Voices of Spring

Voices of Spring
Yuhui Choe and Alexander Campbell
© ROH/ Tristram Kenton

FORTHCOMING EVENTS


Ashton Revisited masterclasses 2018-19


A series of masterclasses of works by Frederick Ashton given by leading cast members and introduced by Jane Pritchard, Curator of Dance at London's Victoria and Albert Museum, with dancers of The Royal Ballet.


The Royal Ballet Upper School, 46 Floral Street, London WC2E 9DA

Sunday 28 October 2018 with Carlos Acosta
2.30 - 5.30pm (doors open 2.00pm)
La Fille mal gardée and Rhapsody

Sunday 24 February 2019 with Lesley Collier and Wayne Sleep
2.30 - 5.30pm (doors open 2.00pm)
Enigma Variations


Booking now open:
Tickets: £60 per person
For further information, please email ashtonevents@yahoo.com or leave message on 020 7212 9627 (voicemail)
All proceeds to benefit the Frederick Ashton Foundation (reg. charity no. 1143433)
The Foundation reserves the right to alter arrangements owing to unavoidable circumstances. All details correct at time of going to press.


PREVIOUS EVENTS


2017. 'Ashton Rediscovered' masterclasses 2017-18

2017. Fundraising event

2016. 'Ashton Rediscovered' masterclasses 2016-17

2014. Masterclass event

2013. Ashton Symposium

2013. 'Introduction to the Foundation' event.

2012. 'Introduction to the Foundation' event.

2011. Recreation of Foyer de danse

2011. Press release announcing establishment of the Foundation.

La Fille mal gardee

La Fille mal gardée
The Clog Dance
© ROH/ Tristram Kenton

Marion Tait CBE, former Principal, Sadler's Wells Royal Ballet:


"As a member of Sadler's Wells Royal Ballet, I had the great privilege of working with Sir Frederick Ashton on numerous occasions throughout my career, as many of his ballets were regularly in SWRB's touring programme. He was not particularly 'vocal' in rehearsals, but with one small move or gesture was able to transmit exactly what he was after (usually more body and speed!).
Today Birmingham Royal Ballet still maintains many Ashton ballets in the staple repertoire. As I find myself responsible for passing on some of the wonderful roles in his ballets, it has become apparent to me that today's young dancers find the "Ashton style" quite hard to master - the musicality, the use of epaulement, the speed of footwork - all are great challenges to their technique. Ashton's ballets never rely on athleticism, but require a sound technique, one that can be 'manipulated' to show every nuance of style."