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Found 94 results

  1. I really enjoyed this last night. From the one previous time I've seen it (on DVD) I'm not a huge fan of Nureyev's choreography. But thought the performances here were great. I was completely gripped by act 3 in particular - Cojocaru was incredible. But also something about the whole atmosphere made it feel even more intense than usual. This was another filmed version very clearly not meant for public viewing, with bits of the action apparently only available from what seemed to be some kind of security camera. Another angle showed the full orchestra playing while the dancing and the action unfolded in front of them. For me at least, this unexpectedly added an intimacy not usually present when watching filmed ballets. Perhaps more of a sense of being there. Another video I feel lucky to have been able to watch. https://m.youtube.com/watch?v=DvZS5LJQwqo
  2. I saw on YouTube that the full performance [Broken Wings] starring Tamara Rojo will be streamed on 22nd April at 7pm. Excited to see this ballet again!
  3. This opened yesterday evening, I was at the matinee today. I've seen it at every revival and I still find it a mesmerising, raw and powerful piece, perhaps even more than I did when I first saw it. Personally, I find it better not to spend too much time trying to work out the detail of what is happening; it wasn't entirely clear at the premiere and it still isn't. But for me the broad brush of the story line is there and is more than enough to be satisfying. The hypnotic beat of the music (brilliantly played by the ENB orchestra) drives the ballet forward and enhances the sense of raw and ferocious tribal energy in the opening choreography. I love the choreography: there is a frantic intensity for much of the corps in Act 1, but moments of stillness too. In Act 2 the Willis are terrifying, but the final pdd for Giselle and Albrecht is sublime, full of tenderness and forgiveness. I found this afternoon's principle performers simply superb: Giselle (Fernanda Oliveira), Albrecht (Aitor Arrieta), Erik Woolhouse making a stunning debut as Hilarion. The second circle was filled with many young teen school kids and it must be a huge tribute to the quality of the performance to note that even in the quiet moments you could have heard a pin drop (except for a mobile phone going off which I cannot say belonged to the kids) !
  4. I'm new to ballet in middle life. I don't know much about it and only have a few weeks of trying it out (Baroque dance is more my thing, but only have a few years experience). Anyway, someone pointed me to ENB's watch party of Broken Wings this week. I'd thought I'd give it a go but wasn't sure what to expect. But wow, I mean WOW!. Moving, comic, sad and sometimes disturbing - completely blown away by it and want to watch it again. But can't! Just very cool and gets me to want to explore more.
  5. ENB has just announced the finalists for this. As I have mentioned almost all these dancers in my posts over the last year, I am really looking forward to seeing their talents highlighted! "Announcement 🎉 Meet our Emerging Dancer 2020 finalists: Ivana Bueno, Carolyne Galvao, Miguel Angel Maidana, Victor Prigent, Emily Suzuki and William Yamada! Their colleagues voted for them to perform at the #ENBEmerging final on 29 May in London. Congratulations from everyone at English National Ballet!They will perform a classical pas de deux and a contemporary solo in front of a panel of judges (and an audience – book your tickets! 😉), before one of them receives the Emerging Dancer 2020 Award.Tickets: https://www.ballet.org.uk/production/emerging-dancer-2020/"
  6. The Gala was meticulously planned and brilliantly executed. Stunning, sumptuous, ravishing, scintillating and exhilarating from start to finish. A veritable celebration of dance. It deserved a standing ovation and I among others gave it one. I hope that it was recorded for wider viewing.
  7. English National Ballet celebrates 70th Anniversary London Coliseum Friday 17 & Saturday 18 January 2020 www.ballet.org.uk English National Ballet today announces casting for its three specially curated gala performances at the London Coliseum (17 & 18 January) in celebration of the Company’s 70th Anniversary. Showcasing the world-class talent of the entire Company, alongside the future stars of the ballet world from English National Ballet School, these performances include some of the most important and ground-breaking works that make up English National Ballet’s diverse repertoire. The gala performances will begin with a blend of film and performance. Using archive footage of English National Ballet, Dominic Best, who directed BBC documentaries Good Swan, Bad Swan: Dancing Swan Lake and Giselle: Belle of the Ballet, will create a special film which will dissolve into live performance on stage. Please note that Onegin will not be performed as previously announced. Performance details are subject to change. -ENDS- English National Ballet is a National Portfolio Organisation supported by Arts Council England. Notes to Editors Listings English National Ballet’s 70th Anniversary Gala London Coliseum Friday 17 & Saturday 18 January 2020 Box Office: 020 7845 9300 or www.ballet.org.uk/70th-anniversary-gala
  8. I am wondering which Summer Schools people recommend for a 15 year old (as a precursor to Upper school application year)? Has anyone been/ applied for the Vaganova Academy by video please?
  9. English National Ballet Nutcracker National Tour 27 November – 5 January 2020 Liverpool Empire and London Coliseum www.ballet.org.uk/nutcracker As part of its 70th Anniversary Season English National Ballet is continuing its Christmas tradition of presenting a Nutcracker production each year since 1950. English National Ballet's Nutcracker returns this festive season with performances at the Liverpool Empire Theatre (27-30 November) and the London Coliseum (11 December-5 January) Principal casting for the performances is announced today and sees three debuts in the roles of Clara and Nephew. Guest artist Brooklyn Mack will debut in the role of Nephew for ENB partnered with Principal Shiori Kase, First Soloist Emma Hawes will debut in the role of Clara alongside First Soloist Aitor Arrieta and Daniel McCormickdebuts as Nephew and will be dancing with Soloist Rina Kanehara. Other pairings in the roles of Clara and Nephew respectively are; Lead Principals Alina Cojocaru and Isaac Hernández, Lead Principals Joseph Caley and Jeffrey Cirio are both partnered with First Soloist Katja Khaniukova, Lead Principal Erina Takahashi will perform with Principal Francesco Gabriele Frola, Lead Principal Fernanda Oliveira and First Soloist James Forbat and First Artist Francesca Velicu with First Soloist Ken Saruhashi. Also announced today are those dancing the role of Nutcracker which sees debuts for Artist of the Company Matthew Astley and First Artist Henry Dowden. Returning to the role of Nutcracker this season are; First Soloists Aitor Arrieta, James Format and Junor Souza, Soloist Skyler Martin, First Artists Daniel McCormick and Erik Woolhouse and Artist of the Company Fernando Carratalá Coloma. Over 100 dancers and musicians bring to life the popular Tchaikovsky score featuring the Dance of the Sugar Plum Fairy and Waltz of the Flowers, performed live by English National Ballet Philharmonic. Since its premiere in 2010, this festive family favourite has been seen by over 660,000 people, and continues to attract new audiences, with 70% of 2018's audience members first time attenders at the London Coliseum. To coincide with Nutcracker, English National Ballet will host a range of workshops and events, aimed to provide a gateway into the world of ballet. Activities include on-stage workshops for all ages including adult and youth ballet workshops, arts and craft family workshops and behind-the-scenes talks. The Family Friendly performance ofNutcracker is on Sunday 5 January. Children under 5 may attend this performance and up to two children under 16 can go free with each full paying adult. For more details, see www.ballet.org.uk/whats-on Nutcracker Principal Casting: In the order of Clara, Nephew and Nutcracker Liverpool Wednesday 27 November Shiori Kase, Brooklyn Mack*+, Junor Souza Thursday 28 November (mat) Emma Hawes*, Aitor Arrieta, Fernando Carratalá Coloma Thursday 28 November Rina Kanehara, Daniel McCormick*, Erik Woolhouse Friday 29 November Emma Hawes, Aitor Arrieta, Fernando Carratalá Coloma Saturday 30 November (mat) Francesca Velicu, Ken Saruhashi, Matthew Astley Saturday 30 November Shiori Kase, Brooklyn Mack, Junor Souza London Wednesday 11 December Erina Takahashi, Francesco Gabriele Frola, Skyler Martin Thursday 12 December Katja Khaniukova, Jeffrey Cirio, Daniel McCormick Friday 13 December Shiori Kase, Brooklyn Mack, Junor Souza Saturday 14 December (mat) Fernanda Oliveira, James Forbat, Henry Dowden Saturday 14 December Katja Khaniukova, Joseph Caley, Aitor Arrieta Sunday 15 December (mat) Erina Takahashi, Francesco Gabriele Frola, Skyler Martin Tuesday 17 December (mat) Rina Kanehara, Daniel McCormick, Erik Woolhouse Tuesday 17 December Katja Khaniukova, Joseph Caley, Aitor Arrieta Wednesday 18 December (mat) Fernanda Oliveira, James Forbat, Henry Dowden Wednesday 18 December Erina Takahashi, Francesco Gabriele Frola, Skyler Martin Thursday 19 December (mat) Emma Hawes, Aitor Arrieta, Fernando Carratalá Coloma Thursday 19 December Katja Khaniukova, Jeffrey Cirio, Daniel McCormick Friday 20 December (mat) Francesca Velicu, Ken Saruhashi, Matthew Astley Friday 20 December Shiori Kase, Brooklyn Mack, Junor Souza Saturday 21 December (mat) Erina Takahashi, Francesco Gabriele Frola, Skyler Martin Saturday 21 December Rina Kanehara, Daniel McCormick, Erik Woolhouse Sunday 22 December (mat) Alina Cojocaru, Isaac Hernández, James Forbat Tuesday 24 December (mat) Alina Cojocaru, Isaac Hernández, James Forbat Thursday 26 December Emma Hawes, Aitor Arrieta, Fernando Carratalá Coloma Friday 27 December (mat) Katja Khaniukova, Jeffrey Cirio, Daniel McCormick Friday 27 December Fernanda Oliveira, James Forbat, Henry Dowden Saturday 28 December (mat) Francesca Velicu, Ken Saruhashi, Matthew Astley Saturday 28 December Alina Cojocaru, Isaac Hernández, James Forbat Sunday 29 December (mat) Shiori Kase, Brooklyn Mack, Junor Souza Monday 30 December (mat) Rina Kanehara, Daniel McCormick, Erik Woolhouse Monday 30 December Katja Khaniukova, Joseph Caley, Aitor Arrieta Tuesday 31 December (mat) Erina Takahashi, Francesco Gabriele Frola, Skyler Martin Thursday 2 January Katja Khaniukova, Jeffrey Cirio, Daniel McCormick Friday 3 January (mat) Alina Cojocaru, Isaac Hernández, James Forbat Saturday 4 January (mat) Francesca Velicu, Ken Saruhashi, Matthew Astley Saturday 4 January Erina Takahashi, Francesco Gabriele Frola, Skyler Martin Sunday 5 January (mat) Fernanda Oliveira, James Forbat, Henry Dowden *Debut in the role with English National Ballet +Guest Artist Please note, casting is subject to change. Please see www.ballet.org.uk for up to date casting. -ENDS- Listings: Nutcracker Liverpool Empire Wednesday 27 - Saturday 30 November 2019 Box Office: 0844 871 3017 or www.ballet.org.uk/nutcracker Nutcracker London Coliseum Wednesday 11 December 2019 - Sunday 5 January 2020 Box Office: 020 7845 9300 or www.ballet.org.uk/nutcracker English National Ballet is a National Portfolio Organisation supported by Arts Council England. Notes to Editors About English National Ballet English National Ballet has a long and distinguished history. Founded in 1950 as London Festival Ballet by the great English Dancers Alicia Markova and Anton Dolin, it has played a major role in the growth and history of ballet in the UK. Today, English National Ballet is renowned for taking world-class ballet to the widest possible audience through its national and international tour programme, offsite performances at festivals including Glastonbury and Latitude, its distinguished orchestra English National Ballet Philharmonic, and being a UK leader in creative learning and engagement practice and delivery, building innovative partnerships to deliver flagship programmes such as English National Ballet’s Dance for Parkinson’s. Under the artistic directorship of Tamara Rojo, English National Ballet has gained new acclaim as it introduces innovative new works to the Company’s repertoire while continuing to honour and reinvigorate traditional ballet. www.ballet.org.uk About Arts Council England Arts Council England is the national development body for arts and culture across England, working to enrich people’s lives. We support a range of activities across the arts, museums and libraries – from theatre to visual art, reading to dance, music to literature, and crafts to collections. Great art and culture inspires us, brings us together and teaches us about ourselves and the world around us. In short, it makes life better. Between 2018 and 2022, we will invest £1.45 billion of public money from government and an estimated £860 million from the National Lottery to help create these experiences for as many people as possible across the country. www.artscouncil.org.uk
  10. I should be surprised if I was the only one to have caught the English National Ballet while it was in Liverpool at the end of November but, as I can't find any other reviews or mentions on this website, I thought I would just say a few words before The Nutcracker opens in London later this week. I attended the evening performance at the Empire on 30 Nov 2019. This was Wayne Eagling's version of "The Nutcracker" that I had seen before in :London. I enjoyed it a lot though not perhaps as much as Peter Wright's for the Birmingham Royal Ballet or Peter Darrell's for Scottish Ballet but I prefer it to Wright's for the London Royal Ballet and David Nixon's for Northern. I like Farmer's designs which seem a little different from Toer van Schayk's for HNB. In this version Clara becomes the Sugar Plum Fairy. She was danced appealingly by Shiori Kase. Brooklyn Mack was her prince, Junor Souza the Nutcracker, Fabian Reimair and James Streeter was the Mouse King. All the divertissements were performed well but if I had to single out any particular artist for commendation it would be Precious Adams who led the snowflakes and flowers with grace, This was not the first time I had attended a show at the Liverpool Empire. As on previous occasions the audience were demonstrative in their appreciation. For that reason alone it was good yo watch that ballet in their company.
  11. For my first “Nutcracker” of the season, and ENB’s second performance in their 32-show run at the Coliseum, there were some disappointments but there was also much to love, not least Tchaikovsky’s ravishing score given its usual Christmas magic by the ENB Philharmonic under the wonderfully sympathetic baton of Gerry Cornelius. Now being rolled out for the tenth year, the sets look in need of refreshing (as do some of the Act I costumes), as they appeared washed out at times with the lighting also appearing somewhat dingy, especially in Act II. Most disappointing was a general lack of style in the dancing of the ladies in their various ensemble dances, starting with the party scene in Act I which lacked its original elegance but my eye was caught by Emily Suzuki and Jia Zhang, mostly dancing at the back of the group, who can always be relied upon to add a touch of class to whatever they do. Likewise, Alison McWhinney brought her ballerina sheen and a much-needed lyricism to the dance of the Snowflakes, with a masterclass in how to fill out a musical phrase with her gorgeous ports de bras, letting the music flow through her entire body. Hopefully the other dancers will follow her example, especially on the beautiful exiting step which needs this wonderful style to give the choreography its true magic. Indeed, it was another pair of dancers who have been in the production since its première, Adela Ramirez and James Forbat, who brought elegance and class to the waltz of the Flowers in Act II, with Ramirez exquisitely demonstrating the wonderful sliding step choreographed by Eagling which seems to have all but disappeared in the last few years. Another ‘veteran’ of the production, Junor Souza, made much of the Arabian Dance, channelling his Ali from “Le Corsaire”, with an extremely sensuous yet always elegant performance, enhanced by a very sultry group of harem ladies. Shevelle Dynott repeated his wickedly mischievous Mouse King, making much of the comedy with his highly amusing body language. The whole evening was presided over by the warm and genial Drosselmeyer of Fabian Reimair with his fatherly love for both his nephew and Clara shining through. Indeed, he and the Nutcracker of Daniel McCormick made the pas de trois, which begins Act II, look effortless as there was an almost carefree manner to the way they lifted and tossed Clara who responded with the most delighted of smiles which took on an extra rapture when the Nutcracker transformed into the fabulous Nephew of Jeffrey Cirio whose devastating charm lit up the whole theatre as well as the face of his adoring Clara, played as a child by the tiny Amelia Clark before transforming in her dream into the exquisite Katja Khaniukova. Less than a week ago, I was watching her on the same stage in the ultra-modern “Radio & Juliet” and yet tonight she was the quintessential classical ballerina displaying her heritage of the Russian school with her heady mix of delicious footwork, evident from her first exquisite run onto the stage in Act I, and beautifully languorous upper body movements and ports de bras, bringing depth of character to Clara who can sometimes be portrayed as rather two-dimensional. There was a moving soulfulness to her first pas de deux with the Nutcracker, especially with her meltingly beautiful bourrées around him as he knelt, which she repeated with even more delicacy in her delectable Sugar Plum solo in Act II. Cirio partnered her to perfection in the Act II grand pas de deux, both of them radiant and glittering in the entrée, and then showed us his beautifully clean technique in his bravura solo and the coda, never losing his youthful charm and that lovely smile. Khaniukova also shone in the coda with her trademark multiple pirouette into an immaculate set of fouetté turns. She and Cirio received rapturous applause and cheering from the capacity audience, many of whom appeared to be seeing the ballet for the first time and were no doubt as enchanted as I was by this glorious partnership.
  12. I went to ENB performing Chrisopher Wheeldon's Cinderella in Manchester today (Saturday Matinee). Erina Takahashi and Joseph Caley were the leads. I have never been to a Wheeldon ballet before, and not watched the Royal Ballet televised productions of recent years. I must admit to a certain about of ignorant snobbery and prejudice towards this choreographer. Being a lover of the great classical ballet canon, I had a bias that it might be, (especially judging from the Cinderella promotional images) rather too 'Matthew Bourne-ish' (again, I admit to being quite ignorant of Bourne too). The excellent reviews on this forum of this Cinderella (in the round, in the Albert Hall) encouraged me that it was worthwhile to go and see. Thank you Ballet Forum! I found it was a splendid cinematic dance theatre with more than enough of the classical style to satisfy me. For sheer visual effect, it is impressive and sophisticated. The colours of the staging and costume are extremely rich and splendid, lustrous. I did wonder in some scenes if they crossed the line into garishness but they just stayed on the right side, I think. The varied effects are very striking, wonderful (I particularly liked the row of chairs levitating in Act III). The choreography I found very interesting and often extremely pleasing. I loved the use of the male quartet of 'Fates' throughout. As with the other Cinderella I've seen (BRB Bintley) the Seasons dances are a highlight, and Precious Adam's leading Winter was probably my favourite. Perhaps some of the step sequences were a little 'busy', particularly in the (infrequent) solos, and I must admit I didn't find the grand pdd's conveyed the overwhelming emotion I thought they should have. The national dance section was again a little busy but I love this music and regret that it doesn't feature in the BRB version. But overall the dance was continually creative, impressive, surprising and consistently high standard. And I will admit that at the climax of Act II ballroom scene had me won over - the way the corps formations drew the scene onto it's finale, and portrayed the ticking clock with their arms - I thought this was fabulous. The leads Takahashi and Caley were of course excellent and flawless, but I'm not sure their individual (or pdd) choreography was a sufficient vehicle for either of them to really enrapture or astound the audience. It looks like this production has sold extremely well, far better than ballet usually does in Manchester.
  13. In the order of Cinderella, Prince Guillaume, Benjamin Manchester Thursday 17 October Erina Takahashi, Joseph Caley, Jeffrey Cirio Friday 18 October (mat) Emma Hawes, Francesco Gabriele Frola, Ken Saruhashi Friday 18 October Shiori Kase*, Jeffrey Cirio, Barry Drummond Saturday 19 October (mat) Erina Takahashi, Joseph Caley, Brooklyn Mack*+ Saturday 19 October Emma Hawes, Francesco Gabriele Frola, Ken Saruhashi Southampton Wednesday 23 October Emma Hawes, Francesco Gabriele Frola, Ken Saruhashi Thursday 24 October (mat) Alison McWhinney*, Aitor Arrieta*, Henry Dowden* Thursday 24 October Shiori Kase, Jeffrey Cirio, Barry Drummond Friday 25 October Erina Takahashi, Joseph Caley, Brooklyn Mack Saturday 26 October (mat) Alison McWhinney, Aitor Arrieta, Henry Dowden Saturday 26 October Shiori Kase, Jeffrey Cirio, Barry Drummond *Debut in the role with English National Ballet +Guest Artist
  14. English National Ballet Akram Khan’s Giselle Sadler’s Wells, London Wednesday 18 – Saturday 28th September 2019 www.ballet.org.uk/akram-khan-giselle/ Akram Khan’s Giselle returns to the UK for the first time since 2017, following acclaimed international performances in Moscow, Luxembourg and Chicago so far this year. Since its world premiere in 2016, Khan’s reimagined Giselle has been seen live by over 86,000 people through tours to eleven cities, in the UK and internationally. Giselle has also been broadcast in cinemas and on television, reaching an audience of over 160,000 through broadcasts internationally. Now the production is returning to Sadler’s Wells, London, for 13 performances from Wednesday 18th – Saturday 28th September. Akram Khan’s Giselle Principal Casting (in order Giselle, Albrecht and Hilarion) Wednesday 18 September Tamara Rojo, James Streeter and Jeffrey Cirio Thursday 19 September (mat) Fernanda Oliveira, Aitor Arrieta and Erik Woolhouse Thursday 19 September Erina Takahashi, Joseph Caley and Ken Saruhashi Friday 20 September Tamara Rojo, James Streeter and Jeffrey Cirio Saturday 21 September (mat) Fernanda Oliveira, Aitor Arrieta and Erik Woolhouse Saturday 21 September Erina Takahashi, Joseph Caley and Ken Saruhashi Monday 23 September Alina Cojocaru, Isaac Hernández and Jeffrey Cirio Tuesday 24 September Tamara Rojo, James Streeter and Ken Saruhashi Wednesday 25 September Crystal Costa, Aitor Arrieta and TBC Thursday 26 September Alina Cojocaru, Isaac Hernández and Jeffrey Cirio Friday 27 September Erina Takahashi, Joseph Caley and Ken Saruhashi Saturday 28 September (mat) Crystal Costa, Aitor Arrieta and TBC Saturday 28 September Alina Cojocaru, Isaac Hernández and Jeffrey Cirio -ENDS- English National Ballet is a National Portfolio Organisation supported by Arts Council England Notes to Editors About English National Ballet English National Ballet has a long and distinguished history. Founded in 1950 as London Festival Ballet by the great English Dancers Alicia Markova and Anton Dolin, it has played a major role in the growth and history of ballet in the UK. Today, English National Ballet is renowned for taking world-class ballet to the widest possible audience through its national and international tour programme, offsite performances at festivals including Glastonbury and Latitude, its distinguished orchestra English National Ballet Philharmonic, and being a UK leader in creative learning and engagement practice and delivery, building innovative partnerships to deliver flagship programmes such as English National Ballet’s Dance for Parkinson’s. Under the artistic directorship of Tamara Rojo, English National Ballet has gained new acclaim as it introduces innovative new works to the Company’s repertoire while continuing to honour and reinvigorate traditional ballet. www.ballet.org.uk About Arts Council England Arts Council England is the national development body for arts and culture across England, working to enrich people’s lives. We support a range of activities across the arts, museums and libraries – from theatre to visual art, reading to dance, music to literature, and crafts to collections. Great art and culture inspires us, brings us together and teaches us about ourselves and the world around us. In short, it makes life better. Between 2018 and 2022, we will invest £1.45 billion of public money from government and an estimated £860 million from the National Lottery to help create these experiences for as many people as possible across the country. www.artscouncil.org.uk
  15. I missed out on catching up with the Links page yesterday, but thought this one deserved highlighting: https://www.thestage.co.uk/features/obituaries/2019/obituary-james-supervia-charismatic-dancer-choreographer-and-actor/ I remember him particularly as Friar Lawrence in ENB's Romeo & Juliet, but was surprised to see the varied career he'd had prior to joining the then London Festival Ballet.
  16. Just announced for next June: https://www.ballet.org.uk/production/swan-lake-round/
  17. Hello all — on offer is a good seat for the matinee on Friday of Cinderella in the Round at the Royal Albert Hall Stalls L Row 3 Seat 77 Price: £70 (£71.08 face value) The lovely Emma Hawes is Cinderella. See rest of cast here It is an e-ticket
  18. English National Ballet 2019-2020 Season ballet.org.uk English National Ballet says ‘Thank You’ as it celebrates its 70th Anniversary Akram Khan to create second full-length production for English National Ballet Le Corsaire returns with performances at Milton Keynes Theatre and the London Coliseum Christopher Wheeldon’s Cinderella to be performed in Manchester and Southampton The Company’s first full Season after moving to their new home at London City Island Mayor of London awards £1million grant through his Good Growth Fund to support English National Ballet’s ‘Bridging Neighbourhoods – Growing Talent’ project English National Ballet appoints first Medical Director to maximise the benefits of the new building’s state-of-the-art fitness and rehabilitation facilities English National Ballet today announces plans for its 2019-2020 Season and updates on their new home at London City Island: 2020 marks English National Ballet’s 70th Anniversary with celebrations taking place throughout the 2019-2020 Season that give opportunities for the Company to say, ‘Thank You’ to its audiences, fans, friends and partners. The 70th Anniversary will be celebrated with three special Gala performances at the London Coliseumfeaturing extracts from a diverse range of repertoire spanning English National Ballet’s history. Tamara Rojo CBE, English National Ballet’s Artistic Director said: “Our 70th Anniversary Gala performances are a rare opportunity to showcase in one place a huge variety of brilliant work from our extraordinarily rich history. This will be a Gala that celebrates the sheer love of dance, both on and off the stage, that has been part of our vision from the beginning. Throughout the three performances we will be bringing together as many people as possible from the English National Ballet family, on stage and in the audience, to celebrate and give thanks for the generosity of all who make this the very special Company it is. Alongside the Gala, we want to make sure we thank our audiences and partners throughout the season and will do so in a variety of creative ways.” Celebrating and thanking its touring communities, English National Ballet will give away 70 tickets during each run in every city it tours to. Working with its partner venues, these tickets will be distributed to individuals who are making a positive impact in their community. To thank its audiences and fans, English National Ballet will also give a ‘Golden Ticket’ for a special English National Ballet experience to one audience member per performance throughout the season. Opportunities will include behind-the-scenes tours, complimentary tickets, and meet and greets. Further details and additional events to be announced throughout the season. English National Ballet will mark its 70th Anniversary having moved into a new home at London City Island, Canning Town. This state-of-the-art building, designed especially for English National Ballet and English National Ballet School and featuring a theatre size production studio fitted with fly tower, allows for the 2019-2020 Season to be shaped with a renewed commitment to, and freedom for, creativity and ambition. Renowned choreographer Akram Khan returns to create a second full-length production for English National Ballet following the success of Giselle. Taking inspiration from Mary Shelley’s literary classic, Frankenstein, Khan’s new ballet, titled Creature, is influenced by essential questions on ambition, human endeavour and morality. Creature is co-produced by Sadler’s Wells, London, where it will premiere in April 2020. Akram Khan said: “Since I was a child, I have been obsessed and fascinated with the story of Frankenstein, by Mary Shelley. The outcast, the monster, or the stranger has always been a common theme in my works. But in this new creation, I am looking further into the areas related to the sense of abandonment, rage and loss. Having made Giselle on English National Ballet in 2016, I am extremely excited to create a new full-length work with them.” Tamara Rojo said: “Akram is an extraordinary artist, with an exceptional vision and inquisitive, inspiring mind. His masterful choreography is like no other and he has the skill to use his unique language to craft a narrative that asks some of the most challenging questions faced by the human race right now. I am looking forward to working with Akram and his team again and excited to see where this exploration takes him and the company in what will be our third project together.” The 2019-2020 Season will also see the return of Khan’s first full-length collaboration with English National Ballet, Giselle, with performances at Sadler’s Wells in September, with English National Ballet Philharmonic. Co-produced with Manchester International Festival and Sadler’s Wells, the critically acclaimed reimagining of the iconic ballet received its world premiere in 2016 and has since been seen live by over 80,000 people through tours to nine cities, both in the UK and internationally. Giselle has also been broadcast in cinemas and was recently released on DVD and Blu-ray. For the first time, there will be an audio described performance of Giselle at Sadler’s Wells this autumn, making the ballet accessible to visually impaired people. Based on the original audio description created by Audio Described Aotearoa as part of the Auckland Arts Festival, a description of the action as it appears on stage will be given as well as an on-stage ‘touch tour’ ahead of the performance, in which participants are given the opportunity to familiarise themselves with costumes and props through touch. Continuing its commitment to UK touring and presenting world-class ballet to the widest possible audience, Autumn 2019 sees English National Ballet present three acclaimed ballets, Cinderella, Le Corsaire, and Nutcracker, on tour. Following Christopher Wheeldon’s restaging of Cinderella for in-the-round performances at the Royal Albert Hall in June 2019, English National Ballet will bring the proscenium arch version of this sparkling ballet to audiences outside of London in Manchester and Southampton. This inventive production combines magnificent sets and costumes, beautiful choreography, and Prokofiev’s sublime score performed live by English National Ballet Philharmonic. Having delighted audiences around the world with tours including Japan, Paris, and Spain, Autumn 2019 sees Le Corsaire return to Milton Keynes six years after its 2013 premiere in that same city, before performances at the London Coliseum in January 2020. The only UK company to perform the complete work, English National Ballet’s production was staged by Anna-Marie Holmes and features sets by Hollywood designer, Bob Ringwood, and a sweeping score performed live by English National Ballet Philharmonic. Tamara Rojo said: “Le Corsaire is a spectacular ballet that gives us another opportunity to showcase the extraordinary talent that is present throughout the entire Company right now. There is a physical power and brilliant dramatic presence in this generation of dancers, and I am looking forward to seeing them take on these roles which I think they will relish and have such fun with, and I think audiences will too.” Continuing its Christmas tradition of presenting a Nutcracker production each year since 1950, English National Ballet’s Nutcracker will tour to Liverpool ahead of performances at the London Coliseum. Tchaikovsky’s beautiful score is performed live by English National Ballet Philharmonic. Since its premiere in 2010, this festive family favourite has been seen by over 660,000 people, and continues to attract new audiences, with 70% of 2018’s audience members first time attenders at the London Coliseum. English National Ballet remains committed to developing and nurturing talent within the company. Emerging Dancer, which returns in Spring 2020, recognises the excellence of the Company’s artists through an annual celebration that sees six finalists mentored by their peers to perform in front of a panel of eminent judges. The winner of Emerging Dancer is announced alongside the People’s Choice award and the Corps de Ballet award, introduced to recognise the hard work and dedication of an exceptional member of the corps. Developing the ballet audience of tomorrow, English National Ballet and English National Ballet School’s My First Ballet series takes a popular ballet title and adapts it in time and length, making it accessible to children as young as three. Since 2012, over 290,000 people have seen a ballet from the series. 2020 sees a new version of My First Ballet: Cinderella performed on tour in the UK. International ballet star, Brooklyn Mack, will perform with English National Ballet as a Guest Artist during the Autumn-Winter 2019-2020 Season. Mack last performed with English National Ballet in 2016, in Le Corsaire. Taking the very best in British ballet to audiences across the world, English National Ballet tours Akram Khan’s Giselle internationally next season. Following tours to Les Théâtres de la Ville de Luxembourg in June 2019 and at the Chekov International Festival on the Bolshoi Theatre stage in July 2019, English National Ballet will take this stellar production to the Gran Teatre del Liceu, Barcelona in April 2020, and to the Théâtre du Châtelet, Paris in July 2020 as part of the festival Les Étés de la Danse. Plans for English National Ballet’s Summer 2020 performances will be announced later this Spring. The Mayor of London’s Good Growth Fund supports English National Ballet’s Bridging Neighbourhoods – Growing Talent project The Mayor of London’s Good Growth Fund has committed to a £1million grant to support English National Ballet’s move and their East London focused project, Bridging Neighbourhoods – Growing Talent. Through this project English National Ballet will share its new world-class cultural infrastructure on the Lea River Estuary as a multi-disciplinary creative hub for active participation and skills development, and as a catalyst for bringing communities together through the sharing of culture. The project will generate 8 new FTE jobs, 20 new Associate Artists and deliver a new skills development programme that provides training, apprenticeships, volunteering, residences and learning opportunities for 4,000 people over the next three years with a focus on recruitment from the local area and across East London. Patrick Harrison, English National Ballet’s Executive Director, said: “This grant is greatly valued in supporting our ambitious aims as we make our move to East London. As the cultural anchor on London City Island, we will use public spaces, exhibition and shared workspace, a costume-making workshop and production studio to bridge relationships with creative partners and local communities, and make space available for learning, apprenticeships and employment.” Deputy Mayor for Planning, Regeneration and Skills, Jules Pipe, said: “We are pleased to support English National Ballet in its new home at London City Island, and that the Mayor of London’s Good Growth Fund has helped unlock significant wider benefits from this project. I’m confident our support will translate into a programme of local learning and employment opportunities in the future for Londoners in this area and across the capital.” English National Ballet’s Capital Fundraising Campaign English National Ballet also announces today generous support from the Dorfman Foundation, Stavros Niarchos Foundation, Rothschild Foundation, 29th May 1961 Charitable Trust, alongside donations from individual supporters. Thanks to this and to early supporters of the project including Arts Council England, Linbury Trust, Garfield Weston Foundation, the Wigoder Family Foundation, Foyle Foundation, Clore Duffield Foundation and Wolfson Foundation, £34million of the £36million needed to build English National Ballet and English National Ballet School’s new home at London City Island has already been raised. To raise the final £2million, English National Ballet’s fundraising campaign continues, with a new capital campaign microsite launched today. Every donation facilitated by the microsite contributes towards equipping the new home with state-of-the-art facilities and equipment, from sewing machines for the costume workshop, to mirrors for the studios, to treatment beds for the health suite. English National Ballet appoints first Medical Director Continuing its commitment to its dancers’ health and well-being, English National Ballet has appointed Andy Reynolds as Medical Director, a new role within the organisation which leads on the provision of science and medicine to all dancers at English National Ballet. Reynolds joins the company from Harlequins Rugby Football Club where he was Head of Medical Services and brings with him extensive experience as a medical lead having managed all aspects of medical care for the First XV Premiership team and other squads within the club. His role saw him act as lead diagnostic clinician and manager of a large multidisciplinary team delivering medical and rehabilitation provision. The Medical Director will work to maximise the benefits of the new premises state-of-the-art fitness and rehabilitation facilities which include a gym, Pilates studio, hydrotherapy pool and treatment rooms, implementing processes and strategies to allow English National Ballet’s dancers to prepare, perform, and recover to the best of their abilities. Tamara Rojo said: “The appointment of a Medical Director is integral to our ambition to establish English National Ballet as a renowned centre for medical, fitness, and injury rehabilitation provision in the dance world. I look forward to welcoming Andy to the team as we strive to further invest in the health and well-being of our dancers in a way that supports their artistic development, so they can reach their full potential as artists.” English National Ballet moves to London City Island in Spring 2019 with English National Ballet School joining ahead of their new academic year starting in September 2019. -ENDS- Notes to Editors English National Ballet’s Capital Campaign microsite can be found here: donate.ballet.org.uk On-Sale Information: Cinderella, Le Corsaire and Nutcracker open for priority booking to Friends from 10am on Friday 15 March2019 with general booking open from 10am on Friday 22 March 2019. Please note that booking for Cinderella at Southampton’s Mayflower Theatre opened in January 2019. Priority booking for Akram Khan’s Giselle will open 10am on Monday 8 April for Patrons, Wednesday 10 April for Great Friends, Friday 12 April for Friends, with general booking from Monday 15 April 2019. Creature by Akram Khan, My First Ballet: Cinderella and Emerging Dancer 2020 will open for booking in Autumn 2019. Details on booking for English National Ballet’s 70th Anniversary Gala to follow. Become a Friend today to enjoy priority booking, access to exclusive events throughout the season, and great discounts. Sign up to our e-newsletter to find out when booking is announced. English National Ballet’s 2019-2020 Season Listings: Akram Khan’s Giselle Sadler’s Wells, London Wednesday 18 - Saturday 28 September 2019 Box Office: 020 7863 8000 or www.ballet.org.uk/giselle Cinderella Palace Theatre, Manchester Thursday 17 - Saturday 19 October 2019 Box Office: 0844 871 3019 or www.ballet.org.uk/cinderella Cinderella Mayflower Theatre, Southampton Wednesday 23 - Saturday 26 October 2019 Box Office: 02380 711811 or www.ballet.org.uk/cinderella Le Corsaire Milton Keynes Theatre Wednesday 20 - Saturday 23 November 2019 Box Office: 0844 871 7652 or www.ballet.org.uk/lecorsaire Nutcracker Liverpool Empire Wednesday 27 - Saturday 30 November 2019 Box Office: 0844 871 3017 or www.ballet.org.uk/nutcracker Nutcracker London Coliseum Wednesday 11 December 2019 - Sunday 5 January 2020 Box Office: 020 7845 9300 or ballet.org.uk/nutcracker Le Corsaire London Coliseum Wednesday 8 - Tuesday 14 January 2020 Box Office: 020 7845 9300 or www.ballet.org.uk/lecorsaire English National Ballet’s 70th Anniversary Gala London Coliseum Friday 17 - Saturday 18 January 2020 Further details to be announced Creature by Akram Khan Sadler’s Wells, London Wednesday 01 - Wednesday 08 April 2020 On sale details to be announced / www.ballet.org.uk/creature Emerging Dancer Spring 2020 Further details to be announced My First Ballet: Cinderella Spring 2020 Further details to be announced Akram Khan’s Giselle Gran Teatre del Liceu, Barcelona Wednesday 22 - Saturday 25 April 2020 www.liceubarcelona.cat Akram Khan’s Giselle Théâtre du Châtelet, Paris July 2020 Further details to be announced About English National Ballet English National Ballet has a long and distinguished history. Founded in 1950 as London Festival Ballet by the great English dancers Alicia Markova and Anton Dolin, it has played a major role in the growth and history of ballet in the UK. Today, English National Ballet is renowned for taking world-class ballet to the widest possible audience through its national and international tour programme, offsite performances at festivals including Glastonbury and Latitude, its distinguished orchestra English National Ballet Philharmonic, and being a UK leader in creative learning and engagement practice and delivery, building innovative partnerships to deliver flagship programmes such as English National Ballet’s Dance for Parkinson’s. Under the artistic directorship of Tamara Rojo, English National Ballet has gained new acclaim as it introduces innovative new works to the Company’s repertoire while continuing to honour and reinvigorate traditional ballet. About English National Ballet School English National Ballet School is a world-renowned specialist training centre for aspiring and highly talented young ballet dancers aged 16 to 19. Founded in 1988 by English National Ballet, today the school exists as a separate entity but maintains strong links with its parent company, sharing its commitment to excellence and access. Its mission is to nurture and develop the next generation of world-class dance artists; artists who are confident and versatile, able to push boundaries and bring their creativity to the fore. Students participate in a three-year programme, validated by Trinity College London, with graduates joining prestigious dance companies worldwide. Currently a third of the dancers at English National Ballet are graduates of the School. The School also offer weekly children’s ballet classes, ENBS Juniors, for 3–10-year olds. About NatWest, Principal Partner of English National Ballet NatWest serves customers in England and Wales, supporting them with their personal, private, and business banking needs. NatWest helps customers at all stages in their lives, from opening student accounts, to buying their first home, setting up a business, and saving for retirement. Alongside a wide range of banking services, NatWest offers businesses specialist sector knowledge in areas such as manufacturing and technology, as well as access to specialist entrepreneurial support. About the Mayor of London’s Good Growth Fund The Good Growth Fund is the Mayor of London’s biggest regeneration fund and is delivered through the London Economic Action Partnership (LEAP). It was launched in June 2017 and provides capital funding from sources including the Local Growth Fund and European Social Fund, as well as expert regeneration advice, design support and knowledge sharing opportunities. For more information, see: https://www.london.gov.uk/what-we-do/regeneration/funding-opportunities/good-growth-fund-supporting-regeneration-london About the London Economic Action Partnership (LEAP) The London Economic Action Partnership (LEAP) is the local enterprise partnership for London. The LEAP brings entrepreneurs and business together with the Mayoralty and London Councils to identify strategic actions to support and lead economic growth and job creation in the capital. For more information, see: https://lep.london/
  19. This opened last night with a stunning first performance. I loved it. More thoughts from me when I've seen other casts.
  20. "Three iconic stories and three bold works on and by women. Broken Wings Iconic painter Frida Kahlo is the heroine of Annabelle Lopez Ochoa’s Broken Wings, a colourful ballet full of warmth and passion. Based on Kahlo’s life and art, it is “a marvellous image of creativity and power” (The Independent). Nora Stina Quagebeur, First Artist of the Company, choreographs her first work for the main stage. Nora is inspired by the lead character in Henrik Ibsen’s play A Doll’s House, a woman on the path to independence. Le Sacre du printemps (The Rite of Spring) Pina Bausch’s unforgettable production features 13 male and 13 female dancers on a stage covered in soil. Dancing the selection and sacrifice of a terrified victim, it is as gut-wrenching and galvanising as Stravinsky’s score, performed live by English National Ballet Philharmonic. Le Sacre du printemps returns following sold out performances in 2017". Out of interest I emailed ENB to ask if Francesca Velicu will be reprising her award-winning role as the Chosen One in Le Sacre du printemps, and if so on what dates. I had a very speedy reply, albeit of limited assistance, since historically it seems the way it works with the Pina Bausch Foundation is that the role of the Chosen One is never announced in advance, and is decided upon shortly before curtain-up; whilst it is hoped that Francesca Velicu will repeat her role they cannot be specific about which dates she will appear. I suppose there is some sort of dramatic logic in having the dancer playing the sacrificial "Chosen One" chosen herself, at short notice, in this way! But it does not help booking choices for anyone wanting to see a particular dancer...
  21. Thought we might as well use the Poll feature for a change! I'm thinking probably the Rojo/Streeter/Corrales/Quagebeur cast, but open to alternatives. All views welcome, no included, so as to get an accurate idea of potential interest. You can add any comments below.
  22. Since many of you in this forum are in England, I was wondering if any have seen this ballet; would love to hear your thoughts about it. I adore almost anything about Frida Kahlo so I wish Broken Wings would make it here to The States. Since at the moment I am out of luck in that regard, if anyone out there is attending the April performances and is interested in being the eyes and ears of The Traveling Ballerina, I would love to chat about you writing a review for the website - it would be wonderful to expose more of the going-ons in London to those on the other side of the Atlantic
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