroline of Monaco, he was awarded the title Étoile. Until 1993, he has interpreted all the most important roles in the classical, neoclassical and contemporary repertoire with the company. He has also starred in creations dedicated to him by choreographers like Uwe Scholz, Jean-Christophe Maillot, John Neumeier, and Roland Petit.
In 1986, he received the Leonide Massine Prize, and in 1992, Prince Ranieri of Monaco awarded him with the title of Knight of the Order of Cultural Merits. In 1993, he became Principal dancer of the Hamburg Ballet directed by the choreographer John Neumeier, where he ended his brilliant career as a dancer. In 1996, he began a new professional experience at Maggio Musicale Fiorentino where, until 1998, he held the position of Maître de Ballet and assistant choreographer of the MaggioDanza troupe, for which he also created the choreography for Claudio Monteverdi’s Orfeo directed by Luca Ronconi, as well as the choreography of Aida by Giuseppe Verdi, directed by Mariani. He subsequently became Maître de Ballet at Zürcher Ballett directed by Heinz Spoerli. In 2000, he was appointed Artistic Director of MaggioDanza at Teatro Comunale Fiorentino. From September of that same year, he became principal Maître de Ballet of the Ballet Company of Teatro alla Scala in Milan.
In 2002, he was appointed Director of the Ballet Company of Teatro alla Scala – a position he held until 2007. During his management, the ballet repertoire of the company was expanded and renewed with new productions such as Swan Lake by Vladimir Bourmeister, La Dame aux Camélias by John Neumeier, A Midsummer Night’s Dream by George Balanchine, The Cage by Jerome Robbins, Symphony of Psalms and Petite Mort by Jiří Kylián, Marguerite and Armand by Frederick Ashton, Annonciation and La Stravaganza by Angelin Preljocaj, and Polyphonia by Christopher Wheeldon. Not to mention works from some of the most renowned Italian choreographers such as Mauro Bigonzetti, Fabrizio Monteverde and Jacopo Godani, in addition to his close collaboration with the great choreographers Maurice Béjart and Roland Petit. During his tenure, the Ballet Company of Teatro alla Scala performed in some of the greatest stages of the world on numerous international tours. Since 2003, he has been Director of the Dance Department of Teatro alla Scala Academy, and in October 2006, he also became Director of this historical school. During his directorship, he has given his pupils the opportunity to attend master classes with internationally renowned dancers and choreographers. Moreover, he has enriched the School’s repertoire with important choreographies such as Napoli by August Bournonville, Serenade, Who cares?, Theme and Variations, and Tarantella by George Balanchine, La Bella Addormentata by Mats Ek, Gaîté Parisienne suite and La luna by Maurice Béjart, The Vertiginous Thrill of Exactitude by William Forsythe, Symphony in D, Evening Songs and Un ballo by Jiří Kylián, The Unsung by José Limón, Gymnopédie by Roland Petit, and Larmes Blanches and La Stravaganza by Angelin Preljocaj. He has also choreographed new versions of celebrated classical works for the School, such as The Nutcracker set to music by Tchaikovsky, and Cinderella to music by Prokofiev.
In July 2005, he was awarded the title Knight of Arts and Letters by the French Ministry of Culture.
Since October 2016, he has once again been entrusted the Direction of the Ballet Company of Teatro alla Scala.
In 1985, he joined as Leading Dancer during the founding year of the Ballets de Monte-Carlo under the direction of Pierre Lacotte and Ghislaine Thesmar. Just a few months after, in the presence of HRH Princess Caroline of Monaco, he was awarded the title Étoile. Until 1993, he has interpreted all the most important roles in the classical, neoclassical and contemporary repertoire with the company. He has also starred in creations dedicated to him by choreographers like Uwe Scholz, Jean-Christophe Maillot, John Neumeier, and Roland Petit.
In 1986, he received the Leonide Massine Prize, and in 1992, Prince Ranieri of Monaco awarded him with the title of Knight of the Order of Cultural Merits. In 1993, he became Principal dancer of the Hamburg Ballet directed by the choreographer John Neumeier, where he ended his brilliant career as a dancer. In 1996, he began a new professional experience at Maggio Musicale Fiorentino where, until 1998, he held the position of Maître de Ballet and assistant choreographer of the MaggioDanza troupe, for which he also created the choreography for Claudio Monteverdi’s Orfeo directed by Luca Ronconi, as well as the choreography of Aida by Giuseppe Verdi, directed by Mariani. He subsequently became Maître de Ballet at Zürcher Ballett directed by Heinz Spoerli. In 2000, he was appointed Artistic Director of MaggioDanza at Teatro Comunale Fiorentino. From September of that same year, he became principal Maître de Ballet of the Ballet Company of Teatro alla Scala in Milan.
In 2002, he was appointed Director of the Ballet Company of Teatro alla Scala – a position he held until 2007. During his management, the ballet repertoire of the company was expanded and renewed with new productions such as Swan Lake by Vladimir Bourmeister, La Dame aux Camélias by John Neumeier, A Midsummer Night’s Dream by George Balanchine, The Cage by Jerome Robbins, Symphony of Psalms and Petite Mort by Jiří Kylián, Marguerite and Armand by Frederick Ashton, Annonciation and La Stravaganza by Angelin Preljocaj, and Polyphonia by Christopher Wheeldon. Not to mention works from some of the most renowned Italian choreographers such as Mauro Bigonzetti, Fabrizio Monteverde and Jacopo Godani, in addition to his close collaboration with the great choreographers Maurice Béjart and Roland Petit. During his tenure, the Ballet Company of Teatro alla Scala performed in some of the greatest stages of the world on numerous international tours. Since 2003, he has been Director of the Dance Department of Teatro alla Scala Academy, and in October 2006, he also became Director of this historical school. During his directorship, he has given his pupils the opportunity to attend master classes with internationally renowned dancers and choreographers. Moreover, he has enriched the School’s repertoire with important choreographies such as Napoli by August Bournonville, Serenade, Who cares?, Theme and Variations, and Tarantella by George Balanchine, La Bella Addormentata by Mats Ek, Gaîté Parisienne suite and La luna by Maurice Béjart, The Vertiginous Thrill of Exactitude by William Forsythe, Symphony in D, Evening Songs and Un ballo by Jiří Kylián, The Unsung by José Limón, Gymnopédie by Roland Petit, and Larmes Blanches and La Stravaganza by Angelin Preljocaj. He has also choreographed new versions of celebrated classical works for the School, such as The Nutcracker set to music by Tchaikovsky, and Cinderella to music by Prokofiev.
In July 2005, he was awarded the title Knight of Arts and Letters by the French Ministry of Culture.
Since October 2016, he has once again been entrusted the Direction of the Ballet Company of Teatro alla Scala.
Tina Mariager | Dance Open America
Started in the performing arts as a 6 year old child actress playing
and dancing at "The Fairy Tale Theatre" and later in the musical film
trilogy "Næsbygård" produced. by Nordisk Film.
The early start created a solid professionalism and an insight to
the many competences that are at play in order to give artistry its
performing space and the handicraft it's likewise. It also sparked the
question why some things work,- some not?
I have worked as dancer, choreographer, artistic director, principal,
producer, lecturer, ballet pedagogue in municipal, national
and private institutions in Denmark Sweden, US and Russia ,
occupations that has given me insights into the many premisses,
the different national contexts, influenced and dependable on
organizational structures, political changes as well as economical,.
My pedagogical education started out on , observations and
reflections and questions. My curiosity drove me from studying
training physiology, different acting methods, to syllabuses of
different mission, vision and values, and different educational results.
My academic studies later, contextualized and answered my many
questions on a voyage that never stops..
and dancing at "The Fairy Tale Theatre" and later in the musical film
trilogy "Næsbygård" produced. by Nordisk Film.
The early start created a solid professionalism and an insight to
the many competences that are at play in order to give artistry its
performing space and the handicraft it's likewise. It also sparked the
question why some things work,- some not?
I have worked as dancer, choreographer, artistic director, principal,
producer, lecturer, ballet pedagogue in municipal, national
and private institutions in Denmark Sweden, US and Russia ,
occupations that has given me insights into the many premisses,
the different national contexts, influenced and dependable on
organizational structures, political changes as well as economical,.
My pedagogical education started out on , observations and
reflections and questions. My curiosity drove me from studying
training physiology, different acting methods, to syllabuses of
different mission, vision and values, and different educational results.
My academic studies later, contextualized and answered my many
questions on a voyage that never stops..
Rodolfo Castellanos | Dance Open America
A former dancer with National Ballet of Cuba, during his academic career he graduated as a classical Ballet dancer and ballet master at the National Arts Schools of Havana, Cuba. Some of his ballet masters were Fernando Alonso, Joaquín Banegas, Josefina Méndez and Ramona de Sáa. He graduated at the Higher Institute of Art in 1993, and he has a degree in Dance Art with a specialization in ballet in the city of Havana, Cuba. He also received the status of ballet master of the Higher Institute of Art in Havana (Cuba). He graduated from the Higher Conservatory of Dance of Institut de Teatre (Barcelona) of the Barcelona Provincial Council, specializing in Dance Pedagogy (2015). His artistic career is brilliant: he made his debut as a professional in 1973 with the National Ballet of Cuba. From 1975 to 1977 he participated in the Ballet of Camagüey. In 1977 he moved back to the National Ballet of Cuba, with Alicia Alonso as a director, where he had an ascending professional career: First Artist 1977, Soloist 1982, First Soloist 1985 and Principal Dancer 1986. His repertoire includes all the leading roles in the great romantic-classical tradition. He was invited to many dance companies as a principal dancer, and he premiered throughout America the version of the Spartacus ballet by the Hungarian choreographer Lazlo Zeregi at the Ballet of Santiago de Chile. He has shared a staged with stars like Julio Bocca, Marcia Haydee, Vladimir Vasiliev, Alicia Alonso and Paolo Bartolucci among others. He worked with many contemporary choreographers like Michel Descombey, Jhon Wisman, José Antonio or Antonio Gades, and he performed all the work from Cuban choreographers like Alberto Mendes, Gustavo Herrera or Ivan Tenorio. As a ballet master, we must underline that since 1982 he has combined being a dancer with his job as a ballet master at the Cuban National Ballet School of Havana, where he got excellent results with students, according to Carlos Acosta and Víctor Gili. In 1992 he collaborated with Ben Stevenson in the production of The Snow Maiden in Santiago de Chile. In 1994 and 1995 he worked as a ballet master and rehearsal director at the Euskadi Ballet, directed by Rafael Martí. He participated in the performance of Giselle, which is available at the Barakaldo Theatre in San Sebastián and the Fortuny Theatre in Reus. In 1995 he was guest ballet master at the Ballet Theatre of Bordeaux, in France. He was also invited to work as a ballet master and rehearsal director at the Ballet of Zaragoza, directed by Arantxa Argüelles. Since 1999 she has worked as a ballet master in the young company IT Dansa, directed by Catherine Allard.
Etienne Béchard | Dance Open America
Born in France in 1987, Etienne BÉCHARD is a contemporary choreographer who mixes
different styles with a strong classical base. Keen on a physical and dynamic approach, his
shows combine aesthetics, acrobatics, and explosive movements, as well as poetry, with a
commitment to bringing light to various social causes and a generous slice of humor. He was
ten years old when he started to dance in the south of France. His professors taught him
various choreographic styles, and this diversified education would bring him later to develop
his own creativity. At 16, he started at the workshop-school Rudra-Béjart, after which he then
joined the Béjart Ballet Lausanne 2 years later, where he learned discipline and precision. Two
skills that still affect his works today.One thing becomes clear to him : he wants to create
choreographies. So much, that he leaves the Béjart Ballet Lausanne to fully dedicate himself to
his new calling.Thus, in 2010, answering a desire of emancipation, he
settled down in Bruxelle and started his own company : Opinion Public Dance Company. Since
then, his creations have drawn their raw materials in modern day neurosis, always with humor
and poetry, touching on the issues and stakes of our time. In 2016, he was invited to the Ballet
de Opéra national du Rhin, under the direction of Ivan Cavallari. This was an experience with a
big company of 30 dancers and the creation of the shows « ...Cupidon s’en fou » . In 2016 again,
under the direction of Estefania Miranda, he put back on once again his “Post Anima” ( created
originally in 2014 ), the 15 dancers of the Tanz Konzert Theater with him, and the next season
also, after that his “Bolero”. The trade press named Tanz Magazin, named Etienne Béchard in
2017, as one of the most promising choreographers of the international stage. In 2018, he was
invited to create a “The Rite of Spring” for Les Grands Ballets Canadiens. After the great
success of the reinterpretation of Stravinsky’s work, the director of Les Grands Ballets
Canadiens , entrusted him to envision his own version of “Carmen” for the Ballet. In 2022,
Etienne presented “Carmen” to Montréal.
different styles with a strong classical base. Keen on a physical and dynamic approach, his
shows combine aesthetics, acrobatics, and explosive movements, as well as poetry, with a
commitment to bringing light to various social causes and a generous slice of humor. He was
ten years old when he started to dance in the south of France. His professors taught him
various choreographic styles, and this diversified education would bring him later to develop
his own creativity. At 16, he started at the workshop-school Rudra-Béjart, after which he then
joined the Béjart Ballet Lausanne 2 years later, where he learned discipline and precision. Two
skills that still affect his works today.One thing becomes clear to him : he wants to create
choreographies. So much, that he leaves the Béjart Ballet Lausanne to fully dedicate himself to
his new calling.Thus, in 2010, answering a desire of emancipation, he
settled down in Bruxelle and started his own company : Opinion Public Dance Company. Since
then, his creations have drawn their raw materials in modern day neurosis, always with humor
and poetry, touching on the issues and stakes of our time. In 2016, he was invited to the Ballet
de Opéra national du Rhin, under the direction of Ivan Cavallari. This was an experience with a
big company of 30 dancers and the creation of the shows « ...Cupidon s’en fou » . In 2016 again,
under the direction of Estefania Miranda, he put back on once again his “Post Anima” ( created
originally in 2014 ), the 15 dancers of the Tanz Konzert Theater with him, and the next season
also, after that his “Bolero”. The trade press named Tanz Magazin, named Etienne Béchard in
2017, as one of the most promising choreographers of the international stage. In 2018, he was
invited to create a “The Rite of Spring” for Les Grands Ballets Canadiens. After the great
success of the reinterpretation of Stravinsky’s work, the director of Les Grands Ballets
Canadiens , entrusted him to envision his own version of “Carmen” for the Ballet. In 2022,
Etienne presented “Carmen” to Montréal.
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