pablo savoye

His pedagogical experience dates back to 1987 when he accidentally had to take over the Royal Ballet of Flanders during a tour of the United States and began to teach the classes and rehearsals of the company.

Since then he continues a parallel career in the world of teaching that among others, leads him to participate in International Courses in different countries such as Belgium (where he organizes summer courses with Irina Kolpakova, Alan Howard, etc ... and in the Lijas Conservatory as Guest Teacher teaching Master Classes and as a judge member of the Examination Panel, United Kingdom (guest teacher at the English National Ballet School),

in Japan (schools of Tokyo, Yokohama, Aoyama, Hiroshima, etc ...), Spain (Conservatory of Dance of Murcia for classes commemorating the International Dance Day, special courses and choreography workshops), to the Company of Joaquín Cortés, to the Aída Gomez Company, to the New Spanish Ballet, and in recent years,

to the COMPAÑÍA NACIONAL DE DANZA (Nacho Duato),

to the new international company Angel Corella and

to the Study Workshop of the BALLET NACIONAL DE ESPAÑA (José Antonio), and today he has become one of the most requested teachers, being regularly invited to teach his outstanding and innovative methodology in private schools and teaching centers, as well as in Professional Conservatories and Superiors ones (Madrid, Murcia, Albacete, Córdoba, Cádiz, Alicante, and Málaga).

 

Since 2003 he shares the direction and teaching of the Carmina Ocaña and Pablo Savoye Ballet School. In his teaching, he incorporates the bases of the Paris Opera School, influenced by the technique developed by the School of American Ballet (received directly from Stanley Williams).

 

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Born in Paris, of a Spanish mother and French father, Pablo Savoye begins his studies at the age of twelve with Luk Delairesse, at the Conservatory of Classical Dance of Orsay; and given the evidence of his rapid progress, he is encouraged to dedicate himself more intensively to pursue a professional career.

Soon he enters the Paris Opera School of Dance where he studies for three years, until the promotion course.

 

 

There, at the age of fifteen, he is urged by Peter Martins, who is passing through Paris, to continue his studies in New York, under the tutelage of the famous Professor Stanley Williams for four years at the School of American Ballet.

Balanchine quickly sets his eyes on him and selects him for the Special Class for Men and, after his diploma, chooses him to participate with the New York City Ballet during the celebration of the Tchaikovsky Festival at Lincoln Center.

Several proposals arise for his collaboration with other companies and, after a star-studded gala at the Jacob’s Pillow Festival, Jennifer Dunning of the New York Times will write:

    "...Promises to be one of the greatest dancers of his generation."

Next, Pablo is willing to face new challenges and presents himself to the

Jackson International Ballet Competition in Mississippi, where the highest medal in the junior men's category will be awarded to him, becoming known nationally after the broadcast of the documentary program of the television network A.B.C. In the U.S.A. "To Dance for Gold"

This will not be his first or his last triumph. The previous year he won the Prix de Lausanne and on the occasion of the prestigious Moscow International Competition,

will be a finalist with Julio Bocca; he is awarded the silver medal in couples, receiving from the connaisseur public of the Bolshoi a twenty-minute ovation.

During the following years, Pablo dances successfully as PRINCIPAL DANCER (ETOILE) in different companies around the world. 

Its virtuosity and dramatic sensitivity develop along a repertoire that is shown both with classics, such as COPPELIA, DON QUIJOTE, GISELLE, THE NUTCRACKER or LA FILLE MAL GARDÉE, as well as with contemporaries pieces and many Balanchine ballets, which he interprets with the Pittsburgh Ballet-Theater, where he appears as the youngest star, before joining the London Ballet Festival, at the invitation of Peter Schaufuss, where he stands out in  SYMPHONY in C, in LA SYLPHIDE and the pyrotechnics of ETUDES.

His international career leads him to dance
to the Havana Ballet Festival, in Cuba; to the Berlin Ballet; to the Washington Ballet; to the Northern Ballet Theater (in the United Kingdom), where he dances the leading role in the ROMEO AND JULIET of Christopher Gable; with the Royal Ballet of Flanders (in Belgium), where he adds to his repertoire PAQUITA, the DON QUIJOTE of Rudolf Nureyev and dramatic roles, both in THE LESSON, and that of James in LA SYLPHIDE, both of F. Flindt; at the Kuopio Dance Festival, in Finland; at the Jacob's Pillow Dance Festival in the USA; with the American Ballet Theater in „Stars on Tour“; in the First European Gala against AIDS, in Brussels; at the Granada Dance Festival; at the Miami International Dance Festival; with the "Cynthia Gregory US Tour"; with the US tour of "Godunov and Friends"; in Japan, where he dances great roles of the Classical Repertoire in GISELLE and SWAN LAKE; etc.

 

 

In January of 1995, he returns to the Royal Ballet of Flanders where he takes on the main part in CINDERELLA, by Peter Anastos, in LA FILLE MAL GARDÉE, by Joseph Lazzini and in COPPELIA, by Attilio Labis.

In 1997 he was invited by Víctor Ullate to join the Ballet of the Community of Madrid, where he performs Basilio and other leading roles in the new production of DON QUIJOTE, as well as in Balanchine´s THEME AND VARIATIONS, PAQUITA, etc ... Also invited, as a Guest Artist, to do the premiere of the new GISELLE production of the Zaragoza Ballet, under the Artistic Direction of Arantxa Argüelles.

In 1998 Pablo joined the Nice Opera Ballet, where in addition to reuniting with characters such as Lensky in ONEGIN by J. Cranko, or  Carl and the Cavalier in THE NUTCRACKER, he added to his repertoire several contemporary choreographies, such as SYNC, PURCELL PIECES and FÜNF GEDICHT by Nils Christe, and the creations of Eleonora Gori, PRELUDE TO THE AFTERNOON OF A FAUN and ALTERTANGO.

His last success has been reinterpreting the character of "Romeo ”, this time in Marc Ribaud's version of ROMEO Y JULIETA.

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