Sadler’s Wells, London
10 Mar 2015 – 15 Mar 2015
Ksenia Ovsyanick and James Forbat in Petite Mort. Photo: © David Jenson
Modern Masters honours the work of three of the most influential and creative choreographers of the 20th Century, and brings two new works to English National Ballet’s repertoire.
Created in 1991, Ji?í Kylián’s poetic piece, features six men, six women, and six fencing foils, symbolising energy, silence and sexuality. Performed to the slow movements of two Mozart Piano Concerti, the foils slowly become dancing partners, as the brutality of everyday life is revealed. Petite Mort is a quintessential Kylián masterwork, loved by our audience and our dancers when we performed it last year.
SPRING AND FALL
In the same year that Petite Mort was premiered, Hamburg Ballet’s John Neumeier, a new master of narrative and dramatic ballet, created Spring and Fall. Set to the Dvo?ák’s Serenade for Strings in E Major, it is a work for two couples and corps de ballet and takes its narrative from the tension in the music. Spring and Fall is not in the repertoire of any other UK company.
IN THE MIDDLE, SOMEWHAT ELEVATED
With In the Middle, Somewhat Elevated, William Forsythe started a completely new school of choreography, deconstructing classical ballet and liberating a new generation of classical dancers to show off their abilities. Set against a bare stage it is danced by nine individuals culminating in a fierce display of technical and physical wizardry.
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By the English National Ballet at the Festival de Peralada – August 1, 2014 at 10:00 PM.
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English National Ballet’s five-star critically acclaimed production of Lest We Forget got rave reviews.
Award-winning British choreographers Akram Khan (Dust), Russell Maliphant (Second Breath) and Liam Scarlett (No Man’s Land) have each created new work to reflect the moving and powerful impact of the First World War on those setting off to fight and those left behind. Khan’s work explores the empowerment of women in the war whilst Maliphant’s conveys the sacrifice of the men. Scarlett’s work explores the relationship between men and the women they leave behind – the loss and longing. The programme is completed by George Williamson ’s re-worked Firebird set to the commanding Stravinsky score performed by our live orchestra.
“Amazing” Jeffery Taylor, Sunday Express.
“A brave and brilliant move from director Tamara RojoLyndsey Winship” Evening Standard.
“Make this absolutely an evening to catch if you can Hanna Weibye, The Arts Desk.
“Lest We Forget is both moving and ambitious Zoë Anderson, The Independent.
“A turning point in ENB’s history” Judith Mackrel, The Guardian.
“Melancholic but thrillingly uplifting” Sarah Crompton, Telegraph.
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Photographer: Arnaud Stephenson
“Good Swan, Bad Swan: Dancing Swan Lake”
Filmed by BBC
Artistic Director and Lead Principal dancer of English National Ballet, in character as the White Swan, Odette, in Swan Lake. Tamara Rojo.
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Lest We Forget
Inspired by the centenary of the Great War
Award-winning British choreographers Akram Khan, Russell Maliphant and Liam Scarlett are creating works honouring the 100th anniversary of the Great War. George Williamson’s Firebird c
ompletes the debut programme to be presented by English National Ballet at London Barbican.This is the first time that Khan and Maliphant have collaborated with a classical ballet company on new commissions fusing classical traditions with modern dance. Lest We Forget
promises to be a landmark event in British ballet appealing to contemporary dance audiences as well as devotees of the form.
2 hours 50 mins/including two intervals
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Get Your Pirate On: Eight Reasons Why Le Corsaire Is a Must. Posted on 16 Oct 2013 by The Ballet Bag
LINK TO THE EIGHT REASONS
LINK TO LE CORSAIRE REVIEWS
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“SWAN LAKE” in the round of the Royal Albert Hall
Zoë Anderson: ““On opening night, Tamara Rojo’s Swan Queen had the charisma to fill the whole space”
Lyndsey Winship, London Evenig Standard:“There’s pause-button control in her early white swan scenes as her demure Odette deliciously stretches out her phrases with elegant assuredness. Later you can feel the adrenaline rising in the room as she spins her way through the 32 fouettés, ending with a sweet smirk that seems to say: “Oh that? Easy.”
Luke Jennings, The Observer, Sunday 16 June 2013:
The Telegraph, Louise Levene“Critics spoiled rotten by a life of perfect sightlines in the front stalls found the encircling audience distracting and carped that the sheer size of the Albert Hall made it impossible for the artists to convey emotion. Anyone who has watched their idols from the back row of Covent Garden’s amphitheatre through a forest of craning heads will know that this is nonsense”.
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