Alice's Adventures in Wonderland Casting for Royal Ballet

Total Page:16

File Type:pdf, Size:1020Kb

Alice's Adventures in Wonderland Casting for Royal Ballet AUTUMN Casting for Royal Ballet performances 27 September 2017–4 January 2018 I am delighted to be presenting this advance copy of the casting for our Autumn Season. It will come as no surprise to you all that such a large tranche of casting is no mean feat when considering the best interests of our dancers and planning so many months in advance; so I thank you for your patience. I hope you will find plenty to look forward to in our forthcoming Season. Kevin O’Hare Director | The Royal Ballet Alice’s Adventures in Wonderland Christopher Wheeldon Generous philanthropic support from Doug and Ceri King and The Royal Opera House Endowment Fund. Artistic Associate Christopher Wheeldon is generously supported by Kenneth and Susan Green Wednesday 27 September at 7.30pm Cuthbertson, Bonelli, tbc, tbc, tbc (Alice, The Knave, The White Rabbit, The Queen, The Mad Hatter) Thursday 28 September at 7.30pm Lamb, McRae, tbc, tbc, tbc Saturday 30 September at 1.30pm Hayward, Sambé*, tbc, tbc, tbc BALLET Saturday 30 September at 7pm Choe, Ball*, tbc, tbc, tbc Monday 2 October at 7.30pm Takada*, Campbell*, tbc, tbc, tbc Wednesday 4 October at 7.30pm Lamb, McRae, tbc, tbc, tbc Monday 9 October at 7.30pm Cuthbertson, Bonelli, tbc, tbc, tbc Saturday 14 October at 12 noon Stix-Brunell, Muntagirov, tbc, tbc, tbc Saturday 21 October at 7pm Stix-Brunell, Muntagirov, tbc, tbc, tbc Monday 23 October at 7.30pm† Cuthbertson, Bonelli, tbc, tbc, tbc Saturday 28 October at 7pm Hayward, Sambé, tbc, tbc, tbc *Role debut with The Royal Ballet at the Royal Opera House †Live cinema relay /continued AUTUMN Kenneth MacMillan: A National Celebration a tribute to a choreographic master Kenneth MacMillan Generous philanthropic support from Sarah and Lloyd Dorfman, Richard and Delia Baker, The Fonteyn Circle and The Royal Opera House Endowment Fund Wednesday 18 October at 7.30pm Concerto: Birmingham Royal Ballet Le Baiser de la fée: Scottish Ballet Elite Syncopations: Lamb, Hirano* Thursday 19 October at 7.30pm Concerto: Birmingham Royal Ballet Le Baiser de la fée: Scottish Ballet Elite Syncopations: Takada* Kish* Tuesday 24 October at 7.30pm The Judas Tree: Cuthbertson*, Soares, Watson, Clarke* Song of the Earth: English National Ballet Thursday 26 October at 7.30pm Gloria: Northern Ballet The Judas Tree: Hamilton*, Gartside*, Ball*, Richardson* Elite Syncopations: Takada, Kish Friday 27 October at 7.30pm BALLET Gloria: Northern Ballet The Judas Tree: Cuthbertson, Soares, Watson, Clarke Elite Syncopations: Lamb, Hirano Wednesday 1 November at 7.30pm The Judas Tree: Hamilton, Gartside, Ball, Richardson Song of the Earth: English National Ballet *Role debut with The Royal Ballet at the Royal Opera House /continued AUTUMN The Illustrated ‘Farewell’/ The Wind/Untouchable Twyla Tharp/Arthur Pita/Hofesh Shechter The Illustrated ‘Farewell’ – Generous philanthropic support from Jay Franke and David Herro The Wind – Generous philanthropic support from The Friends of Covent Garden Untouchable – Generous philanthropic support from Georgia Rosengarten Monday 6 November at 7.30pm The Illustrated ‘Farewell’: Lamb*, McRae*, Magri*, Sissens*, Heap*, Naghdi*, Donnelly*, Ball*, Richardson* The Wind: Osipova*, Watson*, Soares*, Whitehead* Untouchable: The Company Thursday 9 November at 7.30pm The Illustrated ‘Farewell’: Lamb, McRae, Magri, Sissens, Heap, Naghdi, Donnelly, Ball, Richardson The Wind: Hayward*, Sambé*, Mock*, Ball* Untouchable: The Company Friday 10 November at 7.30pm The Illustrated ‘Farewell’: Lamb, McRae, Magri, Sissens, Heap, Naghdi, Donnelly, Ball, Richardson The Wind: Osipova, Watson, Soares, Whitehead Untouchable: The Company # Monday 13 November at 7.30pm The Illustrated ‘Farewell’: Lamb, McRae, Magri, Sissens, Heap, Naghdi, Donnelly, Ball, Richardson BALLET The Wind: Osipova, Watson, Soares, Whitehead Untouchable: The Company Friday 17 November at 12.30pm The Illustrated ‘Farewell’: Lamb, McRae, Magri, Sissens, Heap, Naghdi, Donnelly, Ball, Richardson The Wind: Hayward, Sambé, Mock, Ball Untouchable: The Company *Role debut with The Royal Ballet at the Royal Opera House #Student performance (Amphitheatre only) /continued AUTUMN Sylvia Frederick Ashton Generous philanthropic support from Peter Lloyd, Lindsay and Sarah Tomlinson and the Paul Ferguson Memorial Fund Thursday 23 November at 7.30pm Nuñez, Muntagirov*, Soares (Sylvia, Aminta, Orion) Wednesday 29 November at 7.30pm Cuthbertson, Clarke*, Kish* Thursday 30 November at 7.30pm Osipova*, Bonelli, Hirano* Friday 1 December at 7.30pm Nuñez, Muntagirov, Soares Saturday 2 December at 12.30pm Cuthbertson, Clarke, Kish Wednesday 6 December at 7.30pm Nuñez, Muntagirov, Soares Thursday 7 December at 7.30pm Cuthbertson, Clarke, Kish Monday 11 December at 7.30pm Osipova, Bonelli, Hirano BALLET Saturday 16 December at 11.30am Osipova, Bonelli, Hirano *Role debut with The Royal Ballet at the Royal Opera House /continued AUTUMN The Nutcracker Peter Wright after Lev Ivanov Generous philanthropic support from the Jean Sainsbury Royal Opera House Fund Tuesday 5 December at 2.30pm Friday 29 December at 7pm Calvert, Kish, Maguire, Dyer, Marriott Stix-Brunell, Edmonds, Stock, Sambé, (The Sugar Plum Fairy, The Prince, Clara, Whitehead Hans-Peter, Drosselmeyer) Saturday 30 December at 2pm Tuesday 5 December at 7.30pm† Hayward, Campbell, O’Sullivan, Hay, Avis Lamb, McRae, Hayward, Campbell, Avis Saturday 30 December at 7pm Friday 15 December at 12 noon Choe, Zucchetti, Gasparini, Ella, Gartside Nuñez, Muntagirov, Hayward, Campbell, Avis Monday 1 January at 2pm Naghdi, Ball, O’Sullivan, Hay, Gartside Monday 18 December at 2.30pm Cuthbertson, Clarke, Hinkis, Zucchetti, Monday 1 January at 7pm Saunders Kaneko, Bracewell, Stock, Sambé, Whitehead Monday 18 December at 7.30pm Nuñez, Muntagirov, Hayward, Tuesday 2 January at 7.30pm Campbell, Avis Hayward, Campbell, O’Sullivan, Hay, Avis Wednesday 20 December at 2.30pm Wednesday 3 January at 7.30pm Morera, Bonelli, Maguire, Dyer, Saunders Choe, Zucchetti, Hinkis, Acri, Marriott Wednesday 20 December at 7.30pm Thursday 4 January at 12.30pm Takada, Hirano, Hinkis, Zucchetti, Hamilton, Hristov, Stock, Sambé, Marriott Gartside BALLET Friday 5 January at 7.30pm Friday 22 December at 12 noon Lamb, McRae, Hinkis, Acri, Whitehead Cuthbertson, Clarke, Gasparini, Wednesday 10 January at 7.30pm Ella, Saunders Hamilton, Hristov, Hinkis, Acri, Marriott Saturday 23 December at 12.30pm Morera, Bonelli, Maguire, Dyer, Saunders Orchestra of the Royal Opera House Wednesday 27 December at 2pm (5, 9, 22, 23 Dec; 2, 3, 4, 5, 10 Jan) Kaneko, Bracewell*, Gasparini, Ella, Gartside Royal Ballet Sinfonia (15, 18, 20, 27, 28, 29, 30 Dec; 1 Jan) Wednesday 27 December at 7pm Calvert, Kish, Hinkis, Zucchetti, Marriott Thursday 28 December at 2pm Stix-Brunell, Edmonds, Stock, Sambé, Whitehead Thursday 28 December at 7pm Naghdi, Ball, O’Sullivan, Hay, Gartside *Role debut with The Royal Ballet at the Royal Opera House †Live cinema relay .
Recommended publications
  • Coppelia (Ballet in Three Acts)
    2 BROOKLYN ACADEMY OF MUSIC DECEMBER 1968 ABRAHAM ct ...eft ,.:a c Bravado bolero "' 'n pleated pants ••• Night-flight of fancy smashes onto the swinging scene with the jingle, jangle, jeweled bolero topping pleated pants and the wildly sleeved shirt. BROOKL YN ACADEMY OF MUSIC I DECEMBER 1968 I 3 Saturday Evening, December 28, 1968 The Brooklyn Academy of Music presents Coppelia (Ballet in Three Acts) Choreography after Arthur Saint-Leon Staged by Enrique Martinez Music by Leo Delibes Scenery and Costumes by William Pitkin Lighting by Gilbert V. Hemsley, Jr. At the age of 33, Del1bes was commissioned by the Paris Opera to write his two successful large-scale ballets, "Coppelia" and "Sylvia". "Coppelia" is based on a story by E. T. A. Hoffman - the same tale that spa rked Offenback's brilliant Doll Act in his opera, "Tales of Hoffman" - "Coppelia" met with immediate success on its completion in 1870, and has been held a charming favorite by succeeding ballet-lovers both young and old. Act I The curtain n ses on the Squa re of a small European town several hundred yea rs ago. A lovely young g1rl, Coppelia, is seen reading a book on a balcony as Swanilda enters. Swan1lda looks up at the girl, tries to attract her attention, but receives no reply. Franz, Swanilda's lover, comes 1nto the Square and blows a kiss to the beautiful Coppelia. She 1gnores h1m, too, and cont1nues unconcerned with her book. However, Swanilda has seen these attentions of her lover to another pretty gi rl , and Franz is a very busy young man assunng Swanilda that he is not faithless and his affections are hers alone.
    [Show full text]
  • Coppelia-Teacher-Resource-Guide.Pdf
    Teacher’s Handbook 1 Edited by: Carol Meeder – Director of Arts Education February 2006 Cover Photo: Jennifer Langenstein – Pittsburgh Ballet Theatre Principal Dancer Aaron Ingley – Pittsburgh Ballet Theatre Corps de Ballet Dancer Ric Evans – Photographer 2 Introduction Dear Educator, We have often thanked you, the academic community and educators of our children, for being partners with us in Arts Education. We have confirmed how the arts bring beauty, excitement, and insight into the experience of everyday living. Those of us who pursue the arts as the work of our lives would find the world a dark place without them. We have also seen, in a mirror image from the stage, how the arts bring light, joy, and sparkle into the eyes and the lives of children and adults in all walks of life. Pittsburgh Ballet Theatre strives not only to entertain but to demonstrate the significance and importance of presenting our art in the context of past history, present living, and vision for the future. In this quest we present traditional ballets based on classic stories revered for centuries, such as Coppelia and Cinderella; and contemporary ballets by artists who are living, working, and creating everyday, such as our jazz program Indigo In Motion and the premiers we have done to the music of Sting, Bruce Springsteen, and Paul Simon. In this way we propel our art into the future, creating new classics that subsequent generations will call traditional. It is necessary to see and experience both, past and present. It enhances our life and stirs new ideas. We have to experience where we came from in order to develop a clear vision of where we want to go.
    [Show full text]
  • Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes's Coppélia by Arthur E. Lafex Submitted To
    Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes’s Coppélia By Copyright 2013 Arthur E. Lafex Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Music. ________________________________ Chairperson Alicia Levin ________________________________ Paul R. Laird ________________________________ David Alan Street Date Defended: April 15, 2013 The Thesis Committee for Author (Arthur E. Lafex) certifies that this is the approved version of the following thesis: Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes’s Coppélia ________________________________ Chairperson Alicia Levin Date approved: April 15, 2013 ii Abstract Léo Delibes (1836-1891) wrote ballet scores that have inspired composers and have entertained generations of ballet lovers. His scores have been cited for their tunefulness, appropriateness for their narrative, and for their danceability. However, Delibes remains an obscure figure in music history, outside the musical canon of the nineteenth century. Likewise, his ballet music, whose harmonic resources are conventional and whose forms are variants of basic structures, has not received much scholarly and theoretical attention. This thesis addresses Delibes’s music by examining his ballet score for Coppélia, its support of narrative and also its support of dance. Chapter 1 begins with a historical view of ballet and ballet music up to the time of Delibes. Following a biographical sketch of the composer, a review of aspects of the score for Giselle by his mentor, Adolphe Adam (1803-1856) establishes a background upon which Delibes’s ballets can be considered.
    [Show full text]
  • Stephanie Jordan Re-Visioning Nineteenth-Century Music Through Ballet
    Stephanie Jordan Re-Visioning Nineteenth-Century Music Through Ballet. The Work of Sir Frederick Ashton Sir Frederick Ashton, founder choreographer of The Royal Ballet, was a noted exponent of nineteenth-century music, especially ballet music. Consider his Les Rendezvous (1933, Daniel-François-Esprit Auber), Les Patineurs (1937, Giacomo Meyerbeer), and Birthday Offering (1956, Alexander Glazunov); then his two/three act ballets La Fille mal gardée (1960, mainly Ferdinand Hérold), Sylvia (1952, Léo Delibes), and The Two Pigeons (1961, André Messager); and finally the two dances to music fromLa Source(Delibes and Léon Minkus), training pieces for the Royal Academy of Dancing (rad) Solo Seal examinations (cir- ca 1956). Nearly all these ballets are to French ballet music for ballet-divertissements within, as well as independent from, opera. Yet we could add Ashton’s settings ofpassages from Peter Ilyich Tchaikovsky’s The Sleeping Beauty and Swan Lake, his series of ballets to scores by Franz Liszt, The Dream (1964) to incidental music for Shakespeare’s Midsummer Night’s Dream by Felix Mendelssohn that sounds as if composed for dance, and AMonth in the Country (1976) to Frédéric Chopin (based on the play by Turgenev) which, as we shall see later, has a number of links with nineteenth-century Paris. Month is set to three early Chopin scores for piano and orchestra that are full of dances and dance rhythms. (Ashton maintained a penchant for more recent French music too: he set Darius Milhaud, Paul Dukas, Erik Satie, Francis Poulenc, Claude Debussy and, on a number of occasions, Maurice Ravel.)1 Most of these ballets are well-known Ashton, amongst his finest work, and never lost from the repertory.
    [Show full text]
  • Cinderella January 23, 2020
    CINDERELLA JANUARY 23, 2020 STUDENT MATINEE STORY GUIDE WELCOME TO THE SAN FRANCISCO BALLET We are delighted to share the joy of dance and the expressive power of ballet with you and your students. San Francisco Ballet Student Matinee performances are a wonderful way to expose children to the transformative power of creativity through the performing arts. We invite you to explore the magical world of Christopher Wheeldon’s Cinderella©. This Student Matinee Story Guide includes resources to prepare children for the performance, including links to videos about Cinderella©. We encourage you to use the SF Ballet Student Matinee Education Guide before and after the performance to explore movement and dance, learn about ballet, and discover what happens behind the scenes of a ballet production. Symbols are used throughout this Guide to direct you to key concepts. indicates an activity or discussion question indicates a key concept about dance or the artistic process indicates a key concept about music for ballet indicates a look behind the scenes We hope the SF Ballet Student Matinee Education Guide, combined with the performance of Cinderella©, sparks conversation and reflection, inspires creative expression, and fosters an appreciation and understanding of dance as an art form. For additional information on San Francisco Ballet, plus pre-performance worksheets, post-performance writing activities, and materials for guided discussions about the performance and about the artistic process, please refer to our Student Matinee Performance Guide.
    [Show full text]
  • Coppélia - the Ballet Presented by Cincinnati Ballet October 21-23, 2016 Coppélia Premiered on 25 May 1870 at the Théâtre Impérial L'opéra, in Paris
    Coppélia - The Ballet Presented by Cincinnati Ballet October 21-23, 2016 Coppélia premiered on 25 May 1870 at the Théâtre Impérial l'Opéra, in Paris Choreography: Kirk Peterson Music: Leo Delibes, performed by Cincinnati Symphony Orchestra Carmon DeLeone, Conductor Artists: Cincinnati Ballet Company Dancers Lesson Plans prepared by Dr. Beverly Croskery, Ph.D. Table of Contents I. The Lesson Lesson at a Glance Plan Overview, Instructional Objectives, page 2 II. General information About the Composer, Leo Delibes page 2 III. Coppelia:The Ballet - Synopsis\ page 3 IV. The Nutcracker – The Ballet Synopsis pages 3-5 V. The Activities pages 5-8 VI. Ohio Academic Standards (Common Core) pages 9-11 Dance, Art, Theatre, Language Arts, Music, Social Studies Assessment (Attached separately) 1 I. THE LESSON Lesson at a Glance: Grade Band: K--12 Integrated Subjects: Dance, Theatre, English Language Arts, Social Studies Lesson Overview/Objectives The lesson introduces the student to the place of fairy tales in historical ballet and how a story can be told using dance, music and pantomime to tell a story. The student will also learn of the historical significance of the Coppelia Ballet and other world events that took place at the time of its creation. A Comparison to the Nutcracker will be made and the students will have an opportunity to create their own movements for the stories. Other activities to encourage creativity and critical thinking are included. II. GENERAL INFORMATION ABOUT THE COMPOSER Clément Philibert Léo Delibes (French: [dəlib]; 21 February 1836 – 16 January 1891) was a French composer of the Romantic era (1815–1910), specialised in ballets, operas, and other works for the stage.
    [Show full text]
  • CARLOS LOPEZ Director of Repertoire
    FROM: AMERICAN BALLET THEATRE 890 Broadway New York, New York 10003 (212) 477-3030 CARLOS LOPEZ Director of Repertoire Carlos Lopez is currently a Director of Repertoire with American Ballet Theatre. He began his professional career at the Victor Ullate Ballet in his native country of Spain where he danced as principal dancer for six years. His repertory included leading roles in Don Quixote, Giselle, Theme and Variations, Allegro Brillante, Paquita, Les Sylphides and ballets by Maurice Bejart, Rudi Van Dantzig and Hans Van Manen. With this company he toured to Argentina, BelgiuM, Cuba, England, GerMany, Italy and the United States. Lopez joined American Ballet Theatre in 2001 and was promoted to Soloist in 2003. He has worked with Natalia Makarova, Gelsey Kirkland, Twyla Tharp, Alexei RatMansky and WilliaM Forsyth. His repertoire with ABT included Iago in Othello, the Bronze Idol in La Bayadère, Mercutio and Benvolio in RoMeo and Juliet, the Nutcracker-Prince in The Nutcracker, Birbanto in Le Corsaire, Puck in The Dream, Benno in Swan Lake, the second sailor in Fancy Free, Alain in La Fille mal gardée, Eros in Sylvia, the Lead Pontevedrian dancer in The Merry Widow, the peasant pas de deux in Giselle, the Bluebird in The Sleeping Beauty, the Joker in Jeu de Cartes and roles in Offenbach in the Underworld, Amazed in Burning Dreams, The Green Table, Petite Mort, Sinfonietta, Dark Elegies, In the Upper Room, Gong, Company B, Seven Sonatas, Symphonic Variations, Glow Stop, Within You Without You: A Tribute to George Harrison and workwithinwork. In 1996, he won the Silver Medal at the Paris International Ballet CoMpetition and in 2004 was awarded the Les Etoiles de Ballet 2000 Prize in Cannes.
    [Show full text]
  • 1 Cinderella the Australian Ballet
    THE AUSTRALIAN BALLET CINDERELLA 1 B:250 mm T:240 mm S:216 mm Lifting them higher Telstra is supporting the next generation of rising stars through the Telstra Ballet Dancer Award. Telstra and The Australian Ballet, partners since 1984. B:340 mm S:306 mm T:330 mm 2018 Telstra Ballet Dancer Award Winner, Jade Wood | Photographer: Lester Jones 2 THE AUSTRALIAN BALLET 2019 SEASON Telstra_BalletDancerAwards_MainstageProgramAd_121818.indd Project Title: Ballet Dancer Awards Job Number: None E.C.D. C.D. A.C.D A.D. C.W. Client: Telstra Bleed: 250 mm x 340 mm Creative Director: None Media: None Trim 1: 240 mm x 330 mm Art Director: None Copywriter: None Photographer: None Live: 216 mm x 306 mm Art Buyer: None STUDIO PRODUCTION IA PRODUCER ACCOUNT EX. ART BUYER Illustrator: None Gutter: None Studio Artist: Olga Lamm None Insertion Date: None Print Producer: Account Executive: None Publications/Delivery Company: Inks Mainstage Program Ad Cyan, Magenta, Yellow, Black Fonts TELSTRA AKKURAT (REGULAR, LIGHT, BOLD) LINKS: MAY18_TELSTRABALLET_JADE_HERO_0317_VERT_EXT_CMYK.tif (CMYK; 446 ppi; 67.22%), TAB-Telstra-Logo-White.ai (11.8%) FILE IS BUILT AT: 100% THIS PRINT-OUT IS NOT FOR COLOR. 450 West 33rd Street New York, NY 10001 212.946.4000 Round: 1 Version: A 12-18-2018 1:57 PM B:250 mm T:240 mm S:216 mm Lifting them higher Telstra is supporting the next generation of rising stars through the Telstra Ballet Dancer Award. Telstra and The Australian Ballet, partners since 1984. B:340 mm S:306 mm T:330 mm 19 – 28 MARCH 2019 | ARTS CENTRE MELBOURNE 2018 Telstra Ballet Dancer Award Winner, Jade Wood | Photographer: Lester Jones Government Lead Principal Partners Partners Partner Ingrid Gow, Amy Harris, Jessica Wood and Leanne Stojmenov.
    [Show full text]
  • At the Ballet
    Six Hundred Ninetieth Program of the 2007-08 Season ______________________________ Indiana University Ballet Theater presents A Night at the Opera (at the Ballet) Les Patineurs Choreography by Frederick Ashton Music by Giacomo Meyerbeer Staged by Helen Starr Set and Costume Designer, William Chappell Sets and Costumes courtesy of Canada’s Royal Winnipeg Ballet Inouï Rossini New choreography by Violette Verdy Music of Gioacchino Rossini Lascia la Spina, Cogli la Rosa Choreography by Sasha Janes Music by George Frideric Handel Amanda Russo, Mezzo-Soprano Walpurgisnacht Choreography by George Balanchine ©The George Balanchine Trust Music by Charles Gounod Staged by Deborah Wingert Jeffrey Cook,Guest Conductor Patrick Mero, Lighting Designer __________________ Musical Arts Center Friday, March Twenty-First Saturday, March Twenty-Second Eight O’Clock music.indiana.edu Les Patineurs (The Skaters) (1937) Music by . Giacomo Meyerbeer (arr . and orchestrated by Constant Lambert from Le Prophète and L’Étoile du Nord) Choreography by Frederick Ashton Staged by Helen Starr Ballet Mistress, Stephanie Tuley Entrée . .Samantha Benoit, Juliann Hyde Pas de Huit . Colleen Anthonisen (3/21)/Danielle Dyson (3/22), Caitlin Kirschenbaum, Grace Reeves, Jessica Schachne, Vincent Brewer, Tom Penman (3/21), Ben Delony (3/22), Pablo Sanchez, Benjamin Warner Variation . Paul Dandridge Pas de Deux . Ashley Thursby & Anton LaMon Ensemble . Samantha Benoit, Juliann Hyde, Ashley Thursby, Demetria Schioldager, Jennifer Sherry, Paul Dandridge, Anton LaMon, with the Pas de Huit Pas de Trois . Samantha Benoit, Juliann Hyde, Paul Dandridge Pas des Patineuses . Demetria Schioldager, Jennifer Sherry Finale . Ensemble Projection Art by C. David Higgins Set and Costume Designer William Chappell Sets and Costumes courtesy of Canada’s Royal Winnipeg Ballet By arrangement with Boosey & Hawkes, Inc., publisher and copyright owner Intermission *61)*-)"3.0/*$ 0 3 $ ) & 4 5 3 " -FPOBSE4MBULJO $POEVDUPS .JDIFM$BNJMP $PNQPTFS1JBOJTU '3&&*6"6%*503*6.46/%":."3$) 1.
    [Show full text]
  • Next Generation: the Royal Ballet School Linbury Theatre I 3Rd Year I Saturday 26 June Welcome
    NEXT GENERATION: THE ROYAL BALLET SCHOOL LINBURY THEATRE I 3RD YEAR I SATURDAY 26 JUNE WELCOME It is my great pleasure to welcome you to Next Generation: The Royal Ballet School at the Linbury Theatre. This has been an extraordinary and unforgettable year of challenge and adaptation for The Royal Ballet School. Today’s performance is a tribute to the resilience and creativity shown by our students and staff throughout that time. Seeing their determination to succeed, separated from each other for so much of the year and unable to train or teach in the studios they love, has been a powerful inspiration. I am delighted that following the sadness of cancelled performances in 2020, we finally have the chance to come together to celebrate their work. I wanted our students to enjoy dancing in front of an audience again, and the best way to do this was to give them as many chances to perform on stage as possible. The School’s teams have, with spectacular effort, put together nine different programmes over 32 performances. Each of the eight year groups will have the chance to dance in their own dedicated performances, culminating in a final collective, socially distanced, performance at the Royal Opera House. I am proud to say that the dedication and hard work of our remarkable community of dancers and teachers mean we can continue to call the School one of the very best in the world. Across this season, dancers of all ages are performing a range of work that shows off the skills they have learnt through their training.
    [Show full text]
  • The Sleeping Beauty
    The Sleeping Beauty May 11–19, 2018 Program Background Music: Peter Ilyich Tchaikovsky Choreography: Marius Petipa with additional choreography by Sir Frederick Ashton Production: Ninette de Valois (After Nicolai Sergeyev’s 1939 production) Lighting Design: John Cuff Set and Costume Design: David Walker Conducted by Ming Luke World Premiere: Jan 15, 1890, Imperial Ballet, Mariinsky Theatre, St. Petersburg, Russia Boston Ballet Premiere (de Valois production): May 5, 2005, Boston, Massachusetts Synopsis Prologue: The Christening King Florestan and his Queen have invited the fairies to the christening of the infant Princess Aurora. Unfortunately, the Fairy Carabosse has been forgotten, for she has not been seen for a long time. Nevertheless she arrives, vastly insulted, as the other fairies are bestowing their magic gifts. She gives a spindle and announces that one day Aurora shall prick her finger with it and die. Luckily, the Lilac Fairy still has her own gift to bestow, and she confounds Carabosse by promising that Aurora shall not die but will instead fall into a deep sleep, from which she will be awakened after a hundred years by a Prince’s kiss. Act I: The Spell It is Princess Aurora’s sixteenth birthday, and four Princes have come to court her. During the festivities a strange woman approaches with something she has never seen before—a spindle. In her fascination, Aurora picks it up and pricks her finger, and the suitors rush to her aid. The old woman throws back her cloak, revealing she is Carabosse, and vanishes. The Lilac Fairy appears to fulfill her promise to protect the princess.
    [Show full text]
  • Antonio Pappano and Darcey Bussell Among Guest Presenters at the New Royal Opera House Cinema Festival
    Monday 19 November 2018 Antonio Pappano and Darcey Bussell among guest presenters at the new Royal Opera House Cinema Festival Guest presenters will offer exclusive performance insights during the Royal Opera House Cinema Festival, which opens on Monday 3 December in the state-of-the-art Linbury Theatre. Famous faces include former Royal Ballet Principal Darcey Bussell (presenting Sylvia, 7 December, 7pm) and Music Director of The Royal Opera Antonio Pappano (presenting Otello, 21 December, 7pm, and The Flying Dutchman, 29 December, 7pm). The festival, which includes 11 free opera and ballet performances for children, runs until Sunday 6 January. Sarah Lamb as Perdita in The Winter’s Tale © 2018 ROH. Photograph by Tristram Kenton For all Royal Opera House press releases visit www.roh.org.uk/for/press- and-media The guest presenters will offer expert knowledge and unique insights as they open selected performances with a short introduction. Also among those taking to the stage to present are Royal Ballet Principals Sarah Lamb (Manon, 28 December, 7pm) and Edward Watson (The Winter’s Tale, 23 December, 4pm), Principal Character Artists Kristen McNally (Romeo and Juliet, 29 December, 2pm) and Philip Mosley (La Fille mal gardée, 8 December, 2pm) as well as stars from The Royal Opera including sopranos Susan Bullock (Gloriana, 14 December, 7pm) and former Jette Parker Young Artist Madeleine Pierard (Cendrillon, 16 December, 4pm). In addition, Director John Copley will present his version of La bohème (8 December, 7pm), Director of The Royal Opera Oliver Mears will present La bohème, (Sunday 30 December, 4pm), British director and Head of Royal Opera Staff Directors Amy Lane will present Tosca (22 December, 7pm and Don Giovanni (5 January, 7pm) and American conductor and Chorus Director of the Royal Opera Chorus William Spaulding will host Nabucco (4 January, 7pm).
    [Show full text]