Chelsy Meiss was born in Melbourne, Australia and trained at Karen Curlis School of Dance, Thelma Williams School of Dance, The Victorian College of The Arts and The Australian Ballet School in Melbourne. Chelsy danced with San Diego Ballet before joining The National Ballet of Canada as a member of the Corps de Ballet in 2008. She was promoted to First Soloist in 2015.
“Chelsy Meiss danced [Juliet] with passionate abandon.”
Chelsy most recently made her debut as Myrtha, Queen of the Wilis in Giselle. She has also danced such roles as Juliet in Romeo and Juliet, Snow Queen in The Nutcracker, Queen of Hearts and The Mad Hatter in Alice’s Adventures in Wonderland, Valencienne in The Merry Widow, Bronislava in Nijinsky, Dolly in Anna Karenina, Stella in A Streetcar Named Desire, Russian, Hungarian and Spanish Princesses in Swan Lake, Petal and Twig in Cinderella, Spring in The Four Seasons and the female lead in Spectre de la Rose and Paz de la Jolla. Chelsy has also danced roles in The Sleeping Beauty, Onegin, The Winter’s Tale, Don Quixote, La Fille mal gardée, Manon, Pinocchio, La Sylphide, The Concert, The Four Temperaments, Chaconne, The Dream, Etudes, Paquita, The Seagull, Carmen, Symphony in C, Opus 19/The Dreamer, Allegro Brillante, The Second Detail, The Vertiginous Thrill of Exactitude, Approximate Sonata 2016, In The Upper Room, West Side Story Suite, Chroma, Genus, Russian Seasons, Carousel (A Dance), Angels’ Atlas, Emergence, Cacti, Being and Nothingness, Night and Orpheus Alive.
In 2016, Chelsy was awarded the David Tory Award and was the recipient of the Patron Award of Merit in 2009.
Born: Melbourne, Australia
Trained: Karen Curlis School of Dance, Thelma Williams School of Dance, The Victorian College of The Arts and The Australian Ballet School in Melbourne
First Soloist since: 2015
Paz de la Jolla
“Meiss, as queen of the beach, never seems to slow down… she once again shows her mastery of difficult technique, which she tosses off with seeming ease.”
— Ludwig Van Toronto
“As Hermia, Chelsy Meiss sweeps across the stage with luscious epaulement – an exaggeration through the shoulders – that dramatically evokes privilege and power.”
— The Globe and Mail