Contemporary dance / Principal
Roberta Fernandes is from Brazil. Her most important teachers there were Eugênia Feodorova, Rosália Verlangieri and Emilio Martins. From 1991 until 1993 she attended the John-Cranko-School in Stuttgart and received her first engagement with the Stuttgart Ballet under the direction of Marcia Haydée. She was appointed soloist in 1998. Her repertoire includes Opus I by John Cranko, Voluntaries by Glen Tetley, the Pas de Deux of Holbergs Zeiten (John Cranko), Myrtha in Giselle (Reid Anderson and Valentina Savina), Aurora and Elderfairy in Sleeping Beauty (Marcia Haydée) and Kitri in Don Quijote (Maximiliano Guerra). She danced in Brouillards and Initialien R.B.M.E. (John Cranko), Monotones (Frederick Ashton), Herman Schmerman, Aproximate Sonata, Love Songs and Vertiginous Thrill of Exactitude (William Forsythe), Siebte Sinfonie (Uwe Scholz), Manon and Prudence in Lady of the Camellias by John Neumeier and the leading role in Theme and Variations (George Balanchine). Further parts were: Paquita (Marius Petipa), Song of the Earth (Sir Kenneth MacMillan), Große Fuge (Hans van Manen) and Dances at Gathering (Jerome Robbins). 2002 she gave her debut as Odette/Odile in Swanlake and she danced the part of Katharina in John Cranko’s The Taming of the Shrew in 2004. Shortly after that she performed the part of the queen in Jerome Robbin’s The Cage.
She created roles in ballets by Nacho Duato (The flower), Heinz Spoerli (How it happens), John Alleyne (Aria for my father), Stefan Thoss (Les Noces), Kevin O’Day (Delta Inserts, dreamdeepdown), Pascal Touzeau (Jupiter), Trey McIntyre (The Difference between Naked and Nude), Dominique Dumais (Still,nest), Mauro Bigonzetti (Quattro Danze per Nino, Kazimir’s Colours) as well as Christian Spuck, Jean Cristophe Blavier, Marguerite Donlon and Jean Christophe Maillot.
In 2005/2006 she joined the Bavarian State Ballet as a Soloist and was promoted to Principal at the beginnning of the season 2007/2008.
In Munich Roberta Fernandes could extend her large classic and particularly contemporary repertoire, for example Gamzatti and first solo in the Schattenakt in La Bayadère (P. Bart), the creation of
Annina in Die silberne Rose (G. Murphy) and Myrtha in Giselle (P. Wright).
- Bavarian State Ballet