The Australian Ballet has just announced the promotion of Dimity Azoury and Benedicte Bemet to principal artists with the company.
Azoury has particular connections to Canberra and the surrounding region region having begun her training in Queanbeyan and then at the Kim Harvey School of Dance in Canberra. Her background is described in the Australian Ballet’s media release.
Dimity began dancing at the age of four in her home town of Queanbeyan, New South Wales. She studied at the Kim Harvey School of Dance in Canberra for 11 years before moving to The Australian Ballet School in 2005. Dimity joined The Australian Ballet in 2008 and has worked with acclaimed choreographers throughout her career, including Nicolo Fonte, Graeme Murphy, Tim Harbour, Stephen Page and Stephen Baynes. Dimity was promoted to soloist in 2015 following her debut as Baroness von Rothbart in Graeme Murphy’s Swan Lake, and to senior artist in 2017.
But Azoury was also the winner of the Telstra Ballet Dancer Award in 2014 and at that point I spoke to her about her career. Looking back at that interview I am moved by what she said, which you can read at this link. See also the tag Dimity Azoury. The featured image shows her in a study for the Australian Ballet’s 2020 season, while the image below shows her, looking rather different wearing a spectacular wig, in Graeme Murphy’s The Silver Rose part of the Australian Ballet’s 2018 program, Murphy.
Benedicte Bemet has been an outstanding member of the company ever since she joined in 2012. Her background is described in the Australian Ballet’s media release.
Mackay-born Benedicte started ballet at the age of three, eventually moving to the Gold Coast where she trained at the Ransley Ballet Centre. When she was 10 her family relocated to Hong Kong where she continued her ballet training at the Jean M. Wong School of Ballet; she was subsequently accepted into The Australian Ballet School at age 14. In 2012, Benedicte joined The Australian Ballet’s corps de ballet and one year later was promoted to coryphée. In 2016 she was promoted to soloist and became a senior artist in 2018.
I especially enjoyed her performance as the Fairy of Musicality in David McAllister’s production of The Sleeping Beauty when I think her very individualistic style perfectly captured the essence of that role. I wrote, Benedicte Bemet as the Fairy of Musicality gave a distinctive interpretation to this role and brought a gorgeously lively quality to her exceptional technical capacity. She also made an impression on me in Sir Peter Wright’s Nutcracker and appears as Clara in the DVD production of that ballet.
Bemet was also the winner of the Telstra Ballet Dancer Award, which she received in 2015. For further comments from this website see the tag Benedicte Bemet.
Congratulations to them both.
Michelle Potter, 17 November 2019
Featured image: Dimity Azoury in a study for the Australian Ballet’s 2020 season. Photo: © 2019 Georges Antoni