| Le Sacre du printemps (The Rite of Spring) | Music: Stravinsky, Igor (1882-1971) Choreography: Mats Ek | |
| Blake Works I | Music: Blake, James Choreography: William Forsythe | |
| Take Five Blues | Music: Various Choreography: Stina Quagebeur |
| English National Ballet | ||
| William Forsythe | Set Designer, Costume Designer | Blake Works I, Blake Works I |
| Dorothée Merg | Costume Designer | Blake Works I |
| Tanja Rühl | Lighting Designer | Blake Works I |
| Stina Quagebeur | Costume Designer | Take Five Blues |
| David Richardson | Lighting Designer | Take Five Blues |
| Marie-Louise Ekman | Set Designer, Costume Designer | Rite of Spring, Rite of Spring |
| Linus Fellbom | Lighting Designer | Rite of Spring |
| Katja Khaniukova | Dancer | |
| Erina Takahashi | Dancer | |
| James Streeter | Dancer | |
| Emily Suzuki | Dancer | |
| Fernando Carratalá Coloma | Dancer |
A dazzling triple bill celebrating the creativity and innovation of contemporary repertoire.
Renowned Swedish choreographer Mats Ek creates a new work for the Company – his first for English National Ballet.
“It is a huge honour and a privilege to have Mats Ek create a new work on us”, says Tamara Rojo, Artistic Director. “He is a master choreographer with a long history of impactful and imaginative works, and I can’t wait to see him create closely with our dancers.” The piece will feature 22 performers and music played live by English National Ballet Philharmonic. More details to be announced.
This new work will be performed alongside Blake Works I, a soulful piece by William Forsythe set to seven songs from James Blake’s album The Colour in Anything. Solos, duets and intricate group formations brilliantly combine to reflect the poetic melodies and words of Blake’s music.
Completing the bill is Take Five Blues by Associate Choreographer Stina Quagebeur, which premiered last year and will be expanded for 2022. Under moody lights, dancers let loose to a jazz-inflected soundtrack, flaunting their talent and spurring each other on. As the recording of Nigel Kennedy’s arrangements of classical and jazz standards reaches its peak, so do their dancing feats.