Born in Dalian, China, former Principal Dancer Xiao Nan Yu danced with The National Ballet of Canada for 23 years before retiring from the stage in In , Nan joined the company’s Artistic Staff, accepting the position of Artistic Coach and in , she was promoted to Rehearsal Director and Principal Coach. In her new role, Nan helps train and prepare today’s dancers for the stage mentally and physically – giving them invaluable insight that she has acquired from her career on and off the stage – and gives dancers the unique opportunity to be mentored by her. Prior to this appointment, Nan served as Ballet Mistress and assisted choreographers on many ballets. From to , she was a Guest Teacher for the senior students of Canada’s National Ballet School and remains a frequent visitor.
Nan trained at the Shenyang School of Dance and the Beijing Dance Academy in China before receiving a scholarship for and attending Canada’s National Ballet School. She danced with the National Ballet from to , becoming Principal Dancer in Her radiant, standout performances as Odette in&#;Swan Lake, the title r
Née à Dalian, en Chine, l'ancienne danseuse principale Xiao Nan Yu a dansé avec le Ballet national du Canada pendant 23 ans avant de prendre sa retraite de la scène en En , Nan a rejoint l'équipe artistique de la compagnie, acceptant le poste de coach artistique et en , elle a été promue directrice des répétitions et coach principale. Dans son nouveau rôle, Nan aide à former et à préparer mentalement et physiquement les danseurs d'aujourd'hui à la scène - leur donnant une connaissance inestimable qu'elle a acquise au cours de sa carrière sur scène et en dehors - et donne aux danseurs l'occasion unique d'être encadrés par elle. Avant cette nomination, Nan a été maîtresse de ballet et a assisté les chorégraphes sur de nombreux ballets. De à , elle a été professeure invitée pour les étudiants seniors de l'École nationale de ballet du Canada et reste une visiteuse fréquente.&
Xiao Nan Yu
Rehearsal Director, Principal Coach
Biography
Born in Dalian, China, former Principal Dancer Xiao Nan Yu danced with The National Ballet of Canada for 23 years before retiring from the stage in In , Nan joined the company’s Artistic Staff, accepting the position of Artistic Coach and in , she was promoted to Rehearsal Director and Principal Coach. In her new role, Nan helps train and prepare today’s dancers for the stage mentally and physically – giving them invaluable insight that she has acquired from her career on and off the stage – and gives dancers the unique opportunity to be mentored by her. Prior to this appointment, Nan served as Ballet Mistress and assisted choreographers on many ballets. From to , she was a Guest Teacher for the senior students of Canada’s National Ballet School and remains a frequent visitor.
Nan trained at the Shenyang School of Dance and the Beijing Dance Academy in China before receiving a scholarship for and attending Canada’s National Ballet School. She danced with the National Ballet from to , becoming Principal Dancer in Her radiant, standout performances as Odette in Swan Lake, the title role in Giselle, Pauli
For every dancer there comes a time when they have to decide to step off the stage and retire and for principal dancer Xiao Nan Yu, this time has come after 22 years with The National Ballet of Canada.
Growing up and studying ballet in China (at the Shen Yang School of Dance and the Beijing Dance Academy in China) Yu came to Toronto to train at Canada’s National Ballet School. After graduation, Yu went on to join The National Ballet of Canada in , where she rose through the ranks to second soloist, then the first soloist and was promoted to Principal Dancer in
And now at 41, Yu is taking her final curtain call, performing in the Merry Widow ( June) as she bids farewell after a wonderfully long and esteemed career.
After 22 years with the company, what made you decide to retire now, at this particular moment?
For this profession, it’s never easy to say goodbye, but it’s such a physical challenge and a demanding profession and I didn’t want to leave the stage when my ability was below my personal standards. And I didn’t want my colleagues or my audience or most importantly for me to say, ‘Oh, do you remember when I could usually do that, or I remember t
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