68 Ballet How does it feel, Ernst: to usher in a new era? “Even though I have not officially taken up the position yet, it already feels very special. I’ve had the privilege of shaping this first season together with Ted, and I’m deeply grateful for that. Spending a year alongside someone who has led Dutch National Ballet for so many years, with such expertise and love for the art form, has been incredibly valuable. By guiding this transition together, I hope it will feel natural and seamless for everyone: our dancers, colleagues and audiences alike. So yes, it feels good. And now it’s time to roll up my sleeves and get to work.” Laughing: “And fortunately, I can still call Ted whenever I need to.” Major productions at Dutch National Opera & Ballet are often planned years in advance. What personal accents have you already been able to bring to the new season? “Fortunately, there was still room to introduce several distinctive makers who are new to our company, or new to the Main Stage. Kirsten Wicklund, for instance, stood out within our talent development programme and at the Junior Company for her inventiveness and her own move- ment vocabulary. She now creates her first work for the main company, inspired by 25 years of same-sex marriage. And Mthuthuzeli November, who, with his unique movement language blending ballet and African dance, is currently one of the most exciting choreographers on the international scene. After creating works for the Dutch National Ballet Academy and the Junior Company, he is now making his first large-scale production for Dutch National Ballet. In it, he questions and challenges our perception of what ballet is, offering his vision of what new steps and new colours might be possible within the artform.” “Also, new to our company, though not to the Netherlands, is Alexander Ekman, who tackles major themes in a highly theatrical way. When I saw his Play at the Paris Opéra, I was completely blown away. It was extraordinary to see the audience truly come alive. That impact stays with you, that is what theatre is about. I am therefore delighted that we are the first company after Paris to perform Play.” “For our youngest audiences, we are presenting a new family production, Sounds About Right, by British choreographer William Tuckett who is celebrated both within the ballet world and on London’s West End. Few capture the magic of theatre as he does.” Another new production, long in development, is Prey, created by British choreographic duo Jessica Wright and Morgann Runacre-Temple. “Yes, that project has been in development for some time, and I’m very much looking forward to it. Jess and Morgs, as they call themselves, are two of the most important female makers of today. They combine live dance with video, adding real depth and meaning to the choreography. For Prey, they draw inspiration from our relationship with nature. It is an urgent and topical theme, and I believe it is important to give artistic teams the opportunity to raise questions and take a stance on such issues.” With the 2026 – 2027 season, a new era begins for Dutch National Ballet. After 23 years as director, Ted Brandsen hands over the artistic leadership to Ernst Meisner. “I want to give space to many different artistic voices.” Ernst Meisner about his first season as director Interview
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