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APPROXIMATE TIMINGS This performance will last approximately 2 hours and 50 minutes including two intervals. ANEMOI 30 minutes INTERVAL 20 minutes DIVERTISSEMENTS 50 minutes THE ROYAL BALLET INTERVAL 25 minutes Director THE SLEEPING BEAUTY ACT III 45 minutes KEVIN O’HARE CBE Founder DAME NINETTE DE VALOIS OM CH DBE Founder Choreographer WELCOME SIR FREDERICK ASHTON OM CH CBE Following recently presented works by Crystal Pite, Kyle Founder Music Director Abraham, George Balanchine and Jerome Robbins, I am CONSTANT LAMBERT delighted to welcome you to our last mixed programme Prima Ballerina Assoluta celebrating the breadth of The Royal Ballet’s repertory and DAME MARGOT FONTEYN DBE the exceptional artistry of our performers. We have great pleasure in sharing ballet spanning the generations from Ninette de Valois’s third act of The Sleeping Beauty to a world premiere by one of our Company choreographers. Anemoi by First Soloist Valentino Zucchetti was created especially for the talents of the youngest members of The Royal Ballet. Inspired by Greek mythology where Anemoi gods rule over the winds, this world premiere ushers in brighter times with positive winds of change and the warm arrival of spring. A series of evocative duets follows from the two choreographers who shaped the early history of The Royal Ballet, Frederick Ashton and Kenneth MacMillan, alongside some of the most distinctive voices in dance today, Resident Choreographer Wayne McGregor, Artistic Associate Christopher Wheeldon and the internationally acclaimed Swedish choreographer Mats Ek. Ashton’s effervescent Voices of Spring and MacMillan’s BEAUTY poignant Winter Dreams ‘farewell’ pas de deux accompany McGregor’s Morgen, a touching moment of hope for better times as conveyed in Richard Strauss’s setting of John MIXED Henry Mackay’s poem, and Wheeldon’s heartfelt After the Rain pas de deux set to Arvo Pärt. New to The Royal Ballet is woman with water by Mats Ek, originally created for the Royal Swedish Ballet last year and inspired by Ek’s PROGRAMME 30 years as a choreographer. The opportunity to work with this creative force of the dance scene has been truly inspirational for the dancers. In tribute to our founder, the programme culminates with the third act of The Sleeping Beauty, a signature classic for The Royal Ballet and the production De Valois selected for the reopening of the Royal Opera House when we made our home here 75 years ago. The burst of colour and optimism in the final act of this revival complements not only an anniversary celebration but also the excited mood of our return to the stage in 2021. We are so pleased to have you with us today. KEVIN O’HARE CBE Director of The Royal Ballet Conductor KOEN KESSELS ORCHESTRA OF THE ROYAL OPERA HOUSE Principal Guest Concert Master by arrangement with Trittico VASKO VASSILEV Generous support from JULIA AND HANS RAUSING Anemoi – Generous philanthropic support from RICKI GAIL and ROBERT CONWAY Streaming generously supported by THE FOYLE FOUNDATION The 2020/21 Ballet Season is generously supported by AUD JEBSEN SATURDAY 3 JULY 2021 AT 7PM Principal Coaching ALEXANDER AGADZHANOV and LESLEY COLLIER SAFETY INFORMATION We want to welcome you back into the building in a way Dancers that keeps you, our staff and our artists safe. LAURA MORERA and RYOICHI HIRANO All visitors must wear a face covering over their nose and mouth at all times, including when seated in the auditorium, Solo piano ROBERT CLARK unless exempt for medical reasons. Staff will be wearing face coverings at all times. The excerpt of Winter Dreams is presented by kind There is a one-way system in place. Visitors with tickets can permission of Kenneth MacMillan and Partner. enter via the entrance on Bow Street. Regular cleaning is taking place, with particular attention to high-touch areas such as bannisters and toilets. Hand gel will be available throughout the building. AFTER THE RAIN PAS DE DEUX ANEMOI Choreography CHRISTOPHER WHEELDON Music ARVO PÄRT The 5th performance by The Royal Ballet at the Spiegel im Spiegel by arrangement with Universal Edition Royal Opera House. A.G. Wien Choreography VALENTINO ZUCCHETTI Costume designer HOLLY HYNES Music SERGEY RACHMANINOFF Rehearsal Director CHRISTOPHER SAUNDERS Arrangement and orchestration HANS VERCAUTEREN Designer JEAN-MARC PUISSANT Dancers Lighting designer SIMON BENNISON FUMI KANEKO and FEDERICO BONELLI Senior Ballet Master GARY AVIS Benesh Choreologist GREGORY MISLIN Solo violin VASKO VASSILEV Solo piano KATE SHIPWAY Dancers MARIKO SASAKI, LUKAS BJØRNEBOE BRÆNDSRØD, SUMINA SASAKI, DAICHI IKARASHI ASHLEY DEAN, HANNAH GRENNELL, SAE MAEDA, woman with water MARIANNA TSEMBENHOI, YU HANG, GINEVRA ZAMBON, The 5th performance by The Royal Ballet at the HARRY CHURCHES, JOSHUA JUNKER, HARRISON LEE, Royal Opera House. MARCO MASCIARI, GIACOMO ROVERO, JOSEPH SISSENS Choreography MATS EK Music FLESHQUARTET Lighting designer ELLEN RUGE INTERVAL Assistant to the Choreographer ANA LAGUNA CASO Guest Ballet Mistress DEIRDRE CHAPMAN Costumes and table thanks to the workshops of the ROYAL SWEDISH OPERA MORGEN The 5th performance by The Royal Ballet at the Dancers Royal Opera House. MAYARA MAGRI and LUKAS BJØRNEBOE BRÆNDSRØD Choreography WAYNE MCGREGOR Music RICHARD STRAUSS Lighting designer SIMON BENNISON Principal coaching AMANDA EYLES VOICES OF SPRING Choreography FREDERICK ASHTON Dancers Music JOHANN STRAUSS II YASMINE NAGHDI and JOSEPH SISSENS Designer JULIA TREVELYAN OMAN Lighting designer JOHN B. READ Soprano ANITA WATSON Rehearsal Director CHRISTOPHER SAUNDERS Solo violin VASKO VASSILEV Dancers ANNA ROSE O’SULLIVAN and MARCELINO SAMBÉ WINTER DREAMS Voices of Spring is just one of over one hundred works created by Frederick Ashton™ (1904–88). ‘FAREWELL’ PAS DE DEUX The Frederick Ashton Foundation, a registered charity Choreography KENNETH MACMILLAN working independently of, but in close association with, The Royal Ballet, exists to enrich the legacy of Frederick Music PYOTR IL’YICH TCHAIKOVSKY Ashton™ and his ballets. Arranged by PHILLIP GAMMON frederickashton.org.uk Designer PETER FARMER Lighting designer JOHN B. READ INTERVAL PRODUCTION CREDITS Senior Stage Manager JOHANNA ADAMS FARLEY Deputy Stage Manager SARAH WOODWARD THE SLEEPING BEAUTY Assistant Stage Manager JACLYN FULTON Production Manager SARAH O’CONNOR ACT III Lighting Associate SIMON BENNISON Choreography MARIUS PETIPA Production Lighting Manager BILL SLOCOMBE Music PYOTR IL’YICH TCHAIKOVSKY Lighting Programmer TOM BARTON Reduced orchestration JOHN LONGSTAFF Model Room Draughtsperson LAURA FOY Production MONICA MASON and CHRISTOPHER NEWTON Sound Engineer GIUSEPPE LUBRANO after NINETTE DE VALOIS and NICHOLAS SERGEYEV Costume Production Manager ILARIA MARTELLO Additional Choreography FREDERICK ASHTON and GIUSY COVIELLO and ANTHONY DOWELL Assistant Costume Production Manager SOPHIE Original designer OLIVER MESSEL O’CONNOR Additional designs PETER FARMER Additional costumes MADELEINE FRY, ANNAMARIA Lighting designer MARK JONATHAN GENUISE, INGRID PRYER and STEN VOLLMULLER Senior Ballet Master GARY AVIS Footwear BLOCH, FREED, GAYNOR MINDEN, GRISHKO, LEWIS JONES, PRINCIPAL, REPETTO, SANSHA, BILLY Senior Ballet Mistress SAMANTHA RAINE ROGERS and SO DANCA Assistant Ballet Mistress SIAN MURPHY Music preparation JONATHAN LO and the ROH Music Benesh Choreologist GREGORY MISLIN Library JULIE COOK, HANNAH GRAY, ROBIN GORDON- Principal Coaching ALEXANDER AGADZHANOV POWELL, TONY RICKARD, EMMA SYRUS and JOANNA and LESLEY COLLIER TAYLOR Rehearsal pianists ROBERT CLARK, KATE SHIPWAY, Princess Aurora MICHAEL PANSTERS and TIM QUALTROUGH NATALIA OSIPOVA ROYAL OPERA HOUSE PRODUCTION AND TECHNICAL Prince Florimund STAFF REECE CLARKE King Florestan XXIV GARY AVIS His Queen THE ROYAL BALLET KRISTEN MCNALLY Director KEVIN O’HARE Catalabutte THOMAS WHITEHEAD Music Director KOEN KESSELS Lilac Fairy Resident Choreographer WAYNE MCGREGOR ISABEL LUBACH Artistic Associate CHRISTOPHER WHEELDON Florestan and his Sisters Administrative Director HEATHER BAXTER DAVID DONNELLY, LETICIA DIAS Rehearsal Director CHRISTOPHER SAUNDERS and ANNETTE BUVOLI Clinical Director Ballet Healthcare SHANE KELLY Puss-in-Boots and the White Cat LEO DIXON and SOPHIE ALLNATT Princess Florine and the Bluebird ISABELLA GASPARINI and JOSEPH SISSENS Red Riding Hood and the Wolf ROYAL OPERA HOUSE ASHLEY DEAN and TOMAS MOCK RECOVERY CAMPAIGN ARTISTS OF THE ROYAL BALLET Live performance is a shared experience, and our audiences are at the heart of what we do on our stages, backstage, online, in cinemas and in our communities. Since March 2020, we have lost £3 in every £5 of our income and we are hugely grateful for all the support we have received, including from Arts Council England and government, and from you, our generous audiences. In September we launched our fundraising Recovery Campaign, which continues to form a vital part of our long journey back to a fully functioning and sustainable theatre. Please consider making a donation to help us secure the future of ballet and opera. roh.org.uk/donate .
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  • Commence to Dancing by David Vaughan Introduced by Alastair Macaulay

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    QUESTIONS OF PRACTICE Commence to Dancing By David Vaughan Introduced by Alastair Macaulay THE PEW CENTER FOR ARTS & HERITAGE / PCAH.US / @PEWCENTER_ARTS Commence to Dancing The Senior CriTics AwArd, delivered By David VaughAn at The DanCe CriTics AssoCiation at DanCe new AmsterdAm, new york CiTy, on 17 June 2007 Introduction by Alastair Macaulay This is the Dance Critics’ Association; and I hope that many of you here first got to know David the way I did—by reading him in print. In 1965, he was a founding figure at Ballet Review and, alone of that magazine’s founders, he still contributes regularly to it. In fact, its “Annals of The Sleeping Beauty” department would scarcely exist without him. For many years, he was the Financial Times’s distinguished New York dance correspondent. His book Merce Cunningham: Fifty Years (Aperture, 2005) is indispensable to anyone writing on the subject, and I say that as someone who has sometimes groaned at its sheer weight across my knees. I myself came to know him through his book Frederick Ashton and His Ballets (A & C Black, 1977)—“the Ashton book,” as it was known for many years. For me, this came at an opportune moment: I was twenty-two, and the two Royal Ballet companies staged an unusually large number of Ashton ballets in the year it was published. I had read the book from cover to cover the moment it came out; then I read it again from cover to cover; and then, every time I went to see any Ashton performance, I would read the relevant section both before setting out and then on returning home.
  • A Midsummer Night's Dream Meet the Characters About the Production Meet the Creative Team a Day in the Life of a Ballet Student

    A Midsummer Night's Dream Meet the Characters About the Production Meet the Creative Team a Day in the Life of a Ballet Student

    A MIDSUMMER NIGHT’S DREAM MARCH 6, 2020 STUDENT MATINEE STORY GUIDE WELCOME TO 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 Matinees are a wonderful way to expose youth to the transformative power of creativity through the performing arts. Our educational performances provide K-12 students with an engaging introduction to classical and contemporary ballet. We encourage educators to download and use resources from two different guides to enhance your Student Matinee experience. Download both pdf guides at https://www.sfballet.org/resource-guides/ 1. SF Ballet’s A Midsummer Night’s Dream Story Guide is designed to help introduce your students to A Midsummer Night’s Dream. The Story Guide includes a synopsis of the ballet, cast of characters, photos of the ballet, pre- and post-performance worksheets, and important field trip information for teachers and chaperones. 2. The SF Ballet Student Matinee Education Guide is a supplemental document designed to enhance the overall experience for youth attending any SF Ballet performance. The Education Guide provides a general introduction to ballet, a look behind the scenes, insights into the artistic process, glossary of dance terms, pre- and post-performance activities, and education standards. SF Ballet’s A Midsummer Night’s Dream Story Guide and the Student Matinee Education Guide provide educators with comprehensive materials that explore dance as an art form and introduce key elements of ballet. We encourage educators to use these two resources before and after the performance to help students explore movement and dance, learn about ballet, and discover what happens behind the scenes of a ballet production.