At the end of the year Tamara Rojo, Artistic Director of the English National Ballet (ENB) in London since 2012, will move to the helm of the San Francisco Ballet. The Californian premium company has not only clarified the successor to its long-term manager Helgi Tómasson, but has also appointed a woman to the chief position for the first time.
In the European ballet scene, Rojo’s departure causes great regret. After all, the ex-ballerina of the Royal Ballet London not only led the ENB, which was in need of renovation in every respect, out of the ongoing crisis. Rather, she steered a courageous renewal course for the classical repertoire. Commissioned works such as the World War II memorial “Lest We Forget” (2014) or Akram Khan’s fundamental revision of the “Giselle” (2016) shone far beyond Great Britain. Her own “Raymonda” production, which has been postponed due to the corona, is due to come out these days.
Ballet, so is Rojo’s conviction, has to prove social, aesthetic and political relevance, otherwise it will run out of breath. And the money. She didn’t give up until the ENB had a brand new and very stylish roof over its head. It has not yet been decided who will inherit her as the mistress of the house.