Last night I was invited to Sydney Opera House to watch the closing performance of Vitesse. It was a collaborated evening with Nature’s Care and The Australian Ballet.
Nature’s Care announced their three-year partnership with Australia’s national dance company, alongside a full rebrand of all products in the premium vitamin and supplement range – Nature’s Care Pro Series.
The rebrand brings an updated clean and premium look to the packaging, which supported by the strategic partnership with The Australian Ballet instils the shared values of health, vitality and beauty.
The Pro Series range has benefits for everyone. From the anti-aging properties of the Bio-Skin Enhance, to the health and general wellbeing provided by Grape Seed 50,000, Goat’s Milk, as well as the rich proteins and vitamins found in the Royal Jelly 1,000.
Sales and Marketing Director of Nature’s Care, Jack Wu said, “We are really pleased to be announcing this partnership with The Australian Ballet, providing the perfect platform to show Australia our new Pro Series line up of over 50 products. We are very proud to be Australian owned, with all our products manufactured in Belrose, NSW.Partnering with The Australian Ballet is a perfect fit for our company as we both believe in supporting Australian health, vitality and beauty.”
Executive Director of The Australian Ballet, Libby Christie, commented, “We are delighted to have Nature’s Care join us as a Major Partner and look forward to the partnership ahead.”
Dinner was served by ARIA with a delicious Black Angus fillet with mushroom ragout and bone marrow bordelaise, sides of Corella pear with parmesan and rocket salad, truffle mash with chives.
As we conclude the dinner and presentation, we were escorted to our seats to watch the ballet. I am a huge fan of the classics and on occasions, I do enjoy something a little contemporary. With some research, the ballet performance was linking two great works from the 1980s with a piece choreographed a decade ago gives a snapshot of ballet’s moves into a different world. Each is grounded in classical ballet but strikes out in new dimensions
Christopher Wheeldon’s DGV©: Danse à grande vitesse takes its title and it’s thrilling momentum from Michael Nyman’s MGV: Musique à grande vitesse, composed for the inauguration of France’s fast train, the TGV. A performance through a high-speed journey.
Jiři Kylián’s Forgotten Land, with its haunting seascape and swirling dresses, is like an Edvard Munch painting come to life. Set to Benjamin Britten’s powerful Sinfonia da Requiem, the fluid movement speaks of yearning, mourning and escape.
William Forsythe’s In the Middle, Somewhat Elevated famously exploded and extended ballet technique. Chic, sleek and dangerous, the dancers prowl the stage like panthers before hurling themselves into ultra-stretched poses, punctuated by the electronic collisions of the score.