Akane Takada

Akane Takada (高田 茜, Takada Akane) is a Japanese ballerina and a principal dancer with the Royal Ballet in London. Her lead roles have included the title role in Giselle, Nikiya in La Bayadère, Kitri in Don Quixote, and Aurora in The Sleeping Beauty.

Akane Takada
高田 茜
Takada as Princess Florine in 2017
Born (1990-04-18) 18 April 1990
Tokyo, Japan
OccupationBallet dancer

Early life and education

Akane Takada was born 18 April 1990 in Tokyo.[1] She is from the Higashishinkoiwa neighborhood in Katsushika, and began ballet training at the Hiromi Takahashi Ballet Studio in nearby Edogawa at the age of three.[2] When she was twelve years old, a serious knee ligament injury dislocated her patella and interrupted her training for over a year while she physically grew enough to make corrective surgery possible.[3] After winning a scholarship from ballet equipment company Chacott at the National Ballet Association competition, she studied at the Bolshoi Ballet Academy from 2006 to 2008, initially taking the classes for international dancers, but eventually joining the Russian classes.[4][5] She won both a scholarship and an Audience Favorite prize at the Prix de Lausanne international ballet competition in 2008.[6]

Career

2008–2015: Apprentice to first soloist

Takada joined the Royal Ballet as an apprentice in 2008, then as an artist in 2009.[7] Choreographer Wayne McGregor cast her in his new 2009 ballet Limen.[8] She also performed in a revival of the Frederick Ashton ballet Rhapsody, receiving praise from Sarah Crompton of The Telegraph for her performance as a soloist.[9] Her performance as the Autumn fairy in Cinderella was less well-received, with Zoë Anderson of The Independent noting that "the risky, off-balance quality of the solo has gone missing".[10] In 2011, she re-injured the same knee that she had injured when she was twelve years old, again interrupting her career.[3] In the 2013 production of Onegin, Takada performed the role of Olga, providing "strong support" to the main dancers.[11]

In 2014, Takada was promoted to first soloist.[12] Writing for dance magazine DanceView, Jane Simpson contrasted Takada's less exciting performance as Princess Florine in The Sleeping Beauty to her more assertive performance as Aurora, calling Takada's dancing "clear and unornamented" and predicting future success.[13] In December of that year, after dancing the role of Kitri in an afternoon performance of Don Quixote, Takada stepped into the lead role that evening as a mid-performance substitute for Natalia Osipova, who had been injured during the first act.[3] Her performance was praised by Zoë Anderson in The Independent, with the critic observing that Takada's qualities suited "Kitri's mischievous nature".[14] As a first soloist Takada also danced the principal role in Frederick Ashton's The Two Pigeons in 2015.[15]

2016–present: Principal dancer

Takada was promoted to principal dancer in 2016 at the age of 26, which is relatively young for a principal dancer.[5] Vogue Japan named her one of its 2016 Women of the Year.[16] Takada debuted in the lead role in Giselle later that year alongside Thiago Soares, with Clement Crisp of the Financial Times describing her as a "Giselle of subtle power".[17] Takada paired with Steven McRae to dance the roles of Titania and Oberon in the Frederick Ashton ballet The Dream in 2017, with Judith Mackrell of The Guardian commending the pair for their footwork and their distinctively dark portrayal of the characters.[18] Takada performed in another Wayne McGregor piece, titled Infra, in 2018, but her performance was criticized for lacking emotional power and weight despite its technical quality.[19] Later that year, as Nikiya in a production of La Bayadère, Takada again danced with McRae, drawing praise from Laura Freeman of The Spectator for her "air of otherworldly detachment and exquisite lightness of line" but criticism for an ineffective pairing.[20]

Writing for the Evening Standard, Emma Byrne described Takada in 2019 as "one of the Royal’s most elegant dancers".[21] Takada missed the Royal Ballet's 2019 summer tour of Japan, in which she was scheduled to perform the role of Kitri in the Japanese premiere of Don Quixote, due to injury.[22] In November 2019, during a performance of The Sleeping Beauty, Takada was injured during the first act, and was replaced in the rest of the performance by Yasmine Naghdi.[23]

Personal life

As of 2020, Takada has been in a relationship with fellow Royal Ballet dancer Benjamin Ella for several years.[24]

Recognition

References
  1. 加瀬, アンジェラ (10 September 2012). "新シーズンには舞台に復帰します". Dance Cube (in Japanese). Chacott. Archived from the original on 26 July 2014. Retrieved 13 January 2020.
  2. "高田茜さんが国際バレエコンクールで入賞！". 東京町 (in Japanese). Tōto Yomiuri. 29 February 2008. Archived from the original on 28 July 2014. Retrieved 13 January 2020.
  3. Craine, Debra (11 April 2017). "Akane Takada: 'I thought it was the end of my career. I was terrified'". The Times. Retrieved 15 January 2020.
  4. 加瀬, アンジェラ (24 March 2010). "高田茜インタビュー". Dance Cube (in Japanese). Chacott. Archived from the original on 26 July 2014. Retrieved 14 January 2020.
  5. Tarmy, James (6 December 2016). "Meet the Royal Ballet's Newest Star". Bloomberg News. Retrieved 13 January 2020.
  6. "Prize Winners: Akane Takada". Prix de Lausanne. Retrieved 13 January 2020.
  7. Snow, Georgia (15 March 2016). "Akane Takada: 'Creating a role is a very different experience to doing classical ballet'". The Stage. p. 37. Retrieved 8 September 2016.
  8. Duchen, Jessica (31 October 2019). "Life in the fast lane: Steven McRae". The Independent. Retrieved 14 January 2020.
  9. "Three Short Ballets, Royal Opera House, review". The Telegraph. 17 March 2011. Retrieved 14 January 2020.
  10. Anderson, Zoē (11 April 2011). "Cinderella, Royal Opera House, London". The Independent. Retrieved 14 January 2020.
  11. Levene, Louise (30 January 2013). "Onegin, Royal Ballet, at Covent Garden, review". The Telegraph. Retrieved 14 January 2020.
  12. "Britain's Royal Ballet elevates two Japanese to principal dancers". The Japan Times. Retrieved 8 September 2016.
  13. Simpson, Jane (Spring 2014). "Letter from London and Copenhagen". DanceView. Vol. 31 no. 2. pp. 38–41.
  14. Anderson, Zoë (22 December 2014). "Don Quixote, Royal Opera House London, review: Akane Takada dazzles as Natalia Osipova suffers on-stage fall". The Independent. Retrieved 14 January 2020.
  15. Levene, Louise (8 December 2015). "The Two Pigeons/Monotones I & II, Royal Opera House, London -- 'Passionate innocence'". Financial Times. Retrieved 14 January 2020.
  16. "2016年のヴォーグな女性 高田 茜/バレエダンサー 撮影舞台裏＆スペシャルインタビュー". Vogue Japan (in Japanese). 23 November 2016. Retrieved 13 January 2020.
  17. Crisp, Clement (11 April 2016). "Giselle, Royal Opera House, London — 'Unfailing elegance, subtle power'". Financial Times. Retrieved 13 January 2020.
  18. Mackrell, Judith (6 June 2017). "Ashton at the Royal Ballet review – miraculous moves and romantic rapture". The Guardian. Retrieved 14 January 2020.
  19. Anderson, Zoë (21 November 2018). "The Royal Ballet, Royal Opera House, review: Timid, well-meaning and dull". The Independent. Retrieved 14 January 2020.
  20. Freeman, Laura (24 November 2018). "How could anyone object to the Royal Ballet engaging in cultural appropriation?". The Spectator. Retrieved 14 January 2020.
  21. Byrne, Emma (1 April 2019). "Romeo and Juliet review: Radical ballet embraces its ugliness with dramatic flair". Evening Standard. Retrieved 13 January 2020.
  22. Kosaka, Kris (4 June 2019). "The Royal Ballet brings the best of British ballet to Japan with its production of 'Don Quixote'". The Japan Times. Retrieved 14 January 2020.
  23. Mountford, Hari (15 November 2019). "The Ballet That Actually Went Wrong - But Had A Happy Ending". Londonist. Retrieved 13 January 2020.
  24. Pometsey, Olive (18 May 2018). "This Is Modern Love". Elle. Retrieved 14 January 2020.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.