Born in London, Claire trained at the London Studio Centre, and joined Scottish Ballet in 1994. Since then she has danced in many of the Company’s productions including Page’s Cheating, Lying, Stealing, The Nutcracker (Marie), Cinderella (Cinderella), Soft Underbelly, Room Of Cooks, Walking In The Heat, Fearful Symmetries and The Sleeping Beauty (Aurora and Cinderella), Pennies From Heaven, Samsova’s Swan Lake (Cygnets), Darrell’s Tales of Hoffmann (pas de trois), Cinderella (Exotic Birds), Giselle, Five Rückert Songs (The Woman) and Othello (Desdemona), Fokine’s Les Sylphides (Waltz Girl), Prokovsky’s Vespri (pas de deux), Legats’ The Fairy Doll, MacMillan’s Diversions, Adam Cooper’s Just Scratchin’ the Surface (Bums), Tim Rushton’s Night Life, van Manen’s Sarcasms, Twilight and Two Pieces For Het, Ashton’s The Two Pigeons (The Gypsy Girl), Five Brahms Waltzes in the Manner of Isadora Duncan, Façade and Scènes de Ballet, North’s The Snowman (Snowmaiden), Alston’s Dangerous Liaisons (which she also performed as part of the Dance Umbrella Gala) and Carmen (Carmen), Balanchine's The Four Temperaments (Second Variation, Sanguinic, Choleric), Apollo, Episodes, Agon and Rubies, Forsythe’s Artifact Suite (Duet 1) and Workwithinwork, Pastor’s Romeo and Juliet (Juliet and Lady Capulet) and In Light and Shadow (Aria duet), Petronio’s Ride The Beast, Meckler/Lopez Ochoa's A Streetcar Named Desire (Blanche) and Martin Lawrance’s Run For It.
Claire in episode 4 of Scottish Ballet's Health and Fitness series 'New Year, New You'
Autumn Season 2012 webcast featuring Claire
Claire rehearses Workwithinwork, William Forsythe’s study of the possibilities of motion
.Dance Europe, July 2014 - Claire Robertson and Christopher Harrison in the title roles are superb. Robertson is a fragile and lyrical dancer ... she soared towards the end, passionate and suitably distraught.
A Streetcar Named Desire 2012
Claire Robertsonbrought a fluttering fragility and desperation to this proud woman who tries to retain her dignity despire repeated degredation. Her beautiful dances with the demons of alcoholism saw her quivering with desire in a heartbreaking spiral of despair.
Aberdeen Evening Express, 03 May 2012
Romeo & Juliet 2010
The final scenes when Romeo takes his own life after believing Juliet has taken hers were genuinely moving, with Blyde and Robertson turning in outstanding performances.
Press & Journal, 14 May 2010
As Juliet’s mother,Claire Robertsonwas her usual excellent self displaying her own inner conflict within the wider conflict of the story, between her motherly love for Juliet and her duty to her husband and her family.
Moray Firth Radio
Claire Robertson puts in a poised, graceful performance as Juliet’s mother, and indeed some of the most beautiful moments of the show come when the two women are dancing together.
THE NUTCRACKER 2009/10
It presents the ballet’s final pas de deux (between the tale’s young lovers, danced exquisitely by Erik Cavallari and Claire Robertson) with a beautifully executed classicism.
The Herald, 14 Dec 2009
Claire Robertson’s spirited Marie is an expressive mix of vulnerability and determination - utterly deserving of Erik Cavallari’s noble Prince, their closing pas de deux a radiant outpouring of consummate partnering worth a galaxy of stars in itself.
The Scotsman, 14 Dec 2009
Claire Robertson and her prince Erik Cavallari blossom with grace and classical technique to spare..
Especially beautiful, with elongated limbs, are Claire Robertson and Eve Mutso.
The Stage, 02 October 2009
Principal dancer Claire Robertson starred as the titular character, managing to give her sexy, aggressive nature a sympathetic edge.
Turriff Advertiser Series, 07 May 2009
Ashley Page's Lying, Cheating, Stealing
...urgent steps prove a fabulous showcase for Erik Cavallari and Claire Robertson
The Daily Telegraph, 17 April 2009
...the dancers’ performances are heroic – Erik Cavallari and Claire Robertson particularly
The Sunday Times, 26 April 2009
THE SLEEPING BEAUTY 2008-2009
Claire Roberston, so technically assured, so full of joie de vivre
- The Herald, 9 December 2008
The love scene between Princess Aurora (Claire Robertson) and the Prince (Erik Cavallari) is a stunning enactment of pure romance. It looks exactly like you want fairy tale love to look like./p>
The Skinny, January 2009
With Claire Robertson delightfully bashful as Aurora, the ballet really swoops into full flight… she really manages to draw out the passion in the ballet.’
-Edinburgh Evening News, 8 January 2009
Highlights are definitely the playful falling in love pas de deux of Aurora and her Prince after the awakening kiss: truly a moment of showpiece choreography, danced with confidence and style by Claire Robertson and Erik Cavallari..
Dance Expression, February 2009
ROMEO AND JULIET 2008
Claire Robertson’s Juliet embodied all the lyricism and innocence of Prokofiev’s themes, continuing to evolve as her character develops..
- Hi-Arts, 3rd June 2008
THE SLEEPING BEAUTY 2007-2008
…beautiful opening night performances from Soon Ja Lee, Claire Robertson and Erik Cavallari in particular..
The Daily Telegraph, 13 December 2007
Claire Robertson’s solo as the innocent, intense 16-year-old princess is the highlight.
Scotland on Sunday, 16 December 2007
Claire Roberson’s Aurora is charmingly fresh and youthful and Erik Cavallari as the Prince is the epitome of the romantic hero.
Northern Echo, 22 February 2008
Erik Cavallari is the wonderfully self-possessed Alpha Male, with three stunning ballerinas – Eve Mutso, Claire Robertson and Sophie Martin – servicing the different facets of his technique.
The Herald, 21 August 2007
Rising star Claire Robertson is typically engaging.
Sunday Herald, 15 April 2007
Tobertson and Cavallari makes a dreamy couple, near luminous in bright white… Their pas de deux at the ball has all the other-wordly beauty and purity of line you could hope for from a romantic duet.
Sunday Herald, 17 Dec 2006
Claire Robertson danced bewitchingly as the heroine
ballet.co.uk, Jan 2007
Claire Robertson brought youth, vitality and a real athleticism to her role as Cinderella, dancing the first act in bare feet with grace and strength.
South Wales Echo, 26 Jan 2007
Claire Robertson and Patricia Hines carve geometrics in space with lethal pointe shoes.
The Herald 5*, October 12 2006
Robertson also dominates the first half of William Forsythe’s Suite from Artifact… Robertson is generous of movement, always cool but always at the limit, a fascinating combination of opposing qualities perfectly matching Forsythe’s spiky but romantic interpretation of Bach’s violin Chacone in D minore.
Sunday Express, 19 March 2006
Hines, who lasered through the whole programme with fierce finesse – and Lehmus, Mutso, Claire Robertson and Erik Cavallari collected burnished honours in Forsythe’s Suite from Artifact, a tour de force that deserved the cheering ovation.
The Herald, 31 March 2006
Robertson is radiant, affecting and technically assured.
The Herald, 14 December 2005
Claire Robertson, as the girl of the cinders, is sweetly vulnerable, but also plucky enough to grab her chances
The Times, 15 December 2005
There are three reasons to see this Cinderella…. Secondly, Claire Robertson’s titular heroine – appealingly vulnerable, technically assured and heroically tireless in a marathon of a role.
Independent on Sunday, 18 December 2005
...but ends up with a gloriously satisfying performance of the Grand Pas de Deux from CristoVivancos and Claire Robertson.
The Stage, 31 December 2005
…Cinderella, delightfully danced by Claire Robertson…
Dance Europe, January 2006
Claire Robertson as Cinders and Fairy Godmother Soon Ja Lee shine, their fine technique and luminosity grabbing the audience’s attention along with the lavish costumes they wear to the ball…
The Skinny, 5 February 2006
but it is Claire Robertson’s ballet…. But partnered by Erik Cavallari, she brings a lyrical luminosity to some Page’s most beautiful steps in the ballroom love duets.
Sunday Express, 19 March 2006
Claire Robertson was a prettily proportioned heroine…
The Daily Telegraph, 20 March 2006
– Claire Robertson, in partnership with Cristo Vivancos, delivers a fizzy, vibrant Sanguinic.
The Independent, 19 April 2005
THE NUTCRACKER 2004 - 2005
Claire Robertson and Tatiana Loginova both give an engagingly convincing reading of Marie – Roberton’s little girl has a nice hint of coltish adolescence that acquires a stately poise by the time she’s in the arms of Cristo Vivancos for the final Grand Pas de Deux.
The Herald, 15 December 2004
Claire Robertson was a revelation – sex on legs.
Scotland on Sunday, 12 September 2004
...in Two Pieces for HET with the wonderfully poised, mischievous Claire Robertson and Erik Cavallari turning up the heat with every glance.
The Herald, 16 September 2004
Claire Robertson re-emerged as one of the Scottish Ballet brightest stars…
The Scotsman, 17 September 2004
Claire Robertson and Erik Cavallari convoyed a potent electric charge in Two Pieces for HET.
The Sunday Times Culture, 26 September 2004
Spring 2004 - Balanchine’s The Four Temperaments
...real mettle in Claire Robertson’s Sanguinic.
The Herald, 01 April 2004
Claire Robertson, incisive as Sanguinic, reveals her vulnerable side as the woman in Five Ruckert Songs.
Observer (Review), 18 April 2004
Tatiana Loginova, Cristo Vivancos, Claire Robertson and Robin Bernadet served up Page’s sizzling, slithery moves with the kind of pzazz that augers well for the future
The Herald, 26 Sept 2003-
Claire Robertson talks about being a mum and how it has enhanced her role as Lady Capulet in Romeo & Juliet
Claire, from Glasgow, is delighted to be mum to two little miracles – Thomas, three, and William, 11 months.
And after being a dancer with Scottish Ballet for 20 years, she knew she wanted to go back to work after having her children.
She returned from maternity leave at the end of January and is now back to full fitness to take on the shared roles of both Juliet and Lady Capulet.
Claire, 39, who is married to engineer tool-maker Alan Baldry, 43, said: “I always knew I wanted children but through the early stage of my career I wondered when would be a good time."
Claire stopped performing three months into her pregnancy but continued to take classes and keep fit as she knew she wanted to return to work after giving birth.
“They say if you’re used to what you do you can continue with everything and my body was used to ballet classes. I literally danced up until they were born,” she said.
Read the full article on the Daily Record website