LIMELIGHT: Christine Walsh

How do you stay fit? Do you still do class?

I don’t do class anymore as it is just too painful the next day! Although I do a small amount of demonstrating when teaching, I have a 30-minute Pilates-based set of exercises and stretching routine which I do most days to keep me moving.

 What was your pandemic coping mechanism?

Staying in regular contact with our son Benjamin Ella in London and almost daily visits to the Fitzroy Gardens (in Melbourne) – deriving so much enjoyment from the amazing floral displays and bird life through different seasons and many lockdowns!

 You have been teaching now for about 30 years in many different countries. Have you seen many changes in teaching over that time?

The need for good, sound teaching has not changed. However, the technical expectations are greater now, so students need to make earlier decisions in their training years to reach a more refined advanced level and be able to position themselves in a school with a company attached, which is the most common pathway to eventually acquire a company contract. I do feel though it is even more important for teachers to emphasise artistry during the training of young students as this can be neglected in the pursuit of ever-increasing technical demands.

 You developed your Assessment Program based on the Vaganova system. What makes Vaganova so special?

The Vaganova system aligns perfectly with the needs of classical dancers entering the profession. Therefore, when I decided to create my training program Ballet Conservatoire 30 years ago, I found it logical to base it on this system and the results are seen clearly in the large numbers of students from our member schools in 11 countries, who are now dancing in international and Australian companies. The sound spinal placement emphasised in the Vaganova system, along with fluid and strong legwork through use of the plie and the artistic expressive use of epaulement, alignments and eye/hand co-ordination are all requirements for professional dancers in companies worldwide.

 What is your most common piece of advice to students and teachers?

To be humble, self-disciplined, always be open to learning and taking in new information, not to allow ego to rule and above all be truly honest with yourself and others.

 You are also, with your husband Ricardo Ella, the director of Christine Walsh Enterprises, a theatrical production company. What has been your biggest project?

One of our biggest projects is definitely our annual full-length ballet productions at the Art Centre Melbourne for a general public audience with international guest artists, our 60-member ACB orchestra and 60 dancers. We are very proud to have achieved this continuously for nearly two decades, firstly because we are a small private organisation with no support from any outside entity or funding body and, secondly, because these public performances have been a vehicle to prepare many of our students for the profession.

Name a couple of your proudest moments?

1988 – Dancing Aurora for Queen Elizabeth II at the Royal Opera House, Covent Garden, for the Australian Bicentennial Celebration.

2018 – Watching our son Benjamin as Albrecht in Giselle with the Royal Ballet at Royal Opera House, Covent Garden.

What is a favourite object on display in your home?

Ricardo and I have a treasured photo of us with the Australian Ballet dancers on tour in front of the Odessa Opera House in 1988. This was a very special tour for us personally and now when we look at this photo on our wall it has taken on greater significance given the conflict in Ukraine. We desperately hope this beautiful theatre will be preserved and a peaceful resolution to this terrible conflict will be reached.

 A favourite memory?

I have so many wonderful memories! If I were to pick a couple, one would be dancing Princess Aurora for the opening of the State Theatre of the then Victorian Arts Centre (now Arts Centre Melbourne) which was my very first Aurora performance and subsequently became my most frequently performed role.

The second would be filming Roland Petit’s Carmen in France with Zizi Jeanmaire and Mikhail Barishnikov as principals. 

What is your next major project?

Our Nutcracker ballet production at the Arts Centre Melbourne in December with our ACB orchestra, international guest artists and combining dancers from six affiliated schools in our Ballet Conservatoire training program.

This article is included in our  current Oct/Nov/Dec issue. Print is for keeps! Buy your copy from your favourite dance retailer or online here or here.