I am very sorry to inform that I will have to stop my career as a dancer because of a re-occuring knee injury. Of course I am sad and I will miss dancing very much but I have had an amazing dancing career and I look back on it with lots of joy and pride! Also I am very happy to announce that I will be staying with Dutch National Ballet as assistant balletmaster. It will be wonderful to give on my love and knowledge to the generations to come!
I will be dancing one last time on the 16th of september at the Nationale Opera en Ballet in Amsterdam. In light of the triple bill `The New Classics’ I will dance the white pas de deux from Lady of the Camellias (John Neumeier) with dear partner Igone de Jongh and will finish with Edward Clug’s ‘Sss…’. Tickets can be found here.
The nomination is for his role in Wubkje Kuindersma choreography ‘Two and Only’ on music by Michael Benjamin. On June 5th there will be the nominees gala where Marijn Rademaker and Timothy van Poucke will perform ‘Two and Only’ at the Bolshoi Theatre in Moscow and the prize will be given away.
This Ballet Prize was established in Moscow by the International Dance Association, now the International Dance Union, and was presented to the public on the stage of the Bolshoi Theatre on April 29, 1992 for the first time. President of the Union, the famous choreographer Yuri Grigorovich, is an artistic director of this project and a President of Jury. The international jury, relieving annually and including the most authoritative personalities of the world choreography — heads of the most important dance companies, stars of the world ballet, known pedagogues, – presents nominees during the year and determines the betters.
More information along with the other nominees one can find here.
Marijn Rademaker received the award for his performance of Edward Clug’s ‘Sss..’ at the last Gala of the Festival. The prize was giving by the president of the international jury, Hans van Manen. The award is a crystal replica of a copy of the bronze cast of the foot of the great ballerina Anna Pavlova, which was created in 1913 by the sculptor B.O. Fredman-Klyuzel. The prototype of the Award is kept at the St. Petersburg State Museum of Theatre and Music.
A crystal replica is made at the OAO “Dyatkovsky Khrustal”. It is a center of Russian glassmaking, which keeps the best traditions of skilled craftsmen, embodied in the production of excellent quality made of ideally transparent sparkling crystal, polished by the hands of Russian masters.
The other members of the jury were:
Polish National Ballet
Dutch National Ballet
Ekaterinburg state theater of opera and ballet
(Ural Opera Ballet)
The National Ballet of Spain
St. Petersburg State Academic Leonid Yacobson Ballet Theatre
Marijn Rademaker will participate in the 15th edition of the World Ballet Festival in Tokyo, Japan again. This festival is one of the most prestigious in the world. The creme de la creme of the international dance world gathers here to perform in a two week run of gala performances. The festival will end with a very special unique gala.
The performances will be accompanied by the Tokyo Philharmonic Orchestra and conducted by Valery Ovsyanikov and Robertas Šervenikas.
Program A: 1, 2, 3, 18:00, 4, 5, 14:00, August 2018
Program B: 8, 9, 18:00, 10, 11, 12, 14:00, August 2018
Gala: 15th of August 2018 17:00
Maria Alexandrova, Bolshoi Ballet
Silvia Azzoni, Hamburg Ballet
Elisa Badenes, Stuttgart Ballet
Leonore Baulac, l’Opéra de Paris
Alina Cojocaru, English Nationa Ballet
Aurélie Dupont, l’Opéra de Paris (only Program A)
Dorothée Gilbert, l’Opéra de Paris
Maria Kochetkova, San Francisco Ballet
Sarah Lamb, The Royal Ballet, England
Anna Laudere, Hamburg Ballet
Myriam Ould-Braham, l’Opéra de Paris
Tamara Rojo, English National Ballet
Iana Salenko, Berlin State Ballet (only Program A)
Polina Semionova, Berlin State Ballet
Roberto Bolle, la Scala Milano, the American Ballet Theater
Federico Bonelli, the Royal Ballet, England
Daniel Camargo, Dutch National Ballet
Cesar Corrales, English National Theater (only Program B)
Mathieu Ganio, l’Opéra de Paris
David Hallberg, the American Ballet Theater
Isaac Hernandez, English National Ballet
Mathias Heymann, l’Opéra de Paris
Vladislav Lantratov, Bolshoi Ballet
Germain Louvet, l’Opéra de Paris
Steven McRae, the Royal Ballet, England (only Program A)
Marijn Rademaker, Dutch National Ballet
Edvin Revazov, Hamburg Ballet
Alexandre Riabko, Hamburg Ballet
Leonid Sarafanov, Mikhailovsky Ballet
Daniil Simkin, the American Ballet Theater
Friedemann Vogel, Stuttgart Ballet
“Being injured is part of our job, it happens, we will get back stronger!” That’s what we say when we try to sweet talk ourselves and make it ok. But it always hurts.
Being injured means dealing with letting go what you love. Its sounds really dramatic, I know… but it is. Of course, one time can be more dramatic than another time. Maybe one time you can’t enjoy the summer holidays fully because you ripped the ligaments in your ankle and have to walk on crutches. That’s not too bad. You will have to use your free summer time not being free to make your ankle stronger. But at least you can dance again after the summer.
To let go what you really love, dancing, is the hardest. At least, for me. Dealing with cancelling performances, both at home and guesting abroad, that you were really looking forward to. And that comes with disappointing people. Your director, your colleagues, all who will have to jump in all of a sudden; gala organisers who have to find a replacement. And dancers hate to disappoint. That’s in our blood. And then you just miss the dancing, the physicality of it. Watching class being injured and see the guys jump is the worst. ‘But hey, I’ll be back in no time!’ But still this injured feeling is there.
I have spoken to many dancers about being injured over the years. It is an interest of mine, because I’ve been injured quite a bit myself. And many dancers feel guilty and have the feeling they are disappointing people around them. There are some who just say, ‘I don’t give a shit, I did my job, I got injured and I have to get back’. I wish I could have that mind-set. I used to be more like that.
Marijn Rademaker Antwerp 1998 When I had just started at the Stuttgart Ballet I was very eager to work hard. I came from a school where they had no boys in my class or above me to look up to. So when I came to the Stuttgart Ballet, I suddenly saw all these guys and they were all amazing. I was like, ok, I really have to put my shit together and work my ass off. Which I did.
But I can see now – like one always realises things in retrospect – that I pushed myself the wrong way. Also, I had just the wrong ballet technique and wasn’t strong enough. One day in the centre I did a double tour from 5th and in the preparation plié there was an extremely loud bang. Even friends standing in the back against the barre heard it.
Ripped meniscus was the diagnosis after an MRI. I went to ‘one of the best’ clinics in Germany. They always say one of the best. That doctor advised me to sew my meniscus together because I was 19 and still so young and I would still need it a lot in my career to protect the cartilage. I understood what he meant it and sounded like it was the best option for me. It meant not dancing for 6 months. A meniscus is tissue that has basically no blood circulation so it takes a very long time to grow together again. Or not at all… which happened to mine. It didn’t grow together. The thread was loose and floating around in my knee and there was a constant clicking sound. I went back and they decided to cut a part of the meniscus out… Op n°2. This was my right knee.
My first time setting Äffi. A piece that means a lot to me. Made by Marco on me in 2005. I asked him if he would make something for me because I had a benefit gala in Arnhem, the city I went to school at. He said yes and it was the first time we worked together again after his first Noverre piece ‘Chicks’ in Stuttgart.
Setting this in Hamburg is special to me. I have immense respect for this company and these dancers. The heritage they have, the way they work and dance. John of course. He brought that with him from Stuttgart and developed it. His troupe radiates a great power on and off stage. Of course I also learned a great deal in Stuttgart and now in Amsterdam and its a great feeling giving this on to young dancers. I am working with 4 dancers from the Bundesjungendballett, amazingly guided by Kevin Haigen and Yohan Stegli and 2 guys from the Hamburg Ballet School. All very talented but very different. For me very interesting. I had no idea how it would be to set this piece I know everything about. For instance, I never thought about the music. I had to make a frame and write it down to teach them. Most of it I set on text. The steps are very very detailed. They are so in my body that I sometimes have difficulty showing them slow. But its good for me, next time I will perform Äffi more precise:) The boys are incredibly fast. On the 5th day, we did a run through all together. So all the steps were tought. Chapeaux to them. Its a complex 11 minute piece. Long for a solo. Of course not perfect, but with lots of potential. On the saturday after I started cleaning. First of all the steps, the structure, but for me most interesting is, the karakter of the step, of the piece or the different sections in the piece. What it means to me, what they think of it and of course I try to tell them what Marco thought or said. Its a piece with many feelings. One will find them in the music, but also in the ‘story’ of the piece. Vulgarity, aggression, love, childhood, longing, decision and others.
How do you get major aggression or regret, sorrow and pain out of a 19 year old school boy? I don’t know yet… By showing them, talking to them, stimulating them with sounds, movement and words. One boy is very very talented, but still very young. He has problems keeping his face under control when he gets stressed about the steps (cause there are many) or when he gets tired. Then I connected a feeling or atmosphere to the steps and his face changed instantly. It was involved, as was the rest of his body. When the emotion is there, truly there, the step becomes right. Some dancers do this instinctively. Some you have to help to get this out of them. I am seeing now that I love to do that.
A person that is very important to me in this sense is Georgette Tsinguirides. Choreologist with the Stuttgart Ballet and a Stuttgart Ballet wonder herself. She is connected to the Stuttgart Ballet even before it became Stuttgart Ballet, before Cranko was even there. She worked with me on many different roles that were close to me, like Lenski and Romeo, but also roles that stood far away from me. Like Onegin and Pertruccio in Taming of the Shrew. She tough me how important it is to look at the role/part itself. What it should be like, what it should say, and how it should be done. Because no role is like the other. One should see her walk as Pertruccio. Amazing. Or see how she looks at the cover of Tatiana’s book as Onegin. She has a gift to convey the essence of a part. And that is what is the most important. The essence. Then it is up to the dancer to make it his own. Within the frame of the choreography. She also told me I shouldn’t try to dance for instance Pertruccio like Richard Cragun. First of all cause I can’t, but also because I am a totally different dancer, and person. Every dancers has to dance a role different. I am also trying to tell that to ‘my’ Äffi guys now. I have to tell myself too sometimes, let them do it their way. And that’s how the piece starts living for them. And for me. And that’s beautiful to see and be a part of.
Marijn is setting Marco Goecke’s Äffi in Hamburg at the moment. Working with 4 talented dancers of John Neumeiers Bundesjugendballett in Hamburg and 2 of the Hamburg Ballet School. Marco Goecke created this piece on 3 songs of Johnny Cash on Marijn in 2005. He has danced it ever since.
dance4life’s funky fundraiser, die op 26 juli 2015 plaatsvond in Amsterdam, heeft ruim vier ton opgeleverd. De opbrengst van het diner en de veiling komt ten goede aan de voorlichtingsprojecten van dance4life. Marijn Rademaker, eerste solist bij Het Nationale Ballet, werd op de rode loper als nieuwe ambassadeur verwelkomd door mede-ambassadeur Doutzen Kroes.
Verschillende kunstenaars en bekende Nederlanders ontwierpen speciaal voor dance4life een Mister Chi-scooter. Tijdens een diner voor 500 prominenten werden de scooters van Bas Kosters, De Jeugd van Tegenwoordig, Doutzen Kroes, Hardwell, Jan Taminiau en Selwyn Senatori geveild. Naast de scooters werden verschillende once-in-a-lifetime experiences en never-for-sale items geveild: van een dag op Circuit Zandvoort met Max Verstappen en een unieke overnachting in de A’DAM Toren, tot een privéfeest met Girls Love DJ’s in de Amsterdamse ABE Club & Lounge en meerijden in de Tour de France met Alberto Contador. Dit resulteerde in een totaalbedrag van 423.000 euro voor het goede doel.
Het Nationale Ballet, Xander de Buisonjé en Doutzen Kroes slaan handen ineen tijdens dance4life’s funky fundraiser
Eerste solist Het Nationale Ballet ambassadeur dance4life
Amsterdam, 26 juni 2015 – Marijn Rademaker, eerste solist bij Het Nationale Ballet, is met ingang van vandaag ambassadeur van dance4life. Dat maakt de organisatie bekend op de dag voorafgaand aan dance4life’s funky fundraiser. Tijdens deze fundraise-avond van dance4life die morgenavond plaatsvindt in de Kromhouthal in Amsterdam worden uiteenlopende items geveild voor het goede doel.
Marijn Rademaker kijkt er naar uit om als ambassadeur van dance4life aan de slag te gaan: “Als balletdanser zie ik wat dans los kan maken in mensen. Daarom geloof ik ook zo in de aanpak van dance4life. Met muziek en dans kun je mensen meenemen in je verhaal en een belangrijke boodschap overbrengen. Ik vind het dan ook te gek dat ik dat vandaag als ambassadeur mag gaan doen op het podium van dance4life’s funky fundraiser!”
Vanaf begin 2015 is Marijn Rademaker eerste solist bij Het Nationale Ballet. Marijn Rademaker, voorheen eerste solist bij het Duitse Stuttgarter Ballett, wordt beschouwd als de beste Nederlandse balletdanser ter wereld van dit moment. Marijn danste hoofdrollen in vrijwel alle grote klassiek-romantische balletten en werkte samen met een groot aantal choreografen. Als ambassadeur van dance4life bevindt Marijn Rademaker zich in het gezelschap van mede-ambassadeurs als Doutzen Kroes en Hardwell.
Met optredens van onder andere DI-RECT, Krystl, Cesar Zuiderwijk, Vincent Bijlo en Het Nationale Ballet worden de aanwezigen voorafgaand aan de veiling getrakteerd op een onvergetelijke show. De presentatie van de avond is in handen van Xander de Buisonjé. Aansluitend wordtdoorgefeest met dj’s Jay Hardway, Kill The Buzz, Mightyfools, Wildstylez en een nog geheime headliner.
Marijn will give his farewell performance with The Stuttgart Ballet on the 31st of December 2014 at the New Year’s Eve Gala.
He will dance two of his signature pieces, Marco Goeckes Äffi and the black pas de deux from John Neumeiers Lady of the Camellias with Sue Jin Kang. He will also dance Javier de Frutos piece 3 with D. This piece was world premiered in London at the Sadlers Wells theatre in Ivan Putrovs show Men in Motion. It’s a pas de deux with the Royal Ballet star, Edward Watson.
The program will include a Itzik Galili world premiere with Friedemann Vogel and Jason Reilly, Manon with Alina Cojucaru, Hans van Manens Variations for two couples and more the full program can be viewed here.