Mathilde Froustey (© Chris Hardy)
Joined as principal dancer in 2013.
Mathilde Froustey was born in Nice, France, and received her training at the Marseille National School of Ballet and Paris Opéra Ballet School. At age 17, she joined Paris Opéra Ballet, where she was a soloist. She joined San Francisco Ballet as a principal dancer in 2013.
At San Francisco Ballet, Froustey has danced principal roles in Tomasson’s Giselle (Giselle), Nutcracker (Grand Pas de Deux Ballerina and Sugar Plum Fairy), Romeo & Juliet (Juliet), Caprice, The Fifth Season, and Trio; Tomasson/Possokhov’s Don Quixote (Kitri); Balanchine’s Allegro Brillante, Brahms-Schoenberg Quartet, and Serenade; Gsovsky’s Grand Pas Classique; Lifar’s Suite en Blanc; Makarova’s (after Petipa) “The Kingdom of the Shades” from La Bayadère, Act II (1st solo Shade); Ratmansky’s From Foreign Lands, Shostakovich Trilogy (Symphony #9 and Chamber Symphony), and Souvenir d’un lieu cher; Robbins’ Dances at a Gathering (Yellow) and In the Night (1st pas de deux); and Wheeldon’s Within the Golden Hour.
Before joining the Company she danced lead roles in Cranko’s Onegin, Neumeier’s Lady of the Camellias, Nureyev’s La Bayadère, Don Quixote (Kitri), Nutcracker, Raymonda, and Swan Lake; Ashton’s La Fille mal gardée, Balanchine’s Serenade, Lacotte’s Paquita and La Sylphide; McGregor’s L’Anatomie de la Sensation and Genus; and works by Serge Lifar and Roland Petit, among others.
As a guest artist, Froustey performed Nureyev’s Raymonda and Balanchine’s Allegro Brillante with National Ballet of Spain in Madrid, Spain, in October 2014, and the pas de deux from Giselle at the International Ballet Gala XX at Theater Dortmund in Dortmund, Germany, in September 2014. In March 2104 she danced Kitri in Don Quixote with Paris Opéra Ballet in Tokyo, Japan.
Froustey was honored with a Paris Ballet Donation Foundation dance prize and a gold medal at the Varna International Competition, both in 2004; the Ballet2000 dance prize in 2007; and Danza & Danza’s best foreign dancer award in 2013.
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