Carlos Acosta's Classical Selection

BIRMINGHAM ROYAL BALLET ROYAL BALLET SINFONIA Patron The late Queen President The former Prince of Wales Vice-President The Lady Sarah Chatto

Director Carlos Acosta cbe Chief Executive Officer Caroline Miller obe Music Director Koen Kessels

Founded by Dame Ninette de Valois om, ch

Founder Music Director Constant Lambert

Founding Director Laureate of Birmingham Royal Ballet Sir Peter Wright cbe

Prima Ballerina Assoluta Dame Margot Fonteyn

Founder Choreographer Sir Frederick Ashton om, ch, cbe

Music Director Laureate Barry Wordsworth

BRB2 presents Carlos Acosta’s Classical Selection Royal & Derngate Northampton 25 April 2023 Nottingham Theatre Royal 28 & 29 April 2023 New Theatre Peterborough 3 & 4 May 2023 The Linbury Theatre, London 13 & 14 June 2023 Wolverhampton Grand Theatre 24 June 2023

Supported by David and Mary Laing, The Kirby Laing Foundation and The Linbury Trust

Cover: Sofia Liñares as Diana. © Johan Persson.

WELCOME A warm welcome to this special performance. We are delighted to be showcasing members of BRB2, our new junior company, through my Classical Selection. I have handpicked a stunning range of classical and contemporary pieces, all very special to me, and many new to Birmingham Royal Ballet’s repertory.

Special thanks go to Kit Holder, BRB First Soloist, who has embraced the role of Artistic Coordinator for our new venture. Alongside members of the Ballet Staff, the BRB2 dancers have been coached by renowned choreographers, including Will Tuckett, and international dance stars, including teacher and former Royal Ballet principal Lesley Collier, former Royal Ballet Principal Zenaida Yanowsky and former BRB dancer Isabel McMeekan. Thanks also go to the BRB dancers and staff who have supported these young dancers over the last six months.

Download a castsheet A castsheet for each performance is available to download. brb.org.uk/Castsheets

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Royal Ballet has many more exciting performances to entertain you. June sees the return of Sir David Bintley’s beloved ‘Still Life’ at the Penguin Café in a triple bill alongside George Balanchine’s exquisite Apollo and Juliano Nunes’s striking Interlinked at Birmingham Hippodrome.

Please join our mailing list to receive details of all of our future performances and events, including pre-performance and ballet classes.

I hope you enjoy the performance,

Carlos Acosta cbe Director

This tour has been made possible through generous support from David and Mary Laing, The Kirby Laing Foundation and The Linbury Trust. We thank them and, as always, heartfelt thanks go to all of our supporters.

Following this tour, Birmingham

Carlos Acosta. © Johan Persson.

Carlos Acosta’s Classical Selection PART ONE

PART TWO

Rhapsody pas de deux

End of Time

La Sylphide pas de deux

A Buenos Aires

Swan Lake Act II pas de deux

Je ne Regrette Rien

Dying Swans

Les Bourgeois

Diana and Actaeon pas de deux

Carmen pas de deux Nisi Dominus Majisimo

Sofia Liñares and Enrique Bejarano Vidal as Diana and Actaeon. © Johan Persson.

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Oscar Kempsey-Fagg and Frieda Kaden in Rhapsody. © Johan Persson.

Rhapsody Pas de deux

Choreography Frederick Ashton

Solo piano Jeanette Wong

Frederick Ashton created a vast repertory of ballets, including the delightful La Fille mal gardée (The Wayward Daughter), The Two Pigeons, The Dream and Dante Sonata. Rhapsody, Ashton’s final work, was created in honour of the late Her Majesty Queen Elizabeth The Queen Mother, on the occasion of her 80th birthday in

Staged by Lesley Collier and Isabel McMeekan

1980.

Music Sergei Vasilyevich Rachmaninov Rhapsody on a Theme of Paganini Op.43: Variation No.17, Allegretto; Variation No.18, Andante catabile (Royal Ballet Sinfonia recording; Conductor: Paul Murphy)

This non-narrative ballet was created on acclaimed Russian dancer Mikhail Baryshnikov and former Royal Ballet Principal Lesley Collier. It is set to Sergei Rachmaninov’s Rhapsody on a Theme of Paganini, which moves from stormy passages to calmer interludes.

Rhapsody is one of over 100 works created by Frederick Ashton (1904–88). The Frederick Ashton Foundation, a registered charity, exists to perpetuate the legacy of Frederick Ashton and his ballets. www.frederickashton.org.uk.

“

Rhapsody is such a beautiful piece and very technical. I love this ballet and have performed it many times but it’s new to BRB.

”

Carlos Acosta

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Swan Lake Act II pas de deux Choreography Carlos Acosta (after Marius Petipa, Lev Ivanov and Peter Wright) Music Pyotr Ilyich Tchaikovsky (Royal Ballet Sinfonia recording; Conductor: Paul Murphy) Solo violin Robert Gibbs; Solo cello António Novais Swan Lake is ballet’s greatest love story, danced to Tchaikovsky’s divine score. It tells the story of Prince Siegfried, who chances upon a flock of swans while out hunting. When one of the swans turns into a beautiful woman, Odette, he is enraptured. But she is under a spell that holds her captive, allowing her to regain her human form only at night.

La Sylphide

Baron von Rothbart, arbiter of Odette’s curse, tricks the Prince into declaring his love for the identical Odile and thus breaking his vow to Odette. Doomed to remain a swan forever, the only thing that can break the spell is true love and Rothbart will do anything in his power to stop it.

Pas de deux Choreography August Bournonville Music Herman Løvenskiold (Royal Ballet Sinfonia recording; Conductor: Paul Murphy) With thanks to Sarasota Ballet for the loan of costumes.

La Sylphide (The Sylph of the Highlands) is Danish choreographer August Bournonville’s most famous ballet.

Created in 1836, it is the embodiment of the Romanticism developing in all the arts at the time. It tells the story of James, a young man enticed into the forest by a fairy on his wedding day, but when he tries to embrace her, the Sylphide dies.

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Top: Eric Pinto Cata rehearsing La Sylphide; below: Maïlène Katoch and Mason King rehearsing Swan Lake. © Lachlan Monaghan.

Maïlène Katoch and Mason King rehearsing Swan Lake. © Lachlan Monaghan.

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Dying Swans Choreography Carlos Acosta (after Michel Fokine and Michel Descombes) Music Camille Saint-Saëns The Carnival of the Animals: 13. The Swan Piano Jeanette Wong; Cello António Novais Michel Fokine created The Dying Swan in 1907 for the Russian dancer Anna Pavlova. Perhaps the most famous solo in ballet history, it took only a few minutes to create.

Set to music by Camille Saint-Saëns from Carnival of the Animals, Fokine partly drew on Alfred, Lord Tennyson’s poem Le Cygne for inspiration.

This piece consists almost entirely of pas de bourrées, a smooth running step performed entirely en pointe, but Fokine added subtle movements of the arms and upper body which expressed the bird’s struggle for life. The Dying Swan is about the fragility of life and the passion with which we hold on to it. Pavlova’s sheer dramatic intensity forcibly conveyed this truth. For the rest of her life, Pavlova was identified with the ballet, and people saw it almost as a metaphor for her life. As she lay dying, her last words to her dresser were, ‘prepare my Swan costume’.

For this performance Carlos Acosta has reimagined this iconic solo as a duet.

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Ava May Llewellyn rehearsing Dying Swans. © Lachlan Monaghan.

SLEEPING BEAUTY DREAMS

Your chance to dance with Birmingham Royal Ballet!

In early 2024, BRB will present Sir Peter Wright’s sumptuous production of The Sleeping Beauty across the country.

After the huge success of previous Dreams projects, we are delighted that ballet students of all ages from across the West Midlands will have another opportunity to take part in a Sleeping Beauty Dreams performance. Dreams takes place on the Birmingham Hippodrome stage, and participants appear alongside some of the Company’s rising stars who take on the leading roles.

Participants of Swan Lake Dreams with Carlos Acosta. © Paul Telfer.

Full details of how to sign up for Sleeping Beauty Dreams will be available soon.

Visit our website at brb.org.uk/Dreams24 to sign up to be sent more information once available.

brb.org.uk/Dreams24

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Diana and Actaeon

This pas de deux is one of the most famous pas de deux in ballet history. It was originally a divertissement from the second act of Petipa’s La Esmeralda, a full-length ballet set to music by Riccardo Drigo and inspired by Victor Hugo’s novel Notre Dame de Paris.

Pas de deux Choreography Agrippina Vaganova after Marius Petipa Music Cesare Pugni (Royal Ballet Sinfonia recording; Conductor: Paul Murphy)

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Agrippina Vaganova added her virtuoso Diana and Actaeon pas de deux into her revival of La Esmeralda, which premiered in 1935. Though Diana and Actaeon is based on the myth of the Goddess Diana and the mortal hunter Actaeon, this divertissement bears little relationship to the story and is most notable for the technical virtuosity required of the two dancers performing.

Sofia Liñares and Enrique Bejarano Vidal as Diana and Actaeon. © Johan Persson.

End of Time Choreography Ben Stevenson Music Sergei Rachmaninov, Cello Sonata in G Minor Op.19: third movement.

Piano Jeanette Wong; Cello António Novais

Maïlène Katoch and Mason King. © Johan Persson.

The End of Time pas de deux is an elegy for humanity inspired by Stanley Kramer’s 1959 post-apocalyptic film On the Beach, the two figures representing the last two humans left alive after an apocalypse. Rachmaninov’s deeply emotional music suits it perfectly.

It was created in 1984 by British choreographer Ben Stevenson for dancers Li Cunxin and Martha Butler for that year’s Tokyo International Ballet Competition.

Stevenson was awarded the gold medal for his creation and the dancers silver medals.

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A Buenos Aires Choreography Gustavo Mollajoli Music Astor Piazzolla Four Seasons of Buenos Aires (Performed and composed by Astor Piazzolla courtesy of Sony Music Argentina. Published by Warner Chappell Music.)

Set to music by Argentinian composer Astor Piazzolla, A Buenos Aires illustrates the spirit of tango and Argentina where Mollajoli is from.

Piazzolla’s work revolutionised the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. An excellent bandoneonist, he regularly performed his own compositions with different ensembles.

Je ne Regrette Rien Choreography Ben Van Cauwenbergh Music Je ne Regrette Rien performed by Édith Piaf (Composed by Charles Dumont and Michel Vaucaire, courtesy of Warner Music. Published by Peer Music.)

Taking on Édith Piaf’s song, Je ne Regrette Rien was created in 1998 for Daniela Severian, who performed the piece at the International Ballet Competition in Paris and for which she won the Gold Medal. This work was originally created for the company of the State Theatre in Wiesbaden as part of a French evening called La Vie en rose which premiered in 2003.

Je ne Regrette Rien is performed by kind permission of Ben Van Cauwenbergh.

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Olivia Chang Clarke and Enrique Bejarano Vidal in A Buenos Aires. © Lachlan Monaghan.

Carmen Pas de deux Choreography Carlos Acosta Music Rodion Shchedrin after Georges Bizet, Carmen Suite: 7. Second Intermezzo.

(Performed by Russian National Orchestra and Mikhail Pletnev. Courtesy of Deutsche Grammophon GmbH. Under licence from Universal Music Operations Ltd. Music

by Georges Bizet, transcribed for strings and percussion by Rodion Shchedrin. Performances are given by permission of Boosey & Hawkes Music.)

With thanks to Acosta Danza for the loan of costumes.

Carlos Acosta created his own adaptation of Bizet and Merimee’s story for The Royal Ballet. In his new version, the story’s universal and timeless themes of jealousy and desire are laid bare in a sparse and powerful setting. In this pas de deux, the passionate and free-spirited Carmen dances with the toreador Escamillo.

Olivia Chang Clarke and Eric Pinto Cata in Carmen. © Johan Persson.

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Les Bourgeois Choreography Ben Van Cauwenbergh Music Jacques Brel Les Bourgeois (Performed by Jacques Brel. Courtesy of Universal Music France.

Under licence from Universal Music Operations Ltd. Published

by Sony/ATV Publishing.)

Les Bourgeois was created in 1993 as a part of the performance Homage to Jacques Brel. This piece has been performed by many dancers for several gala evenings and competitions around the world.

Les Bourgeois is performed by kind permission of Ben Van Cauwenbergh.

Nisi Dominus Choreography Will Tuckett Music Claudio Monteverdi Vespro della Beata Vergine, SV 206, 8. Nisi Dominus (Performed by English Baroque Soloists, His Majesty’s Sagbutts and Cornetts, John Eliot Gardiner, Monteverdi Choir. Courtesy of Deutsche Grammophon GmbH. Under licence from Universal Music Operations Ltd. publishing in the public domain.)

Staged by Zenaida Yanowsky Will Tuckett, who created the critically acclaimed Lazuli Sky for Birmingham Royal Ballet in 2020, created Nisi Dominus for an evening celebrating Martha Graham at the Criterion Theatre. This amusing and surreal solo, set to imposing choral music, was created on former Royal Ballet Principal Zenaida Yanowsky who has coached BRB2’s dancers for this role. It is based on a jewellery box opening up to reveal a tiny ballerina.

Nisi Dominus is performed by kind permission of Will Tuckett.

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Sofia Liñares and Lucy Waine in Nisi Dominus. © Lachlan Monaghan.

Majisimo Choreography Jorge Garcia Music Jules Massenet Le Cid: Ballet Music, arranged by Hans V. Vercauteren (Royal Ballet Sinfonia recording; Conductor: Paul Murphy) With thanks to Acosta Danza for the loan of costumes.

Cuban choreographer Jorge Garcia created Majisimo as a virtuoso show piece in a notably Spanish-influenced classical style for the Ballet Nacional de Cuba in 1964.

The title is the superlative version of the Spanish word majo/maja, which means handsome, goodlooking or pretty, so an extremely loose translation might be something like ‘The Most Attractive’ and the choreography certainly lives up to this. Though Majisimo is plotless, the music itself is lifted from Massenet’s 1885 opera, Le Cid. As alms are distributed to the people by the Infanta (one of the main characters), celebratory dancing ensues. The seven dances, each from a different area of Spain, are Castillane, Andalouse, Aragonaise, Aubade, Catalène, Madrilène and Navarraise.

Top: Regan Hutsell; below: Jack Easton, Enrique Bejarano Vidal and Ryan Felix rehearsing Majisimo. © Lachlan Monaghan.

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INTRODUCING BRB2 Diane Parkes in conversation with Carlos Acosta and Kit Holder

Audiences are being given a rare opportunity to see the dance stars of the future in the new Birmingham Royal Ballet company BRB2. An initiative created by BRB Director Carlos Acosta, BRB2 features talented young dancers who are just embarking on their careers and have been selected from across the globe.

Carlos says the gala programme, Carlos Acosta’s Classical Selection, is both a chance for young dancers to evolve and an opportunity for audiences to see their talent.

‘I have chosen the programme for two main reasons,’ he says. ‘The first is that these works are giving the dancers the possibility to develop their skills by performing works that challenge them in every way – not just technically but also artistically.

‘And secondly, it’s great entertainment as it’s a really good programme for the audience. There is a real range of works, many of which are new to our Company, so there will be plenty for audiences to enjoy.’

Launched in February with BRB First Soloist Kit Holder as Artistic Coordinator, BRB2 seeks out some of the

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“

I was given chances as a young dancer so this is us going out there to give other people the opportunity to have a chance that normally they wouldn’t have

”

Carlos Acosta

“

it’s kind of a greatest hits of ballet.

Kit Holder

”

From left: Mason King, Jack Easton, Maïlène Katoch, Frieda Kaden and Oscar Kempsey-Fagg with Carlos Acosta. © Drew Tommons.

best young ballet graduates from schools around the world to join a two-year performance scheme. Offering opportunities for those dancers to develop their skills, both as part of the main company and with work specifically chosen for BRB2, the programme aims to encourage and promote excellence.

‘The formula of BRB2 is the perfect way to develop dancers,’ says Carlos. ‘Normally when you bring in new dancers to a company it takes longer for them to develop before they can move in the ranks and dance the major roles. With BRB2 they will be covering large-scale productions like The Nutcracker and Swan Lake but on top of that they have a repertory tailor-made for them, so they develop more rapidly. It is a scheme that attracts a lot of talent because they have the best of both worlds.’

In this first year, five are founding members of BRB2 and they are joined by members of BRB. Next year, when the first group graduate, another six will join so that BRB2 has a rolling core of dancers. While some of those graduates may be offered positions with BRB, Carlos says the programme also aims to equip the dancers for topclass companies elsewhere.

‘We have had a lot of interest in the new company from all across the world and have brought in some very talented young dancers. They may not all stay with BRB after the programme but when they are going for auditions elsewhere, when they mention BRB, people will know what that means in terms of classical training and everything else. We are developing them not just for us but for the world so it’s also a way of contributing to other companies. And we are looking around the world for dancers because I want to give dancers from diverse backgrounds a chance.

‘I was given chances as a young dancer so this is us going out there to give other people the opportunity to have a chance that normally they wouldn’t have.’

The tour also sees BRB2 offering new audiences the opportunity to see quality dancing in their local theatres.

‘All the venues we are visiting are great spaces, especially for BRB2. It is important to share what the company is all about to different towns and cities,’ Carlos says, ‘that’s Top: Frieda Kaden and Jack Easton; below: Olivia Chang Clarke and Eric Pinto Cata rehearsing A Buenos Aires. © Lachlan Monaghan.

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why we’re here – to send our art everywhere possible. We want to connect with different audiences who perhaps haven’t seen us before and give them an evening of great entertainment.

‘I’m always looking out for new audiences, for new cities and new theatres. We are a touring company, so let’s tour to new places to bring our repertory to new people. It’s an important part of my vision for the company to keep surprising people – to create new works, to develop our dancers and to bring more and more people to watch us perform.’

For Kit, the tour offers audiences a chance to dip into a mix of different dances while ensuring performance is of the highest level. ‘This year the programme consists of a lot of pas de deux and solos and one larger number at the end of the show,’ Kit says. ‘Their work is top-level work, it’s pieces usually danced by Principals, and that means they get coaching as if they were Principal dancers.’

The BRB2 performers have already taken classes with renowned choreographers including Will Tuckett and international dance stars such as teacher and former 18

Royal Ballet Principals Lesley Collier and Zenaida Yanowsky.

‘These BRB2 dancers really are professionals who do virtually everything that the main company do,’ says Kit. ‘They are in training with the Company and then, twice a week, we give them their own class so we can focus on some of the technical aspects of their specific repertoire.

That’s a nice mix because when they are in the main Company in class, they are seeing our top professionals doing amazing things and they can learn from them.’

The tour features a host of much-loved works including Rhapsody, Carmen, La Sylphide, Diana and Actaeon pas de deux and an excerpt from Swan Lake. ‘It’s kind of a greatest hits of ballet,’ says Kit. ‘There are some really heavy hitters and there will absolutely be more than one piece that everyone will enjoy. The programme touches those keystone classics, with an excerpt from Swan Lake and a beautiful piece by Frederick Ashton, the central pas de deux from Rhapsody, which also has the stunning music of Rachmaninov’s Paganini. There’s also La Sylphide which is a stunning piece of choreography and music. ‘And in the second half we go slightly more to Olivia Chang Clarke and Eric Pinto Cata in Carmen. © Johan Persson.

“

Audiences are going to see professional dancers at the early stage of their careers, full of youthful vitality and enthusiasm, and they’re going to get some really virtuoso performances.

Kit Holder

the contemporary end of ballet. So we have a beautiful pas de deux by Ben Stevenson called End of Time, which is hugely atmospheric, almost hypnotic. There’s some Piazzolla and some chanson with Edith Piaf and Jacques Brel so musically as well as choreographically there is a lot of variety in the show.

‘I’m sure the majority of our audience will have been to a ballet before, but this is a brilliant programme for people who aren’t familiar with ballet because it’s a lot of short numbers with technical fireworks and virtuosity – and some really beautiful dancing.’ Kit says he and BRB2 are determined to bring excellence to the performances. ‘I’m really excited to take these dancers on tour – audiences are going to see really fantastic dancers. In so many ways my job is very easy because they are motivated, energetic and really intelligent in the way they approach their work. They have a lot of work to manage but they are doing brilliantly. Audiences are going to see professional dancers at the early stage of their careers, full of youthful vitality and enthusiasm, and they’re going to get some ‘really virtuoso performances.’

”

And the two-year programme is investing not just in the dancers in BRB2 but also in the main BRB company and beyond. ‘This project means we will continue to accelerate the development of Birmingham Royal Ballet,” says Kit. ‘The technical and artistic excellence that we aspire to, achieve, and maintain is going to be propelled over time by these dancers feeding into the company.

‘They will go on to have really top-level careers and some will go off and have excellent careers elsewhere and over time that reputation will build and BRB will be recognised as a breeding ground for the world’s best professional dancers. I really think we can achieve that.’

Diane Parkes is a freelance journalist specialising in the arts. A reporter for more than 30 years, she has worked for newspapers, magazines, online and arts organisations locally and nationally.

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Artists of BRB2. Top: with First Soloist | BRB2 Artistic Coordinator Kit Holder and BRB Principal Céline Gittens. © Lachlan Monaghan.

Maïlène Katoch and Mason King in End of Time. © Johan Persson.

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BIRMINGHAM ROYAL BALLET AND THE ROYAL BALLET SINFONIA Birmingham Royal Ballet is one of the world’s great companies, a true powerhouse of classic ballet and contemporary dance.

We’re proudly rooted in Birmingham, our home since 1990, and we cherish our connections with the diverse people of our city. At the same time, we tour around the UK and internationally, bringing world-class ballet and live music to the widest range of audiences in our nation and beyond.

We perform everything from grand Romantic ballets to breathtaking new dance works inspired by our world today – including many pieces created just for us by the world’s best established and emerging choreographers.

We’re bringing new life to the greatest ballet traditions – but under the leadership of Carlos Acosta, our Director, we’re also pushing the art form in electrifying new directions, underpinned by the artistry, creativity and technical excellence for which we’re known around the world.

We can trace our origins back to 1931 when Dame Ninette de Valois founded the Vic-Wells Ballet – a precursor to BRB, established under the great Sir Peter Wright in 1990. But while we’re proud of our history, we’re also passionately committed to the future of ballet – and we’re doing our best to leave it in good hands. Our inclusive learning and engagement programmes are helping to nurture a new generation of young dancers, making sure they can take forward our great art form through the years and decades to come.

Under current Music Director Koen Kessels, the Royal Ballet Sinfonia is Britain’s busiest ballet orchestra, playing for Birmingham Royal Ballet’s wide-ranging programme in the UK and abroad.

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As well as playing for us, the Sinfonia plays for The Royal Ballet and has a long tradition of playing for tours by the world’s leading ballet companies, including Paris Opéra Ballet, New York City Ballet, San Francisco Ballet and The Australian Ballet. They have also performed with Het Nationale Ballet, Queensland Ballet and Acosta Danza.

Regular performances of An Evening of Music and Dance play to a sell-out audiences, and the orchestra has an extensive library of recordings on CD and DVD. Highlights include DVD performances of Cinderella, Hobson’s Choice, The Nutcracker and Coppélia. CDs include the Sullivan overtures, Addinsell film scores, the ballets Far from the Madding Crowd, Edward II and Cyrano, and three tribute CDs of ballet scores written for Ashton and de Valois.

Schemes for the development of young orchestral musicians are in place with the Royal Academy of Music and Royal Birmingham Conservatoire, and for the development of young conductors in the dance world, including the Constant Lambert Conducting Fellowship in partnership with The Royal Ballet. Several players also work with the Company’s Learning Engagement, Access and Participation team in projects around the country.

Birmingham Royal Ballet’s repertory is recorded in Benesh Movement Notation by qualified Benesh Choreologists trained

by Benesh International at the Royal Academy of Dance, London.

CARLOS ACOSTA CBE DIRECTOR

Born in Havana in 1973, Carlos trained at The National Ballet School of Havana in Cuba. After winning a succession of awards, including the 1990 Prix De Lausanne, he went on to dance professionally with the world’s most prestigious companies, with London’s Royal Ballet becoming his home. Carlos retired from classical ballet in 2016, after 28 years, having performed almost every classical role from Spartacus to Romeo.

The company tours the world with its vibrant combination of classical and contemporary, fused with Cuban elements of dance. In 2017 Carlos opened his first Dance Academy through the Carlos Acosta International Dance Foundation. The Foundation gives young dancers the same opportunities that he himself benefited from, by providing a three-year dance training programme, free at the point of delivery in an inspirational setting.

Carlos created many award-winning shows throughout his ballet career including Tocororo, and Carlos Acosta and Friends of the Royal Ballet. He also choreographed the Royal Ballet productions of Don Quixote and Carmen, plus the latest Guys and Dolls production for the West End. He has also written two books, including a work of fiction Pig’s Foot, and his honest and heartfelt autobiography No Way Home.

Carlos’s extraordinary contribution to dance continues to this day and he was recognised in the Queen’s New Year’s Honours List in 2014 when he was awarded a CBE. In 2018 Carlos received the Queen Elizabeth II Coronation Award from The Royal Academy of Dance in recognition of his standing as one of the most influential figures in dance today and in 2019 the Critics’ Circle bestowed Carlos with their Annual Award for Outstanding Services to the Arts.

Yuli, a film inspired by his life, premiered at the San Sebastian, Havana and Berlin Film Festivals to critical acclaim before its premiere and general release in April 2019.

The culture and history of Carlos’s homeland have been important influences throughout his career and will continue to be so following his establishment of his own dance company – Acosta Danza – in 2016.

Carlos Acosta. © Johan Persson.

In January 2020 Carlos became Director of Birmingham Royal Ballet.

His athleticism, the sheer joy of dancing as well as his tremendous ability to convey emotion, inspired a generation of dancers across the globe. His very touching story and the obstacles he has overcome speak for themselves.

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DOMINIC ANTONUCCI ASSISTANT DIRECTOR Born in Athens, Ohio, and brought up in Akron, Dominic Antonucci, Assistant Director, attended the Nan Klinger School of Dance and the School of American Ballet. He performed with American Ballet Theatre from 1991 to 1994, joined Birmingham Royal Ballet in 1994 as a Soloist and was promoted to Principal in 2003. He was appointed to Ballet Master in 2009. Dominic danced all of the leading male repertoire and was particularly prominent in the ballets of Sir Peter Wright and Sir David Bintley.

Notable roles included Siegfried in

Swan Lake, Romeo in Romeo and Juliet, Brazilian Woolly Monkey in ‘Still Life’ at the Penguin Café and Beast in Beauty and the Beast. He has staged Sir David Bintley’s Take 5 on the National Ballet of Japan as well as teaching and rehearsing that company in Ashton’s Cinderella.

Away from the studio, Dominic is a regular contributor to The Dancing Times. He was appointed Assistant Director in 2021.

KOEN KESSELS MUSIC DIRECTOR including NYCB, La Monnaie, Brussels, Théâtre du Capitole de Toulouse, Dutch National Ballet, Vienna State Opera, Teatro dell’Opera di Roma, Teatro Real, Madrid, Opera Vlaanderen, New National Theatre, Tokyo, Kungliga Operan Stockholm and La Scala Milano.

Music Director of Birmingham Royal Ballet since 2010, he has also been Music Director of The Royal Ballet since September 2015. He made his Royal Ballet debut in 2008 conducting The Nutcracker, and has since conducted such repertory as Giselle, Symphony in C, Romeo and Juliet, The Sleeping Beauty, and the world premieres of Raven Girl, Woolf Works, Runner, Strapless, Untouchable, Frankenstein, Flight Pattern and Symphonic Dances.

He appears regularly with Paris Opéra and has conducted for companies

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His ballet repertory includes Le Parc, Coppélia, La Source, Sylvia, Proust, Cinderella, Hurlevent, Hommage à Jerôme Robbins, Giselle, Bolero, La Valse, Suite en Blanc, L’Arlésienne, The Nutcracker, Swan Lake, The Sleeping Beauty, The Firebird, Apollo, Les Noces, Prodigal Son, Jewels, Romeo and Juliet, Carmina burana, The Prince of the Pagodas, The Tempest (Sally Beamish), Don Quixote and Les Sylphides. DVD releases include Proust, Cinderella, Coppélia, Hommage à Jerôme Robbins and La Petite Danseuse with Paris Opéra Ballet, The Nutcracker, The Sleeping Beauty, Alice’s Adventures in Wonderland and Frankenstein with The Royal Ballet, and Cinderella with Birmingham Royal Ballet. Opera

repertory includes Saariaho’s L’Amour de loin (Antwerp Opera), Glass’s Satyagraha (Cherkaoui), Hosokawa’s Hanjo (Anne Teresa De Keerssmaeker), Lens and Cave’s Shell Shock (Cherkaoui; La Monnaie, Brussels), and operas by Mozart, Bizet, Verdi, Puccini, Britten and Maxwell Davies among others.

Kessels is an honorary professor of the University of Birmingham, Artistic Director of Inspiratum and on the artistic direction team at the Royal Conservatory of Antwerp. As Artistic Director of HERMESensemble he has collaborated with such composers as Abrahamsen, Bartholomée, Benjamin, Brewaeys, Ferrari, Henderickx, Hosokawa, Van Hove, Zev Gordon, Dusapin, Huber, Maresz, Murail, Pagh-Paan, Reich, Van Parys, Saariaho, Talbot, Turnage and Yared. Koen Kessels studied at the Antwerp Royal Flemish Conservatory of Music.

KIT HOLDER BRB2 ARTISTIC CO-ORDINATOR | FIRST SOLOIST

Born in Leamington Spa, Kit trained with with Audrey Roper in Sutton Coldfield and at The Royal Ballet School.

He joined Birmingham Royal Ballet in 2000, becoming a First Soloist in 2019. His repertory with the Company includes Don Quixote (Sancho Panzo, Gamache), Edward II (Warwick, Lancaster), La Fille mal gardée (Widow Simone, Alain), Giselle (Hilarion), The Nutcracker (many roles, including Drosselmeyer), 24, Carmina burana (Seminarian), The Dream (Bottom), Enigma Variations (Hew David Steuart Powell), In the Upper Room, Nine Sinatra

Songs, Radio and Juliet, ‘Still Life’ at the Penguin Café (Brazilian Woolly Monkey).

Kit is also a choreographer and his works include Small Worlds, Printer Jam, 9–5, Quatrain, Tsfasmaniana, Seasons in our World (Winter) for BRB and Stems for The Royal Ballet’s International Draft Works; ballets for Elmhurst Ballet School, Ballet Central and Ballet Black, and Wolves Are People Too, an independent project in association with Birmingham Royal Ballet.

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Yvette Knight as the Fairy Godmother in Sir David Bintley’s Cinderella © Johan Persson

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DANCERS For these inaugural performances, the five members of BRB2 will be joined my guest dancers from Birmingham Royal Ballet

JACK EASTON

FRIEDA KADEN

Born: Miami, Florida Trained: The Royal Ballet School Joined: 2022 Repertory: The Nutcracker (Russian Dance), Swan Lake (Spanish Dance, Prince’s Companion) and Don Quixote with Birmingham Royal Ballet as a student.

Awards: Lynn Seymour Award 2020, Gailene Stock Award 2021.

Dance heroine: Sylvie Guillem because she is the definition of effortless, yet she is so powerful. She also has a strong sense of self which inspires me to be that way.

Born: Berlin Trained: Staatliche Ballettschule Berlin, and The Royal Ballet School Joined: 2022 Awards: Nadia Nerina Scholarship (2019), First place in Lynn Seymour Award for Expressive Dance (2020) and Dance Association Award 2021.

Repertory: The Nutcracker (Mirliton), The Nutcracker with Berlin State Ballet; The Nutcracker and Giselle with The Royal Ballet and in various galas around the world, including in Moscow and Mexico.

MAÏLÈNE KATOCH

OSCAR KEMPSEY-FAGG

Born: Paris Trained: Paris Opéra Ballet School Joined: 2022 Other companies: Paris Opéra Ballet (2021/2022 season) Dream role: I would love to dance Odette/ Odile in Swan Lake because I find it interesting to be able to interpret an ethereal and delicate swan and then a mischievous swan.

Repertory: The Nutcracker (Mirliton), Swan Lake (Cygnet).

Born: Birmingham Trained: I began my training with Birmingham Royal Ballet’s Dance Track programme and then studied as a Royal Ballet Junior Associate, The Royal Ballet and at Elmhurst Ballet School.

Joined: 2022 Repertory: The Nutcracker (Spanish Dance), Swan Lake (Prince’s Companion), Don Quixote with Birmingham Royal Ballet as a student.

MASON KING Born: Ascot, England and grew up in New Zealand Trained: Chilton Ballet Academy, Scholar and Associate of The New Zealand School of Dance, and The Royal Ballet School.

Joined: 2022 Repertory: The Nutcracker (Rat King, Spanish Dance), Swan Lake (Prince’s Companion), Don Quixote with BRB as a student and Romeo and Juliet, Giselle and The Nutcracker with The Royal Ballet as a student.

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BRB2 DANCERS For full biographies visit brb.org.uk/dancers

ENRIQUE BEJARANO VIDAL

OLIVIA CHANG CLARKE

ARTIST

APPRENTICE

Born: Guadalajara, Mexico Trained: National Ballet School of Cuba, Academie Princesse Grace Joined: 2021 Awards: Gold Medal (Youth American Grand Prix finals in New York 2018); Gold Medal (international competition of Mexico 2011); award at Gala de Danza as Promising Artist, 2018.

Repertory: Don Quixote (Amour), The Nutcracker (Prince, Jackin-the Box, Magician’s Assistant, Russian and Chinese Dances), Romeo and Juliet (Benvolio, Mandolin Dance), Interlinked.

Born: London Trained: Elmhurst Ballet School Joined: 2022 My most enjoyable experience on stage: When I took part in the BBC Young Dancer Final. I was able to show my choreographic and dancing abilities on television. I will always cherish the experience.

Dream role: Odette/Odile in Swan Lake. I find it very inspiring when a dancer can change character so dramatically.

Repertory: The Nutcracker (Mirliton), Swan Lake (Cygnet).

RYAN FELIX ARTIST Born: Stourbridge Trained: Elmhurst Ballet School Joined: 2019; Artist 2021 Awards: Bronze Medal, Genée International Ballet Competition, 2017; Ballet Finalist, BBC Young Dancer, 2017.

Repertory: Cinderella (Prince’s Friends), Don Quixote (Fandango couple), The Nutcracker (Magician’s Assistant, Russian, Chinese and Spanish Dances), Romeo and Juliet (Mandolin Dance lead), Swan Lake (Czárdás, Mazurka).

Created roles: Roles in Will Tuckett’s Lazuli Sky and Daniela Cardim’s Imminent.

HAOLIANG FENG FIRST ARTIST Born: China Trained: Beijing Dance Academy and The Royal Ballet School Joined: 2017; First Artist, 2021 Awards: Silver, Youth American Grand Prix, 2014; Gold, Vienna International Ballet Competition, 2014; Bronze, Beijing International Ballet and Choreography Competition, 2019.

Repertory: Aladdin (Gold, Silver), Don Quixote (Espada), The Nutcracker (Prince), Romeo and Juliet (Benvolio), The Sleeping Beauty (Cavalier, pas de quatre), Swan Lake (Benno), Chacona, Lazuli Sky.

MOMOKO HIRATA PRINCIPAL Born: Gunma, Japan Trained: Reiko Yamamoto Ballet School and The Royal Ballet School Joined: 2003; Principal, 2013 Repertory: Cinderella (title role, Spring), Coppélia (Swanilda), Don Quixote (Kitri), La Fille mal gardée (Lise), The Nutcracker (Sugar Plum Fairy, Rose Fairy), Romeo and Juliet (Juliet), Serenade (leading role), The Sleeping Beauty (Princess Aurora), Swan Lake (Odette/ Odile), Sylvia (title role), Theme and Variations (lead couple), Apollo, Agon, Concerto (first movement), The Dream (Titania), Grosse Fuge, In the Upper Room, Mozartiana

REGAN HUTSELL ARTIST Born: Houston, Texas Trained: Feijoo Ballet School, Texas Joined: 2021 Other companies: The Radio City Rockettes, Bay Area Houston Ballet and Theatre, Festival Ballet Providence, Guest Artist with Houston Contemporary Dance Company.

Awards: Dance Open America – Gold Medalist in Classical and Contemporary (2021); American Ballet Competition – Gold Medallist in Classical and Contemporary (2019); YAGP finalist.

Favourite full-length ballet: Don Quixote. There is so much energy and passion from the plot, as well as the vivacious score.

RIKU ITO SOLOIST Born: Yokohama, Japan Trained: Yumi Kitamori Ballet Studio and the School of the Hamburg Ballet Joined: 2022 Other companies: Northern Ballet (2014 -22) Repertory: Coppélia (Call to Arms), The Nutcracker (Prince), Swan Lake (Benno).

Created roles with Northern Ballet: David Nixon’s Dracula (Old Dracula), Kenneth Tindal’s Geisha (Takeda male lead role) and I am Mer-Lin a short digital film/ballet by Charlotte Edmonds.

SOFIA LIÑARES ARTIST Born: A Coruña, Spain Trained: Conservatorio de Danza de A Coruña and The Royal Ballet School Joined: 2020 Repertory: Don Quixote (Mercedes), The Nutcracker (Clara, Rose Fairy, Spanish Dance), Romeo and Juliet (Juliet’s friends), City of a Thousand Trades, Interlinked, 24, Javier De Frutos’s film The Burning Building.

Favourite one-act ballet: Elite Syncopations is such a joyful and playful piece. I could watch it all day.

BRB DANCERS For full biographies visit brb.org.uk/dancers

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AVA MAY LLEWELLYN ARTIST Born: Bristol Trained: The Royal Ballet School Joined: 2023 Other companies: The Royal Ballet as a student and as an Aud Jebsen Young Dancer (2021 to 2023) and The Nutcracker with Birmingham Royal Ballet in 2019.

Career if not a dancer I also love singing and acting so I probably would have become a Musical Theatre performer.

Proudest off-stage achievement I was privileged to be Head Girl at the Royal Ballet School, White Lodge.

ERIC PINTO CATA ARTIST Born: London Trained: The Royal Ballet School Joined: 2021 Awards: Valerie Adams Award (2018), Lynn Seymour Award (2019); Gailene Stock Award (2020) – all Royal Ballet School.

Repertory: Don Quixote (Matador), The Nutcracker (Jack-inthe-box, Russian Dance), Romeo and Juliet (Mandolin Dance), City of a Thousand Trades, Interlinked, Lazuli Sky. Proudest on-stage moment: Performing Didy Veldman’s Is To Be at the 2020 Youth Winter Olympics Opening Ceremony in Lausanne.

RACHELE PIZZILLO FIRST ARTIST Born: Palermo, Italy Trained: The Royal Ballet School Joined: 2015; First Artist, 2021 Repertory: Don Quixote (Kitri’s friend), Giselle, The Nutcracker (Clara, Spanish Dance, Columbine), Romeo and Juliet (Juliet’s friends), The Sleeping Beauty (Fairy of Modesty), Swan Lake, Chacona, Concerto, Lazuli Sky, ‘Still Life’ at the Penguin Café.

Dream role: The lead in Romeo and Juliet. I particularly love the music, story and especially her character for the strong emotions you need to be able to express throughout the ballet.

LUCY WAINE ARTIST Born: Cheltenham Trained: The Royal Ballet School Awards: Gold and Silver Wyre Drawers Award, Royal Ballet School 2020 Joined: 2020 Ballet heroine: Darcey Bussell – she defined ballet within her career and was a key developer in the progression of athleticism paired with elegance which can be found in ballet dancers of today.

Repertory: Don Quixote (Queen of the Dryads), The Nutcracker (Snow Fairy), Romeo and Juliet (Rosaline), Swan Lake, City of a Thousand Trades.

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BALLET UNWRAPPED ‘Still Life’ at the Penguin Café An exciting Creative Dance and Cross-Curricular project for Key Stages 2, 3 & 4, based on Sir David Bintley’s poignant ballet featuring a colourful host

HOW TO APPLY

Please contact Jenny Murphy, Freelance Project Manager

of endangered animals.

Email Jennymurphy374@hotmail.com

Our Ballet Unwrapped initiative offers dance, live

brb.org.uk/BalletUnwrapped

Mobile 07968 596 350

music and cross-curricular projects, and includes a CPD package to give you, the teacher, the skills to deliver all the content.

An artist and pianist will visit your school to deliver

Ballet Unwrapped

The Nutcracker

creative workshops and a box, containing a range of

Also available to book now!

resources including a DVD, costumes, dance workshop

Step into one of the most magical Christmas stories

resources sheets and much more, will be delivered for

with Birmingham Royal Ballet.

you to unwrap!

brb.org.uk/BalletUnwrapped 29

CHOREOGRAPHERS FREDERICK ASHTON

AUGUST BOURNONVILLE

Ashton was born in Ecuador in 1904 and brought up in Peru.

It was there he first saw Anna Pavlova perform and decided on a career in dance. Having come to England, he studied with Léonide Massine and then with Marie Rambert who convinced him of his potential as a choreographer. He was appointed Chief Choreographer of the Vic-Wells Ballet in 1935, a position he was to hold, in various guises, for 35 years. He was made Associate Director of The Royal Ballet in 1952 and Director ten years later. Throughout this time, he created ballets that range from Façade (1931) through La Fille mal gardée (1960) and The Two Pigeons (1961), The Dream, Monotones and Enigma Variations, which were all premiered in the late 1960s. He retired in 1970 but continued to choreograph for another ten years, creating his last work, Rhapsody, in 1980. He died in Sussex in 1988, aged 84.

Born in 1805 in Copenhagen, Bournonville founded the Danish ballet tradition. Trained in the French technique, he went on to lead the ballet at Copenhagen’s Royal Theatre, where he succeeded his father as Director, and where he created a Danish style and repertory with a cachet which has stood the test of time and become an integral part of Denmark’s literary and musical heritage. He became the embodiment of the Danish ‘Golden Age’, counting poets and artists such as Hans Christian Andersen and Bertel Thorvaldsen among his contemporaries and personal friends. He built up a repertory of more than 50 ballets, of which 12 ballets and minor divertissements have survived to this day.

MICHEL FOKINE

JORGE GARCIA

Born in St Petersburg in 1880, he trained at the Imperial Ballet Academy and joined the Mariinsky Theatre. His first choreographic work was Acis and Galatea for a pupils’ performance. Fokine was engaged by Diaghilev for his 1909 Paris season and created Le Pavillon d’Armide, Polovtsian Dances, Les Sylphides and Cléopâtre. He worked for some time for both the Imperial Theatre and for Diaghilev; he did not return to Russia after 1918. For Diaghilev his works include Le Carnaval, Sheherazade, Firebird, Le Spectre de la rose, Narcisse, Petrushka, Papillons and The Golden Cockerel.

When he left Diaghilev’s company he worked as a freelance choreographer, creating new works and reviving his successes.

He died in 1942.

Born in Cuba he began his professional dance career at the Ballet Nacional de Cuba under the direction of Fernando and Alicia Alonso. Simultaneously, he was trained as a dance teacher by professional masters from the Bolshoi and Kirov Ballets; he also studied acting and staging. In 1964, he created his first ballets for the Ballet Nacional de Cuba. Based in Europe since 1966, he subsequently worked with Marseille Opéra Ballet, was the Principal Dancer at the Lyon Opera Ballet, then Principal Dancer, Ballet Master and Choreographer at the Ballet of Wallonie, Ballet Master and Choreographer at the Balletto del Teatro La Fenice, the Nouveau Ballet de Marseillle Opéra and Ballet Gulbenkian. He died in 2022.

GUSTAVO MOLLAJOLI

BEN STEVENSON

Born in Argentina, Mollajoli trained in Buenos Aires and Paris before being invited by Antony Tudor to be part of the Colon Theater Ballet Company of Buenos Aires, where he remained until his retirement as a dancer in 1980. As an international Étoile he danced across the Americas and Europe with companies including, Ballet do Rio de Janeiro, Lyon Opéra Ballet and Dallas Ballet, where he partnered Dame Margot Fonteyn and later succeeded George Skibine as Artistic Director. He has led both the Colon Theater Ballet Company and the Municipal Ballet Company in Rio de Janeiro as Artistic Director, where he created many new ballets including: Suite Porteña and A Buenos Aires, as well as restaging many classical works including Giselle, Coppélia and Swan Lake. He is currently Artistic Director of the Argentine Theater Ballet Company in Buenos Aires.

Ben Stevenson, was born in Portsmouth and trained at the Arts and Educational School in London. He appeared with The Royal Ballet and English National Ballet where, as a principal dancer, he performed lead roles in all the classics. Awards for his choreography, include three gold medals at the International Ballet Competitions. For his contributions to international dance, Stevenson was named an Officer of the Order of the British Empire (O.B.E.) by Queen Elizabeth II in 1999. In April 2000, he was presented with the Dance Magazine Award. In 2018, he was acknowledged by the Chinese government as one of the most influential Foreign Experts in the past 40 years since China initiated its policy on Reform and Opening Up. Stevenson assumed the artistic directorship of Texas Ballet Theater in 2003.

In 2022 he was named Artistic Director Laureate in recognition of his lengthy tenure. Previously he was artistic director of Houston Ballet (1976-2003), elevating the company from a regional troupe to an internationally acclaimed ensemble.

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WILL TUCKETT

AGRIPPINA VAGANOVA

As well as choreographing and performing for The Royal Ballet for over 25 years, Tuckett is an award-winning, internationally renowned director and choreographer, working in Europe, the USA, Canada, Japan and China. He has directed and choreographed in theatre, opera, musical theatre and film, including work for The Royal Ballet, Birmingham Royal Ballet, English National Ballet, National Ballet of Canada, National Ballet of China, Texas Ballet Theatre, Sarasota Ballet, The Royal Opera, Opera North, Welsh National Opera, Garsington Opera, Grange Park Opera, Bregenz Festspiele, Sadler’s Wells, Barbican, Royal Shakespeare Company, Shakespeare’s Globe, Almeida Theatre, PARCO Tokyo, New National Theatre Tokyo, Sage Gateshead, Whitechapel Gallery, Tate Modern, The National Gallery, the BBC, Channel 4 and Sky Arts.

Born in St. Petersburg in 1879, Vaganova was trained at the Imperial School and entered the company in 1897. Her many roles included Odette/Odile (Swan Lake), the Mazurka (Chopiniana), Tsar-Maiden (The Little Humpbacked Horse); she created the role of the Chinese Doll in Fairy Doll (1903). She was director of the Mariinsky Ballet from 1931 to 1937, and later of the school which was renamed the Vaganova Academy in her honour. The method she developed is today the basis of both the Mariinsky school and company and many ballet companies around the world. Her most important choreography, which demonstrated the strength of her teaching style, was Swan Lake (1933) and La Esmeralda (1935), particularly the virtuoso pas de deux in Act II, Diana and Actaeon.

BEN VAN CAUWENBERGH

PETER WRIGHT

Ben is Ballet Director at Aalto Theatre, Essen. He is the son of dancer Anna Brabants and trained at the Royal Ballet School, Antwerp. From 1976 to 1977, he was a dancer with the Royal Ballet of Flanders. Thereafter, with the London Festival Ballet (now English National Ballet) until 1984, where he collaborated with Rudolf Nureyev in many productions. From 1984 until 1987, he returned as a Soloist with the Royal Ballet of Flanders, and between 1987 and 1992, he danced as a Soloist in the theatres in Bern and Lucerne. Between 1992 and 2007, he led the ballet ensemble of the Hessische Staatstheater Wiesbaden as ballet director. Since 2008, he has been working at the Aalto Theatre and has held the role of Ballet Intendant. Van Cauwenbergh received the gold medal at the Prix de Lausanne in Lausanne. In 1984, he was declared ‘Dancer of the Year’ by Dance and Dancers Magazine.

Peter Wright made his dancing debut with the Ballets Jooss during World War II and worked with companies including Sadler’s Wells Theatre Ballet, for which he created his first ballet, A Blue Rose, in 1957. In 1959 he was appointed Ballet Master to the Sadler’s Wells Opera and teacher at The Royal Ballet School. In 1961 he went to Stuttgart as a teacher and ballet master to the company being formed by John Cranko.

There he mounted his first production of Giselle, which he has subsequently produced for BRB and many international companies. His other interpretations of the classics include The Nutcracker, The Sleeping Beauty, Coppélia and Swan Lake.

In 1977 he was appointed Director of Sadler’s Wells Royal Ballet, taking the Company to Birmingham in 1990 when it became Birmingham Royal Ballet. On his retirement in 1995 he was made Director Laureate of the Company and in 2022 he was made Founding Director Laureate.

TECHNICAL CREDITS

INTERLUDE MUSIC

Lighting Johnny Westall-Eyre Sound Canalside Audio Costume Supervisor Elaine Garlick Costume makers Sasha Keir, Phil Reynolds, Debbie Boyd, Birmingham Royal Ballet Costume department Hair and Make-up support Lizzie McQuire Recorded Music Licensing Services Musicalities Ltd

Jules Massenet: Suite No. 4, Scenes pittoresques: II. Air de ballet Performed by New Zealand Symphony Orchestra & Jean-Yves Ossonce (conductor). Licensed courtesy of Naxos Music UK. Jules Massenet: Suite No. 4, Scenes pittoresques: III. Angelus’ Performed by New Zealand Symphony Orchestra & Jean-Yves Ossonce (conductor). Licensed courtesy of Naxos Music UK.

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PAUL MURPHY PRINCIPAL CONDUCTOR Paul Murphy studied conducting at the Royal Academy of Music.

He joined the Company in 1992 and was appointed Principal Conductor in 1997. He has been a guest conductor with The Royal Ballet since 1994 and conductor of The Royal Ballet School Annual Performance since 2005. He has also conducted for New York City Ballet, Dutch National Ballet, Royal Ballet of Flanders, Australian Ballet, BalletBoyz, NDT 1, Acosta Danza, Finnish National Ballet and Tokyo Ballet at La Scala, Milan. He has been a regular guest conductor with the National Ballet of Japan since 2008 and made his debut with the Sarasota Ballet in March 2022 conducting the world premiere of David Bintley’s A Comedy of Errors. Away from the theatre, he has guest conducted the New Queen’s Hall Orchestra, Ulster Orchestra, Hallé, BBC Concert Orchestra, BBC National Orchestra of Wales, Royal Liverpool Philharmonic Orchestra, Orchestra of Opera North, Manchester Camerata, Royal Philharmonic Orchestra and the City of Birmingham Symphony Orchestra. He has made numerous recordings for BBC television and radio, and discs for labels such as Naxos, ASV and Opus Arte.

JEANETTE WONG HEAD OF PIANO Born in Kuala Lumpur, Malaysia, Jeanette obtained her First-Class Honours and Master’s Degree with Distinction under Malcolm Wilson at Royal Birmingham Conservatoire. She was awarded the RBC Honorary Membership in 2009 (HonRBC) for her outstanding contribution to her profession. She then studied at the Franz Liszt Academy of Music, Budapest, under András Kemenes, after winning the Joseph Weingarten Scholarship. She was a full-time pianist at the Elmhurst Ballet School for six years before joining Birmingham Royal Ballet. In 2014, she was the dance pianist for Eugene Onegin at Glyndebourne Festival Opera. She also sings with the award-winning CBSO Chorus.

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ROBERT GIBBS LEADER Robert Gibbs studied at the Yehudi Menuhin School and the Royal College of Music, where he won the Tagore Gold Medal.

He joined Birmingham Royal Ballet in 1994 as co-leader, taking over as leader in 1998 from Yuri Torchinsky. He is also leader of the London Festival Orchestra and has often guest-led for the Orchestra of the Royal Opera House, New Queen’s Hall Orchestra and several orchestras in Japan. He has also led Nederlands Ballet Orchestra and the BBC Philharmonic. He has played as Soloist throughout the UK, Europe, Latin America and the Far East, with recent concerto performances in Russia and China. On many occasions he has been Soloist for Birmingham Royal Ballet and visiting companies with the Royal Ballet Sinfonia. His recordings include the violin and piano works of Bax, Goossens and W.H. Reed, and chamber music by Korngold, Rawsthorne, Mozart and Brahms

ANTÓNIO NOVAIS PRINCIPAL CELLO António joined the Royal Ballet Sinfonia in 2017 as Sub-Principal Cellist. He is based in Berlin and enjoys a career in chamber and orchestral music. He guests with many orchestras, including Orchestra of the Opera North, Ulster Orchestra, Berliner Symphoniker, Remix Ensemble Casa da Música and Orquestra XXI. An avid chamber musician, António joined the prize-winning Artesian Quartet in 2012. The Artesian Quartet (which became Park Lane Group Artists in 2014) were awarded a Mentorship Scheme by Chamber Studio in Kings Place, a Fellowship at the Royal Academy of Music and Making Music Select Artists 2019-20. António studied at the Royal Academy of Music with Professor David Strange and was awarded the Leverhulme Mentorship for achievement in orchestral playing. His studies were kindly supported by scholarships from GDA and Fundação Calouste Gulbenkian in Portugal. Portuguese born, António started playing the cello in 2001. Before moving to London, he studied with Vanessa Pires, Filipe Quaresma and Rogério Peixinho. António plays a cello by Edgar Russ, Cremona, 2016.

GET CLOSER:

BECOME A SUPPORTER Becoming part of our Dancers’ Circle or BRB Friends is a hugely rewarding and engaging way to support the work of Birmingham Royal Ballet. Your support will help us deliver our extraordinary work, on stage and in communities, and will help ensure the future success of the Company.

As a thank you we offer our supporters a programme of benefits that include:

Céline Gittens in rehearsal. © @dancers_eye

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Priority booking or a concierge-style ticket booking service*

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Exclusive online events

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Invitations to rehearsals, insight events and pre-show receptions*

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Our annual supporters’ magazine

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Regular e-newsletters

* Dependent on level of support

For more information and to become a Supporter visit brb.org.uk/Support

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BIRMINGHAM ROYAL BALLET Director Carlos Acosta cbe Assistant Director Dominic Antonucci Chief Executive Officer Caroline Miller obe Music Director and Conductor Koen Kessels Board of Directors Sir David Normington gcb Chair Barry Allen Marverine Cole Anthony Coombs Michael Elliott Jane Hackett Shireenah Ingram Jeanetta Laurence obe Sandra Madgwick Christine Ondimu Hemma Patel Deborah Spence Ian Squires Anna Williams fca, dcha Company Secretary Olga David Board & Governance Assistant Governors: Royal Ballet Companies and School Dame Sue Owen Chair Leanne Benjamin am obe Vice-Chair Sir Matthew Bourne obe Anne Bulford cbe Hilary S. Carty obe Lady Deighton Sir Lloyd Dorfman cvo cbe Sir Nicholas Hytner Jeanetta Laurence obe Isabel McMeekan Sir David Normington gcb Derek Purnell Sir Luke Ritter cbe Christopher Rodrigues cbe Lindsay Tomlinson obe Jacqueline Mistry Honorary Secretary

BALLET STAFF Senior Répétiteur Michael O’Hare Répétiteur Carmen Piqueras Guest Répétiteur Marion Tait Benesh Choreologist / Video Archivist Patricia Tierney Assistant Répétiteurs Rory Mackay Rehabilitation Coach Jonathan Payn Artistic Enrichment Officer

DANCERS Principals Tzu-Chao Chou Mathias Dingman Samara Downs Céline Gittens Momoko Hirata Brandon Lawrence Miki Mizutani César Morales Yaoqian Shang Tyrone Singleton Principal Character Artists Rory Mackay Jonathan Payn First Soloists Kit Holder BRB2 Artistic Co-ordinator

Artists Gabriel Anderson Louis Andreasen Enrique Bejarano Vidal Rosanna Ely Ryan Felix Callum Findlay-White Tori Forsyth-Hecken August Generalli Miles Gilliver Tessa Hogge Isabella Howard Regan Hutsell Sofia Liñares Ava May Llewellyn Hannah Martin Eric Pinto Cata Emma Price Matilde Rodrigues Javier Rojas Hamish Scott Eilis Small Lennert Steegen Yuki Sugiura Lynsey Sutherland Amelia Thompson Lucy Waine Shuailun Wu Artists | BRB2 Jack Easton Frieda Kaden Maïlène Katoch Oscar Kempsey-Fagg Mason King

Yvette Knight Yu Kurihara Max Maslen Lachlan Monaghan Beatrice Parma

Apprentice Olivia Chang Clarke

Soloists Karla Doorbar Riku Ito

Principal Conductor Paul Murphy

First Artists Haoliang Feng Reina Fuchigami Gus Payne Rachele Pizzillo Daria Stanciulescu

Constant Lambert Conducting Fellowship Charlotte Politi

ROYAL BALLET SINFONIA

Conductor Philip Ellis

First Violins Robert Gibbs Leader Vanessa David Amanda Brown Deborah Schlenther Philip Aird Caroline Ferriman

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Second Violins Rebecca Jones Mary Martin Fiona Robertson Robert Simmons Violas Errika Collins Cellos António Novais Jane Rainey Double Basses Vera Pereira Alan Taylor Flutes Sandra Skipper, Piccolo Oboes Maxwell Spiers Cor anglais Clarinets Ian Scott Harry Penny Bass Clarinet Bassoons Luke Tucker Horns Andrew Littlemore Neil Mitchell Chris Pointon Trumpets Michael Allen Christopher Deacon Trombones Amos Miller Andrew White Tubas David Gordon Shute Timpani Grahame King Percussion Kevin Earley Paul Parker Head of Piano Jeanette Wong Company Pianist Ross Williams For vacancies in the Royal Ballet Sinfonia visit brb.org.uk/sinfonia

DEVELOPMENT

COMPANY OFFICE

Director of Development Matt Freeman

Company Manager Tristan Rusdale

Business Affairs Consultant Irving David (Level Law)

Senior Trusts & Foundations Manager Rhianna Swancott

Interim Assistant Company Manager Lynsey Sutherland

SALES, MARKETING & AUDIENCES

Senior Individual Giving Manager Georgia Davenport

JERWOOD CENTRE

Chief Operating Officer Anna Williams fca, dcha Chief Commercial Officer Paul James

Head of Marketing Kate Howells Senior Marketing Executive Melissa Evans Marketing Executive – Audiences Joe Palfrey Senior Design Executive Lee Armstrong Design Executives Vicki Costin Matt Davis Executive Projects Jim Fletcher Creative Digital Producer Tom Rogers Digital Content Executive Imogen Harvey Digital Marketing Apprentice Henry McNab Public Relations National: Bread and Butter PR; Birmingham: M Seven Public Relations

LEARNING, ENGAGEMENT, ACCESS & PARTICIPATION Director of LEAP Pearl Chesterman Head of Creative Learning Lee Fisher Learning & Participation Manager Rebecca Brookes Engagement Manager Kasia Carmo Maternity leave Participation Coordinator Katherine Field Engagement Coordinator Hannah MacGregor LEAP Apprentice Katie Eldridge

Company Events Manager Hope McGoldrick Corporate Partnerships Manager Emma Thompson Individual Giving Officer Helen Barrett Development Executive Daniella Rodriguez

FINANCE AND PROJECTS Executive Producer Abigail Reeve Interim Finance Director Judith Patrickson Finance Officers Deseree Greenaway-Williams Ruth Whelan Finance Assistant Charlotte Rowley

HUMAN RESOURCES Human Resources Director Claire Owen Senior Human Resources Administrator Sam Howe

Clinical Director Nick Allen phd msc mcsp srp Head Physiotherapist Khushnum Pastakia mcsp srp Rehabilitation and Conditioning Lead Esther Collacott mcsp srp Company Physiotherapist Laura Gent mcsp srp Medical Advisors Bellevue Medical Centre

ORCHESTRA Orchestra Director John Beadle Orchestra Manager Andrew Bentley Music Assistant Amira Davina Campbell

TECHNICAL

Head of Costume / Costume Supervisor Elaine Garlick Costume Production Coordinator Vanda Hewston Touring Costume Manager Shermaine Gocoul Production Costume Cutter & Maker Anna Willetts Production Costume Technicians Leah Norton Joanna Shilton Costume Technicians Lucy Cook Gabrielle Raven Rebecca Robinson Footwear Supervisor Michael Clifford Head of Wigs / Wigs Supervisor Lauren FitzGerald Deputy Head of Wigs Fay Johnson Wigs Assistant Lizzie McQuire

Technical Director Paul Grace Stage Manager Eliska Robenn Deputy Stage Manager Rachel Snead

Human Resources Administrator Lucy Tranter

Technical Manager – Production Ben Leveson

Payroll Manager Amanda Pitt

Head of Stage Paul Moore

Receptionist & Administrator Karen Fisher

Deputy Head of Stage Tom Reilly

Health, Safety and Environmental Manager Kate Darby

Stage Technicians Thomas Ainsley Steve Hegan

Facilities Manager Glenn Rudge

Head of Production Hire & Sales Doug Nicholson

Caretaker Philip Pearsall

Lighting Technician Marcus Trombley

Technical Manager – Lighting/A/V Johnny Westall-Eyre Head of Lighting Andy Wilson Senior Lighting Technicians Alastair Phillips Andrew Rumble Scott Smith

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THANK YOU Principal Supporters Aud Jebsen Lord Glendonbrook and Mr Martin Ritchie Alan and Caroline Howard David and Mary Laing Oak Foundation Special Interest Programme The Royal Opera House Benevolent Fund

Major Supporters Jayne Cadbury and Nigel Goodman Calouste Gulbenkian Foundation Charles Glanville and James Hogan The Kirby Laing Foundation The Michael Bishop Foundation Mr and Mrs Natsis Sir Michael and Joan Perry

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Dancers’ Circle – Principal Julia and Anthony Glossop Richard and Sue Johnston Tony Newcombe

Dancers’ Circle – Soloist Jill and Andrew Chapman CMP Wealth Management Richard and Jennie Cunis Peggy Czyzak-Dannenbaum Roy and Maureen Kirby Chantelle Mackay Marian Mulady Gillian Shaw Su and Richard Simkin Michael and Sandra Squires John Weston

Dancers’ Circle – Artist Jenny Batelen and Rob Brett Roger and Felicity Burman Amanda Carter Dr Jim Clews Guy and Judy Crofts Irving and Olga David Robyn Durie Susan and Frederick Furniss Tessa Gillespie Prof Caroline Gordon P.S. and C.A. Gravestock Wendy and Gordon Hardy Jill and Malcolm Harris Tom Hotchkiss Dr Sandra Kendall Tessa and Charles King-Farlow Shirley Leaver Hilary Macaulay Shaaron and Andrew Morgan Katie Newbon Linda Nicholls Sir David and Lady Win Normington Rosie Parker RAD RTS Keith Perry Amanda and Emily Pillinger

Chris Relph Ross Roberts Carole Sallnow Barbara Scott Miles Scott and Lucille Roughley Margaret Shand Carla and Dilys Skinner Mark and Amanda Smith Nick Makin and Brenda Sumner Beverley Thurbin Ron and Jackie Treverton-Jones

Gold Friends Jane Arthur Rachel Cavet Dr Anthony Cook and Miss Susan Elias Ian Fisher Mrs Eileen Goodwin Carolyn Harford Penny Kirkwood Ian Kirkwood Richard Lewis Anne Maguire Helen Miles Lyn Proctor Glen Sanderson David Spencer and our many individual supporters who prefer to remain anonymous.

Trusts and Foundations

The Alan Woodfield Charitable Trust The Albert And Elizabeth Clark Charitable Trust The Alison Hillman Charitable Trust Amar-Franses and Foster-Jenkins Trust The Arts Society Birmingham The Aspinwall Educational Trust Austin and Hope Pilkington Trust Baron Davenport’s Charity Bayfield Charitable Trust The Bernard Piggott Charitable Trust BHSF Medical Charity and Welfare Trust Birmingham Common Good Trust The Boshier-Hinton Foundation The Brian Shaw Memorial Trust The Calleva Foundation The Cecil King Memorial Foundation The Charles Brotherton Trust The Charlotte Bonham-Carter Charitable Trust The Chatwin Trust City of Birmingham Orchestral Endowment Fund CL and JS Cadbury Trust Clare King Charitable Trust The Clore Duffield Foundation The John S Cohen Foundation The David and Helen Lowe Charitable Trust David Solomons Charitable Trust The D’Oyly Carte Charitable Trust Dumbreck Charity The DWF Charitable Foundation The Edgar E. Lawley Foundation The Edward and Dorothy Cadbury Trust The Edward Cadbury Charitable Trust Ensix Charitable Trust Eric W Vincent Trust Fund

Eveson Charitable Trust The Garrick Charitable Trust The Geoff Hill Charitable Trust George Fentham Birmingham Charity The George Henry Collins Charity GJW Turner Trust The Grantham Yorke Trust The Grey Court Trust The Grimmitt Trust The H Steven & P E Wood Charitable Trust The Hawthorne Charitable Trust The Helen Rachael Mackaness Charitable Trust Henry James Sayer Charity Howard Victor Skan Charitable Trust IMI Critical Engineering Charitable Appeals Committee The James Frederick & Ethel Anne Measures Charity The John Avins Trust John Feeney Charitable Trust The John Sumner Trust The John Thaw Foundation The Keith Coombs Trust Langdale Trust London Ballet Circle The Loppylugs and Barbara Morrison Charitable Trust The Lord Austin Trust M K Rose Charitable Trust The Marchus Trust The Marsh Charitable Trust The Michael Marsh Charitable Trust The Misses C M Pearson & M V Williams Charitable Trust The Noel Coward Foundation The Norton Foundation The Oakley Charitable Trust The Owen Family Trust The Patricia Routledge Foundation The Peter and Teresa Harris Charitable Trust Provincial Grand Lodge of Warwickshire Quayle Charitable Trust Richard Cadbury Charitable Trust Richard Kilcuppe’s Charity The Roger and Douglas Turner Charitable Trust The Roughley Charitable Trust RPS Drummond Fund

The RTR Foundation/Baily Thomas Charitable Fund The S and D Lloyd Charity Sabina Sutherland Charitable Trust The Saintbury Trust Scops Arts Trust Souter Charitable Trust St Jude’s Trust St Thomas’ Dole Charity Stanley Picker Trust The Sterry Family Foundation The Sylvia Adams Charitable Trust The Thistle Trust Thriplow Charitable Trust The Uncle Bill Trust The Vandervell Foundation W E Dunn Charitable Trust William A Cadbury Charitable Trust The Wilmcote Charitrust and those trusts and foundations that prefer to remain anonymous.

Corporate Supporters

Corporate Members

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As the largest set of Barristers’ Chambers in the UK with over 260 members including 39 Silks, we have the quality and depth of expertise to meet your legal needs.

Throughout our 100 year history, No5 Barristers’ Chambers has developed a reputation for breaking new ground and continues to be regarded as a progressive and forward thinking set.

With offices in Birmingham, London and Bristol we are ideally placed to provide expertise at all levels throughout the UK and overseas.

Heads of Chambers: Adrian Keeling KC & Jonathan Jones KC

Chief Executive & Director of Clerking:

0845 210 5555

info @No5.com

No5.com

Tony McDaid

Proud to support Birmingham Royal Ballet 0121 314 7966 www.charles-stanley.co.uk 38

WELCOME BACK

Birmingham’s original Grand Hotel, restored to glory and reborn with 10 exceptional meeting and event spaces, including the spectacular Grand Ballroom.

To find out more visit thegrandhotelbirmingham.co.uk THE GRAND HOTEL BIRMINGHAM

in partnership with

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Aldeburgh Festival 09 - 25 June 2023

A celebration of music and place: music familiar and new, five exhibitions, five films, two operas, a centenary celebration of the composer Ligeti, concert theatre and more.

All set in the magical Suffolk landscape.

brittenpearsarts.org