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Press Release: English National Ballet announces 21-22 Season + Company Updates

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English National Ballet 2021-2022 Season


  •                    World premieres of Creature by Akram Khan and Raymonda by Tamara Rojo
  •                    New performance dates for THE FORSYTHE EVENING 
  •                    Nutcracker returns for the festive season 
  •                    Celebratory Emerging Dancer event 
  •                    Maria Kochetkova returns to ENB, joining as Lead Principal
  •                    ENB’s new home to be named Mulryan Centre for Dance
  •                    New ballet talent pipeline project and expansion of Dance Leaders of the Future


English National Ballet today announces plans for its 2021-2022 Season. 

Looking to the future with hope and optimism, English National Ballet’s 2021-2022 Season is a celebration of dance and its power to invigorate, inspire, and bring people together. Embracing both exciting new creations and the tradition of great classical ballet, the Company presents world premieres alongside perennial favourites.


English National Ballet’s Artistic Director, Tamara Rojo CBE said: “The past year has shown the determination, resilience and innovativeness of our Company. It has demonstrated the importance of the arts in gathering us together as a society, to share stories and to develop an understanding of, and empathy for, ourselves and others. Whilst the impact of the pandemic will continue to be felt for some time, I am pleased that today we are able to look ahead with optimism at better times to come. I cannot wait to share a Season of live performances and to once again hear the sounds of an audience slowly filling the auditorium and feel the energy build as we wait for the curtain to rise.”


New dates for the eagerly awaited world premiere of Raymonda by English National Ballet’s Artistic Director Tamara Rojo CBE, after Marius Petipa, are today announced. Rojo’s version of the classic 19th century ballet will be performed at the London Coliseum from 13-23 January 2022. Marking her debut in choreography and direction, Rojo adapts the three-act production for today’s audiences, revisiting this important but rarely performed work of the ballet canon, which is not, in its entirety, in any other UK dance company’s repertoire.


Bringing the story into the setting of the Crimean war and drawing inspiration from the spirit and ground-breaking work of the women supporting the war effort, including Florence Nightingale, Raymonda is recast as a young woman with a calling to become a nurse. With a new narrative and developed characterisation bringing women’s voices to the fore, Rojo’s Raymonda introduces a heroine in command of her own destiny.


Tamara Rojo said: “It continues to be a part of my vision for English National Ballet to look at classics with fresh eyes, to make them relevant, find new contexts, amplify new voices and ultimately evolve the art form. I have truly enjoyed delving into the creative process of adapting and choreographing a large-scale ballet.


Raymonda is a beautiful ballet – extraordinary music, exquisite and intricate original choreography – with a female lead who I felt deserved more of a voice, more agency in her own story. Working with my incredible creative team, I have set Raymonda in a new historical context, adapting the narrative in order to bring something unique, relevant and inspiring to our audiences.


“This story is about many themes; duty, war, patriotism, culture, but at its centre are the nurse characters – inspired by Florence Nightingale’s vision, drive and passion. Reflecting on the last year, we have seen how nurses, and many others in the medical sector, sacrifice so much to take care of other people and I hope this, in some small way, pays homage to them.”


Rojo brings together a stellar production team for Raymonda with costume and set design by Antony McDonald, lighting design by Mark Henderson, dramaturgy by Lucinda Coxon, character dances by Vadim Sirotin, and choreology research and advice on the Sergeyev notation by Doug Fullington. Alexander Glazunov’s original score, adapted and edited by Gavin Sutherland and Lars Payne, will be performed live by English National Ballet Philharmonic. Raymonda is a Co-Production between English National Ballet and Finnish National Opera and Ballet.


As previously announced, the much-anticipated world premiere of Creature by Akram Khan will now take place at Sadler’s Wells from 23 September - 02 October 2021, with its postponed international premiere taking place at Chicago’s Joan W. and Irving B. Harris Theater in February 2022. A Co-Production between English National Ballet and Opera Ballet Vlaanderen, this is Khan’s third collaboration with the Company. Creature is an unearthly tale of exploitation and human frontiers inspired by Georg Büchner’s expressionist classic Woyzeck, with shadows of Mary Shelley’s Frankenstein. Drawing on themes of abandonment, isolation and the fragility of the mind, Creature is the tale of an outsider and the search for belonging.


Akram Khan said: “The COVID-19 pandemic hit the UK just weeks before Creature was due to premiere in London last April and the final stages of our creation and rehearsal process were brought to an abrupt halt as the country went into lockdown. On returning to the studio, I’ve brought the experiences of the last year with me, drawing on themes of isolation, mental health, and patriarchal systems…and within that, I am exploring our very destructive nature of wanting to control everything…man-made systems, nature, animals, fellow humans, our future, and even our past…we want to control it all. And what I am realising is that you can’t control a living thing, without destroying what’s alive about them.”


Following a year in which COVID-19 restrictions meant English National Ballet was unable to present a live version of Nutcracker for the first time in its history, the family favourite makes a welcome return to the London Coliseum for Christmas 2021 (16 December 2021 - 08 January 2022). The Company has performed a version of Nutcracker every year since it was founded in 1950 and this production by Wayne Eagling encapsulates all that is loved most about the festive ballet. 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.


Tamara Rojo said: “The London Coliseum is an amazing theatre for ballet and has been the home of our Winter Season for many years. I think performing there this year will feel particularly special, for both the Company and our audiences.”


Performances of THE FORSYTHE EVENING will now take place at Sadler’s Wells from 31 March - 10 April 2022, replacing dates in April 2021. In 2018 English National Ballet premiered William Forsythe’s first creation for a UK ballet company in over 20 years, Playlist (Track 1, 2). The Company’s relationship with the revered American choreographer continues with a triple bill that comprises of the UK premiere of Blake Works I, featuring the music of James Blake’s album, The Colour in Anything; alongside Approximate Sonata 2016, a series of deconstructed pas de deux first performed by English National Ballet in 2018; it will also present for the first time in the UK an extended version of Playlist (Track 1, 2), Playlist (EP). 


Tamara Rojo said: “William Forsythe is a genius of 20th century choreography. This triple bill exemplifies his ability to present classical vocabulary in a modern context in a way that speaks to audiences of all ages. In Approximate Sonata 2016 we see an intimate exploration of the relationships between women and men; Blake Works I is one of the most beautiful ballets I have seen in a long time; and I am thrilled we will see the Company return to Playlist with its combination of Forsythe’s unique choreographic style and exhilarating pop music – it’s an onstage party which is a complete joy to witness.”


The COVID-19 pandemic has seen English National Ballet adapt and innovate, remaining committed to bringing world-class ballet to the widest possible audience. Although performing in theatres hasn’t been possible, the Company continued to bring dance to audiences through ENB at Home. The launch of the dedicated on-demand digital platform has given audiences at home the opportunity to rent full-length ballets and insightful documentaries through Ballet on Demand and engage in a wide range of ballet-based fitness classes through BalletActive.  


Looking ahead, English National Ballet will continue to offer digital access to its work. Whilst an absence of live performance has made it impossible to select Emerging Dancer finalists and People’s Choice Award winners this year, the Company continues to recognise the excellence of its Artists with Emerging Dancer: A Celebration. Performances from previous winners will be live streamed from the Holloway Production Studio in English National Ballet’s east London home on 02 September 2021. 

Tamara Rojo said: “Despite the challenges of the last year, I am proud that through our digital work we have continued to create and to engage with our audiences. Indeed, in sharing work online, we have reached more people than ever before, and I am so pleased that we will continue to do so.”

Due to the ongoing impact of the COVID-19 pandemic, English National Ballet’s UK autumn tour and My First Ballet tour will not take place this Season. The Company looks forward to returning to partner venues and performing to audiences around the UK next year.

English National Ballet’s new home to be named Mulryan Centre for Dance

2019 saw English National Ballet enter a new chapter in its history when it moved into a purpose-built state-of-the-art home in a new east London neighbourhood, London City Island. Today, the Company announces that its award-winning building will be named Mulryan Centre for Dance, after the family of one of its major supporters, Sean Mulryan, Chairman and Group Chief Executive of major developer Ballymore. 


Tamara Rojo said: “On behalf of all of us at English National Ballet I want to thank Sean Mulryan and his family for this incredible generosity. This building has transformed the way we work, providing us with the scale and versatility to be more creative and ambitious than ever before. That has been particularly true this last year when, despite the huge challenges faced, it has allowed our dancers to safely rehearse, given us the space to innovate and create, and enabled us to continue connecting with our audiences and communities, near and far.”


Sean Mulryan said: “The arts, culture and design are essential to our lives and to our wellbeing. We must appreciate the significance of the arts to our quality of life, in particular it is this that gives London its soul. English National Ballet is a treasured national asset, and we should all be grateful for what they and other artistic talents, bring to our society. I have been pleased to support them, and urge others to support the arts, especially at this very difficult time”.

The 2021-2022 Season sees Maria Kochetkova welcomed into the Company. 

International ballet star Maria Kochetkova returns to the Company, joining as a Lead Principal. Born in Moscow, Kochetkova trained at the Bolshoi Ballet School before dancing with companies including English National Ballet (2003 - 2007), The Royal Ballet, San Francisco Ballet, Finnish National Opera and Ballet, the Mariinsky and Mikhailovsky Theatres, and American Ballet Theatre. She also danced as a Guest Artist with English National Ballet in performances of Cinderella in-the-round in 2019.


Tamara Rojo said: “I am delighted that Maria has decided to join ENB as her home company. I have known and admired Maria for many years and I look forward to welcoming such a dedicated, intelligent, and versatile artist. I am sure our audiences will delight in her performances.”

English National Ballet announces a new ballet pipeline project. 

English National Ballet is to launch a new ballet talent pipeline project. The high-quality, early-stage, ballet training programme for children aged 8-12 years will run in association with five dance schools across England: West London School of Dance in collaboration with the Young Dancers Academy, Dupont Dance Stage School, Beckenham Ballet Academy, The Joanne Bond School of Classical Ballet, and The Janet Lomas School of Dancing. The five year programme aims to contribute to and promote a diverse classical landscape by proactively encouraging and incentivising more dancers from traditionally underrepresented groups to participate in professional ballet training at the earliest possible point; in turn, impacting on 21st century work. 


English National Ballet’s senior leadership team will work with members of the Company’s artistic staff as well as Company dancer, Sarah Kundi, who will help shape the programme and be a mentor to the children involved in the project. 

Tamara Rojo said: “I believe that there are spaces to be filled in the dance training system for young artists who are representative of the world we live in, the stories we want to tell, and the people who tell them. I am excited that by working with dance schools for children, this project will provide gifted and talented individuals with space to grow into their potential as young artists. I am delighted that, together with these schools, we will be enabling them to increase their natural aptitude, harness their confidence, and understand their artistic personality, and to helping them find their places in the dance world in the future.”

An initial 12-month pilot phase of the project will begin in July 2021. Further details will be announced soon. 

Following a successful launch, English National Ballet’s Dance Leaders of the Future programme is expanded.  

Launched in 2019, Dance Leaders of the Future is part of English National Ballet’s commitment to the development of every individual and every aspect of the art form, including leadership. It offers Company dancers the opportunity to develop their leadership skills and gain experience and a greater understanding of the running of an arts organisation. The programme sees dancers selected for the programme attend key organisational meetings, carry out placements in administrative departments and learn more about the business model at English National Ballet. 


Looking ahead, the programme expands to span two years. The first offers an induction to all company departments and core leadership training, whilst the second year investigates a specialist focus, and develops autonomy with the delivery of an independent-led project.


Tamara Rojo said: “The expansion of the Dance Leaders of the Future program is another example of English National Ballet’s commitment to consistently invest resources, time and effort into the development of our dancers, whether this is in the studio, on the stage or in other aspects of their career."


English National Ballet’s Engagement programme. 

English National Ballet’s Engagement programme has continued throughout the pandemic, improving wellbeing through online adaptation of ENB’s Dance for Parkinson’s and ENBEldersCo, reducing inequalities in physical activity through free digital youth dance programming, and talent development initiative ENBYouthCo-nnect; and tackling loneliness through digital connection, ENBTogether befriending scheme.



The 2021-2022 Season reactivates Dance Journeys Digital Works film capture, Digital Arts Award – Demi & Grand Pas packages and Ballet Explored as a blended model for schools with packages for both Creature and Raymonda. ENBYouthCo returns to Mulryan Centre for Dance and Dance for Dementia galvanises partnerships with care homes including Barchester Care Homes PLC. Coming up is Raymonda Reinvented a creative cross arts project drawing on the themes of identity and female pioneers which leads to a mainstage performance by young people. A tour of blended virtual / in-person ENBYouthCo Digital Roadshow to youth and community centres across east London introduces young people to ballet and the Company, and proactively widens and diversifies local recruitment of underrepresented groups. ENB’s Dance for Parkinson’s inclusive engagement progresses SHAPER [Scaling-up Health-Arts Programmes: Implementation and Effectiveness Research] research programme, the world’s largest study into impact and scalability of arts interventions on physical and mental health with King’s College London and UCL.


English National Ballet is grateful for the generous grant it has been awarded through the Government’s Culture Recovery Fund, which allows it to continue to create, perform and serve its audiences.



Notes to Editors 

English National Ballet is a National Portfolio Organisation supported by Arts Council England. 

NatWest is Principal Partner of English National Ballet.

Ballymore is Principal Building Partner of English National Ballet. 

English National Ballet is an Associate Company of Sadler’s Wells.


Raymonda by Tamara Rojo, after Marius Petipa
A Co-Production between English National Ballet and Finnish National Opera and Ballet
Production Partner: Mayflower Theatre, Southampton

UK Production Sponsor: Cunard

Creature by Akram Khan
A Co-Production between English National Ballet and Opera Ballet Vlaanderen (OBV)
Co-Producer: Sadler’s Wells, London Production Partner: The Joan W. and Irving B. Harris Theater 
UK Production Sponsor: Cunard


On-sale information: 

Tickets for Creature by Akram Khan at Sadler’s Wells are available now.

Priority booking for English National Ballet’s Patrons and Friends will open for Nutcracker and Raymonda on Wednesday 14 April 2021. General booking for these performances will open on Wednesday 21 April 2021. 


Booking opens for the live stream of Emerging Dancer: A Celebration in summer 2021 and for THE FORSYTHE EVENING in autumn 2021. 


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.

Performance details are subject to change. Please see www.ballet.org.uk for the latest information.

English National Ballet’s 2021-2022 Season Listings:


Emerging Dancer: A Celebration  
02 September 2021 


Creature by Akram Khan WORLD PREMIERE 
Sadler’s Wells, London 
23 September – 02 October 2021


London Coliseum 
16 December 2021 – 08 January 2022


London Coliseum 
13 – 23 January 2022

Harris Theater, Chicago, USA
24 – 26 February 2022 


Sadler’s Wells, London 
31 March – 10 April 2022 

Plans for English National Ballet’s summer 2022 performances will be announced in due course. 

To find out more about English National Ballet’s digital work, visit www.ballet.org.uk/enb-at-home  

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 been at the forefront of ballet’s growth and evolution ever since. 

English National Ballet brings world-class ballet to the widest possible audience through live performances across the UK and on eminent international stages including The Bolshoi Theatre and Palais Garnier; its digital platforms Ballet on Demand and BalletActive; its distinguished orchestra, English National Ballet Philharmonic; and being a UK leader in creative learning and engagement practice, building innovative partnerships to deliver flagship programmes such as English National Ballet’s Dance for Parkinson’s.

Under the artistic directorship of Tamara Rojo CBE, English National Ballet has introduced ground-breaking new works to the Company’s repertoire whilst continuing to honour the tradition of great classical ballet, gaining acclaim for artistic excellence and creativity. 2019 saw English National Ballet enter a new chapter in its history when it moved into a purpose-built state-of-the-art home in east London, Mulryan Centre for Dance, bringing a renewed commitment to, and freedom for, creativity, ambition, and connection to more people, near and far, than ever before. www.ballet.org.uk


About Arts Council England 
Arts Council England is the national development agency for creativity and culture. We have set out our strategic vision in Let’s Create that by 2030 we want England to be a country in which the creativity of each of us is valued and given the chance to flourish and where everyone of us has access to a remarkable range of high quality cultural experiences. We invest public money from Government and The National Lottery to help support the sector and to deliver this vision. www.artscouncil.org.uk


Following the Covid-19 crisis, the Arts Council developed a £160 million Emergency Response Package, with nearly 90% coming from the National Lottery, for organisations and individuals needing support. We are also one of several bodies administering the Government’s Culture Recovery Fund and unprecedented support package of £1.57 billion for the culture and heritage sector. Find out more at www.artscouncil.org.uk/covid19


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 Ballymore, Principal Building Partner of English National Ballet
Ballymore is a family-run property developer with a multi award-winning portfolio of some of Europe’s largest and most transformative urban development projects. A privately-owned company, Ballymore was established by Chairman and Group Chief Executive Sean Mulryan and his wife Bernardine in Ballymore Eustace in 1982.


Ballymore’s projects are defined by their originality and a commitment to quality. The company oversees every element of design, construction, and facilities management, constantly aiming to challenge industry norms. Driven by a desire to set new standards in architecture, development, partnerships and places, this commitment is evident in every detail.


We believe that 2021 will allow Ballymore to what we do best – identify opportunities, pursue challenging projects, and create remarkable places that deliver unparalleled living experiences – places with soul.  Ballymore has significant land holdings across the UK, Ireland and Europe with around 10,000 homes currently under construction across the UK and Ireland. For more information please visit www.ballymoregroup.com.


About Cunard 
Cunard is a luxury British cruise line, renowned for creating unforgettable experiences around the world. Cunard has been a leading operator of passenger ships on the North Atlantic, since 1840, celebrating an incredible 180 years of operation. A pioneer in transatlantic journeys for generations, Cunard is world class. The Cunard experience is built on fine dining, hand-selected entertainment and outstanding service. From five-star restaurants and in-suite dining to inspiring guest speakers, the library and film screenings, every detail has been meticulously crafted to make the experience unforgettable. There are currently three Cunard ships, Queen Mary 2, Queen Elizabeth and Queen Victoria with destinations including Europe, the Caribbean, the Far East and Australia. In 2017, Cunard announced plans to add a fourth ship to its fleet. This investment is part of the company’s ambitious plans for the future of Cunard globally and will be the first time since 1998 that Cunard will have four ships in simultaneous service. Cunard is based at Carnival House in Southampton and has been owned since 1998 by Carnival Corporation & plc (NYSE/LSE: CCL; NYSE:CUK). Cunard was awarded “Best World Cruise” in Porthole Cruise Magazine’s 2019 Readers’ Choice Awards

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I know it is very difficult to plan ahead at the moment but I find it particularly disappointing that no outside London dates have been announced at all (apart from the one abroad).


We lost the spring tour a couple of years ago and now it looks as though we have lost the autumn tour too.

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1 minute ago, capybara said:

I agree. I was expecting Raymonda to be shown on tour before London, especially since it is being produced in conjunction with The Mayflower Theatre Southampton




And had been due to premiere in Manchester last year.

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Am I the only one who is not bouncing with enthusiasm over this announcement?  On paper it sounds as though the bulk is going to be less classical than I would like.   I enjoy Forsythe in moderation, but preferably in the middle of a triple bill, with classical pieces on either side.  The idea of a whole evening doesn't fill me with great joy, although I am  relieved to see that the music for one is by James Blake.  The first time I scanned it, I misread it and thought it said James Blunt.

I might hold off seeing the new Raymonda until reviews come in, although I think I can safely assume that as it is set around the Crimean War the dancers won't be wearing tutus.  Wayne Eagling's Nutcracker is my least favourite production of a ballet I have seen so many times I vowed never to go again.  So that leaves the Khan.  I like his work, but we've all been in lock down for a year.  Do I really want to see a ballet drawing on themes of abandonment, isolation and the fragility of the mind?  

I know these have been very difficult times for all the dancers, but personally I was hoping for a programme based around more traditional pieces, which are  lively and fun. I  am desperate to see something with glorious music and fabulous dancing.  I don't want anything that reminds me of loneliness!


Edited to add that I realise that things have been held over from the pre lockdown season, but even so I am still a bit disappointed.  



Edited by Fonty
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38 minutes ago, Fonty said:

I know these have been very difficult times for all the dancers, but personally I was hoping for a programme based around more traditional pieces, which are  lively and fun. I  am desperate to see something with glorious music and fabulous dancing.  I don't want anything that reminds me of loneliness!






You and me both, Fonty. Raymonda is the only ballet that attracts me at all and even then it is just for the novelty of the restaging (and hopefully a brief return of Alina!) as it's never a ballet that's had great appeal to me. Something lively and colourful like Corsaire would have been more to my taste as I seem to have been frustrated with my number one choice of Fille at the ROH. I'm hoping for a 'pending' Manchester visit as at least then I won't have the expense of a London trip for something that may ultimately disappoint.

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8 minutes ago, jmhopton said:


You and me both, Fonty. Raymonda is the only ballet that attracts me at all and even then it is just for the novelty of the restaging (and hopefully a brief return of Alina!) as it's never a ballet that's had great appeal to me. Something lively and colourful like Corsaire would have been more to my taste as I seem to have been frustrated with my number one choice of Fille at the ROH. I'm hoping for a 'pending' Manchester visit as at least then I won't have the expense of a London trip for something that may ultimately disappoint.

Le Corsaire is exactly the sort of ballet that I had in mind.   Seen the ENB production several times and really enjoyed it.  

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I am intrigued by the Raymonda however. 
Apparently when this was initially announced Rojo said she was keeping the original music which I love. But I was wondering if the Crimea war theme would actually fit that music 🤔  so am interested to see how this pans out.

i do think the three works all by Forsythe might not be so well judged perhaps at least one dramatic ballet with it ... le jeune homme et la mort? Though this is not a jolly piece of course ...so perhaps not want you would want at this point Fonty..... otherwise I thought of Etudes which is always great to watch and a mood lightener.  

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19 minutes ago, LinMM said:

I am intrigued by the Raymonda however. 
Apparently when this was initially announced Rojo said she was keeping the original music which I love. But I was wondering if the Crimea war theme would actually fit that music 🤔  so am interested to see how this pans out.

i do think the three works all by Forsythe might not be so well judged perhaps at least one dramatic ballet with it ... le jeune homme et la mort? Though this is not a jolly piece of course ...so perhaps not want you would want at this point Fonty..... otherwise I thought of Etudes which is always great to watch and a mood lightener.  

Etudes is another one that I was thinking about.  That would be perfect, especially the bit at the end when the dancers leap across the stage.  If anything could express the joy of coming out of lock down perfectly that would be it.


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On 31/03/2021 at 02:17, alison said:

How lovely to see Kochetkova back, though.

What a great story!  Kochetkova was with ENB Corps for 4 years dancing mainly corps roles.

She then joined San Francisco Ballet as a principal dancer!

She returned to ENB as guest artist in 2019 and is now back as Lead Principal.

This is one of my favourite clips:



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14 hours ago, Lizbie1 said:

I couldn't get through the whole announcement but unless there's something else lurking, my main reaction was, "is that all?" It looks a couple of programmes short of a season, so maybe there's more to be announced.


any 'pending' tour dates would make up to a full ENB season. They don't tend to have as many programmes in total, as the RB season - though they do pack in the performances

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Well gauging from everyone else’s reaction so far, I feel quite alone for my excitement with this season! I understand that like the RB’s we won’t have many mood lifters, however Rojo has never promised to be a conventional director and I’m glad that ENB are sticking to their guns with a rather unconventional lineup.


Perhaps part of my excitement is that I’m moving over to London in August and will be able to see as much as I want (already have my ticket for Creature). I’m also curious to see Rojo’s take on Raymonda; my major issue with it has always been the flimsy and rather boring storyline.


I’m a huge Forsythe nerd and I gather through social media that that is the programme that the dancers are most excited about. I think that this programme with Playlist and even certain moments in the other works will bring the sunny side that this season needs. Dancers universally seem to love doing his work, and his style allows for a lot of individual freedom so I may even go a few nights to see how different casts interpret it (especially with a ballet as improvisational as Approximate Sonata). It may be the London season closer but I think it’ll really let the dancers flex all their muscles and have some fun.

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Tamara has had a baby !!!!


Translation of the article .... 



Tamara Rojo gives birth to her first child, a boy she has named ...

The dancer was not present last Monday at the delivery of accreditations of honorary ambassadors of the Spain brand with the Kings



The dancer Tamara Rojo has given birth to her first child, whom she has named Mateo, this Wednesday, March 17, in London, according to ABC. The artistic director of the English National Ballet has fulfilled her dream of being a mother at 46, together with her partner, the Mexican professional dancer, Isaac Hernández (30). Both she and the baby are in perfect condition, family sources of the couple have informed the newspaper. As HELLO! Progressed, her maternity was the reason why the ballet director could not attend her appointment with the Kings of Spain in person on Monday, March 15, when she was in the United Kingdom due to "personal circumstances" , as she herself confirmed. In this event, the Spanish monarchs were in charge of delivering accreditations of honorary ambassadors of the Spain brand, where Tamara was recognized in the art and culture category for her important role in international classical ballet.


"I am tremendously honored by this great recognition by the Academy. I am sorry that I cannot be present at the ceremony in Madrid. In such a difficult year for all of us I am grateful for this impulse to continue working for the excellence and democratization of the arts", the dancer thanked that connected through a videoconference. This Thursday she has once again intervened telematically to receive another recognition, in this case the medal of honor that the Academy of Performing Arts has awarded her. Tamara has participated in such important works as Romeo and Juliet (playing the protagonist), La Sylphide or Requiem and has been distinguished with a great list of awards and recognitions throughout her professional career as the Gold Metal for Fine Arts in 2012 or the International Medal of the Arts of the Community of Madrid in 2008. In 2015 she received the Prince of Asturias Award for the Arts and has been Commander of the Order of the British Empire for her contribution to dance in 2016, the highest distinction that can be granted to someone who is not from the country.


Their relationship had difficult beginnings


Currently, Tamara and Isaac have been in a stable relationship for 4 years and both are settled in London. Even so, the beginnings were not easy since the dancer starred in some controversies in the United Kingdom for favoring, according to the British media, her partner in the National Ballet of England. The accusations escalated when some anonymous dancers assured The Times that their relationship created an uncomfortable environment in rehearsals and plays and that she provided him with the roles that the Mexican dancer obtained. "We have been in a relationship for a year and a half and we have been honest from the beginning because we do not want animosities," she confessed Tamara in an interview she gave to the Evening Standard to settle the conflict. "He comes from the Paris Opera and the Mariinsky in Saint Petersburg and has won all the awards so he has no shortage of merits to be where he is," she concluded.


And he is not without reason since Isaac was internationally recognized with the Benois de la danse, the highest award of his discipline granted by the Moscow International Dance Association in 2018. He also won the National Dance Award of the United Kingdom for the best dancer male. He has recently started in the acting world starring in El rey de todo el mundo under the direction of Spaniard Carlos Saura and later playing Lazaro in the Netflix miniseries Someone has to die. At 30, the actor and dancer has an excellent career behind his back and now he lives one of the sweetest moments of his life when he became a father for the first time with Tamara Rojo. Both enjoy great complicity and the age difference (16 years) is, in their case, something very positive, as the dancer claimed.

Edited by FionaE
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I got replies today from 2 email enquiries I made re ENB.


The first one was asking if there were any plans for Raymonda to come to Manchester (where it should have debuted last year).

The reply was it was hoped to bring it to Manchester in autumn 2022 but no decision had definitely been taken.


My second email was to ENB School and was asking if it would be possible to stream the school performance as I was especially interested in Sir Frederick Ashton's Les Rendezvous. The answer was it was being looked into and keep checking the website for updates so that was mildly encouraging. At least it's being considered.

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6 minutes ago, Janite said:


This is a short video of Tamara Talking about Raymonda.

Does anyone know when the cast list will be available, and how I find it? Thanks


The casting for ENB usually seems to be announced up to a couple of months before and is usually shown on the production page of the website (and sometimes a specific PR is issued).

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1 hour ago, Jan McNulty said:


The casting for ENB usually seems to be announced up to a couple of months before and is usually shown on the production page of the website (and sometimes a specific PR is issued).

thank you 

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