Contents. Early life and training Rojo was born in, Canada, to Spanish parents who moved back to Spain when she was four months old. Rojo started taking local dance classes at the age of 5 in Spain. By the time she reached age 11, Rojo became a full-time student at the Madrid Royal Conservatory of Dance, studying under and Karemia Moreno. Though her parents were thrilled at her talent, they insisted that Rojo also complete an academic education. Therefore, after studio rehearsals every day, Rojo would attend evening classes.

1. Swan Lake Tamara Rojo For Macbook Pro

When Rojo was 16, she graduated from the Conservatory and had only two more years until her completion of regular school studies. Rojo has a PhD in performing arts and D.A. Magna Cum Laude from the of Madrid Career Rojo began her professional career as a dancer with the Ballet de la Comunidad de Madrid, under the direction of Victor Ullate. In 1994, she became notable after winning the Gold Medal at the Paris International Dance competition and a Special Jury Award given by Natalia Makarova, Vladimir Vassiliev, and Galina Samsova, a judging panel consisting of some of the most outstanding figures of the ballet world. Early career in Britain In 1996, Rojo was invited by Galina Samsova to join the.

While there, she performed the principal roles in, and Cranko's Romeo and Juliet. In 1997, she joined the English National Ballet, and danced principal roles in Swan Lake, Paquita, Coppelia, ad Glen Tetley's The Sphinx and Voluntaries., Artistic Director of the, created the roles of Juliet in Romeo and Juliet and Clara in The Nutcracker for her.

Rojo was named 'Dance Revelation of the Year' in 1997 after her performance as Clara, breaking attendance records at the London Coliseum. Royal Ballet After receiving praise from both critics and audience, Rojo was officially invited to become a principal dancer of the Royal Ballet in 2000; she has been working with the company extensively ever since. After joining The Royal Ballet, she took on principal roles in Dowell’s Swan Lake, Makarova’s and, Mason's The Sleeping Beauty, Nureyev's, and Wright's. She has performed many roles in 's works, recreated for her by Deborah MacMillan, including the title roles in Isadora, Manon, Mary Vetsera in Mayerling, The Woman in Song of the Earth, The Chosen One in Rite of Spring, Masha & Olga in Winter Dreams, Requiem, My Brother My Sisters, and Danses Concertantes. In addition, her repertoire includes Cinderella, and A Wedding Bouquet. She danced in the world premiere of Snow White, created for her by choreographer Richardo Cue.

Major injuries In 2000 Rojo approached Royal Ballet director Anthony Dowell, having researched and decided that this company was one she would flourish with. 'I'd have taken a corps de ballet contract, anything, but there wasn't one,' she told Jann Parry, who was at that time the Observer's dance critic. Later that year, though, a principal contract came up and Rojo was recommended. Then later that year Rojo was asked to replace an injured in Giselle. Ignoring her own sprained ankle and the short notice, she learned the role in two weeks and went on to receive rave reviews In 2002, while dancing as Clara in the Nutcracker, Rojo started shaking on stage. After the show, she was sent to a private hospital where they determined that her appendix had burst and she stayed there to heal for 6 weeks. However, two weeks later she was back dancing and she was forced to go to a hospital again.

Rojo admitted that it was “completely wrong to continue dancing while injured or ill and I do not feel that anyone should do this. It really is not worth it.” In 2003, while preparing for the Royal Ballet’s tour, Rojo was once again plagued with another setback when she suffered an infected bunion that became so bad that her foot swelled to the size of a tennis ball. Doctors determined that Rojo needed to have it drained and to have surgery on her foot – a potentially career-ending operation. Nevertheless, she knew that this operation was a necessary step to take if she were ever to walk, let alone dance, again.

A mere twenty-four hours after her operation, an Ambassador from Spain called to inform her that she had been honoured with an award and needed to be in the next week. The King of Spain presented her with the Royal Gold Medal of Fine Arts, a prestigious honour that few can say they have achieved. Months later, and after countless hours of rehabilitation, she returned to dancing and said that the injury changed her perspective on life, her body, and dance. She felt that she valued each and every day more and learned that nothing in life should be taken for granted. After her experience in overcoming injuries and inconveniences such as bunions, Tamara Rojo undertook the commercialization in 2017 of a stretching device for ballet pointe shoes;. English National Ballet.

23 April 2013. Retrieved 2014-01-18. Levene, Louise (15 May 2011). Retrieved 30 January 2016. Mackrell, Judith (25 November 2009). – via The Guardian.

Jennings, Luke. The Observer., 2010.

Wainwright,Steven. Health Journal. Sage Publications, 2005, p.57. The Times., 2003.

Brown, Markq. The Guardian. Guardian News and Media Limited. Retrieved 17 November 2015. 30 December 2015. 18 March 2014. References.

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Fox, Sue. The Sunday Times, 2003. Jennings, Luke. 'The Observer' 2010. Marriott, Bruce.

'Ballet.Co' 1998. Mackrell,Judith. The Guardian UK:Tamara Rojo's leap of faith.

2005. Wainwright,Steven. Health Journal. Sage Publications, 2005, p. 57. Grainger, Lisa. Tamara Rojo’s Travelling Life. The Telegraph.

Swan Lake Tamara Rojo For Macbook Pro

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