Artiste: Sir Frederick Ashton

La Fille mal gardée est une comédie haute en couleur mais aussi ballet virtuose, où les variations s’enchaînent allègrement. Pour cette reprise, la performance théâtrale des interprètes de l’Opéra de Paris, particulièrement débridés dans les seconds rôles, est remarquable.

Un ballet burlesque où l'on rit beaucoup servie par des danseurs de qualité mais une soirée où il manquait cette alchimie qui créé les belles soirées.

Birmingham Royal Ballet (BRB) close their 25/26 season with an ambitious triple bill running for just four performances on their home turf at the Birmingham Hippodrome.

An evening of outstanding dancing from the Royal Ballet School and the School of American Ballet. It was a case of spotting tomorrow’s stars in a beautifully balanced programme.

Two vivid debuts as Colas, marked the second revival of La Fille mal gardée this season at The Royal Ballet.

ABT offer some outstanding performances in a classical quadruple bill but there was a lack of confidence and uniformity within the corps de ballet. 

Christopher Carr talks about the challenges of resetting Ashton’s Birthday Offering for a new generation, and how grateful he is to have notation to refer to the original choreography.

Ravel’s first ballet Daphnis et Chloé is an overwhelming sensory experience – but its birth as a production choreographed by Mikhail Fokine for the Ballets Russes was not without complications...

The original cast of principals – and current interpreters – discuss the joys of working with the late choreographer Sir Frederick Ashton, and the great legacy he has left to today’s dancers.