According to the Company mission, my purpose is offering the highest possible quality ballet to new and established audiences nationwide. Therefore, this year’s repertoire includes a wide stylistic versatility, technical brilliance, and dramatic flair of the company’s excellent artists.
Main goals focus on showcasing the extraordinary creative talent of wonderful dancers and invaluable legacy in bringing dance to the nation, together with the display of our dance distinction worldwide.
English National Ballet, a patch of flourishing choreographic and artistic creativity in England
ENB Artistic Team
Artistic Director Tamara Rojo
Associate Artistic Director Loipa Araujo
Associate Artist George Williamson
Ballet Mistress Hua Fang Zhang
Artistic Co-ordinator Jane Haworth
Ballet Master and Repetiteur Yohei Sasaki
Ballet Master and Repetiteur Antonio Castilla
Music Director Gavin Sutherland
Music Administration Manager Paul Allen
Pianists Kevin Darvas, Christopher Swithinbank
Music Librarian Lars Payne
Orchestra Attendants Paul Barrett, Andrew Paterson
Executive Director Caroline Thomson
Head of Costume Wizzy Shawyer
Technical Director Alan Riches
English National Ballet Le Corsaire
More about Le Corsaire
Lest We Forget
Award-winning British choreographers Akram Khan, Russell Maliphant and Liam Scarlett have created works honouring the 100th anniversary of the Great War. Completing this programme for English National Ballet is George Williamson’s Firebird.
Romeo & Juliet in-the-round
Romeo & Juliet in-the-round
Performed by a huge company of 120 dancers, actors and swordfighters, this epic staging of Shakespeare’s timeless tragedy is set in-the-round. This acclaimed production brings to life all the emotions of the world’s greatest love story, from the majestic sweep of the masked ball to the passion and intimacy of the lovers’ balcony scene
Tamara Rojo and Carlos Acosta
Romeo & Juliet in-the-round review quotes
“English National Ballet’s Romeo and Juliet at the Royal Albert Hall has wonderful leads in Carlos Acosta and Tamara Rojo” – The Telegraph”.
“A terrific evening.” wrote Sarah Crompton – The Telegraph.
“…an excellent cast: Tamara Rojo is a Juliet of grandstanding intensity, given ardent support byCarlos Acosta; Yonah Acosta’s Mercutio is an unflaggingly charming force of nature, and Luke Heydon a delicately paternal Friar Lawrence.” – The Guardian.
“Rojo is a remarkable ballerina, her Juliet stabbed by passion, her emotions filling the Albert Hall as surely as her glorious dancing spans the huge stage. Guest artist Carlos Acosta may have his best days as Romeo behind him, but he partners Rojo beautifully and his warmth as a performer is undiminished.” – The Times.
“In 1998, Rojo was this production’s first Juliet. Now the company’s artistic director, she still makes a fiercely adolescent heroine. She’s stonily resolute when confronting her family; with Romeo, she’s all changing feeling, from giddy excitement to despair. Acosta dances with ardent clarity, addressing each phrase to his Juliet. Their love duets have a swooping abandon.” – The Independent.
“Tamara Rojo’s Juliet burns and soars, matched by Carlos Acosta’s tender Romeo.” – The Independent.
“It’s a fine company performance. Yonah Acosta and Junor Souza are larky as Mercutio and Benvolio, while Fabian Reimair makes a sardonic Tybalt. Nancy Osbaldeston, Laurretta Summerscales, Ksenai Ovsyanick and Adela Ramírez are exuberant, fleet-footed harlots in the town scenes.” – The Independent.
“Acosta and Rojo are still a dream couple, so much at ease in each other’s arms, effortlessly able to summon that first flush of star-cross’d love. The quality of the leads makes this show worth watching, especially Rojo’s journey from being drunk on love to broken of heart, body and spirit.” – Evening Standard.
“One of Rojo’s gifts is to make her every performance seem like a definitive interpretation” – Arts Desk.
“Not only is the perennially lovely Acosta on particularly cheerful form, his young nephew Yonah makes an adorable spark of a Mercutio, minxily strumming on his mandolin and doing lovely big jets.” Arts Desk.
We register Rojo’s splayed fingers, the yielding curve of her back, the quivering line of her arabesque; the precision with which she charts her course towards self-obliterating ecstasy, wrote Luke Jennings – The Observer, Sunday 15 June 2014.