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You can now find brand new dancer interviews over on our NE2010 and SW2010 microsites.
Victoria Marr and Aonghus Campbell discuss the shows in the North over at www.brb.org.uk/ne2010.
Céline Gittens and Alexander Campbell talk about the repertory being danced in the South over at www.brb.org.uk/sw2010.
Birmingham Royal Ballet performs Allegri diversi as part of its current tour of the North East of England, alongside Grosse Fuge and The Centre and its Opposite.
You can find out more about the performances by visiting www.brb.org.uk/ne2010
Here you can see a video of Company Principals Nao Sakuma and Chi Cao in rehearsals for the piece, in our own studios in Birmingham.
On-sale dates have been confirmed for every date on our 2010 tour of the North and South of England! Here’s the full list complete with repertory:
Allegri diversi | Grosse Fuge | The Centre and its Opposite
The Lyceum Theatre, Sheffield
Performances 25-26 May
Tickets go on sale 13 March
York Theatre Royal
Performances 28-29 May
Tickets go on sale 22 Feb
The Gala, Durham
Performances 1-2 June
Tickets go on sale 15 Feb
Performances 4-5 June
Tickets go on sale 29 March
Bouillards | The Dance House | Slaughter on Tenth Avenue
The Everyman Theatre, Cheltenham
Performances 25-26 May
Tickets go on sale 5 March
The Lighthouse, Poole
Performances 28-29 May
Tickets go on sale 1 March
The Hallf or Cornwall, Truro
Performances 4-5 June
Tickets go on sale 17 February
Birmingham Royal Ballet performs a programme of three works in the North/East of England this summer. You can read introductory notes on the three ballets here:
Birmingham Royal Ballet this year celebrates its 20th anniversary, having moved to the Midlands from London in 1990. Before then, the Company was known as Sadler’s Wells Royal Ballet. When SWRB came to celebrate their own 40th anniversary in 1987, among the highlights was Allegri diversi, a new piece by David Bintley, who would go on to become Director of Birmingham Royal Ballet some years later.
In programme notes from the very first of these regional tours in 2002, John Percival noted of the score to the non-narrative piece that ‘The two Rossini pieces which Bintley used were never meant by their composer for dancing, but their rich melodies, pace and orchestral colour make them enchantingly suitable.’ Percival also noted that: ‘Today’s cast do not have the advantage of the original ensemble, who had the roles made specifically for their talents, but they are going into a joyous work, full of happy invention, and it will be surprising if they do not respond accordingly.’
The second ballet being performed on the North East tour does indeed see the original cast performing the roles, having been created on Birmingham Royal Ballet in 2008. Entitled The Centre and its Opposite, and choreographed by Australian Dance Theatre’s Artistic Director Garry Stewart, it is perhaps the most challenging.
Taking energy from its score, the piece attempts to invert the focal point of the performance space: rather than the artists taking turns to come forward and dance for the audience, they are simultaneously pitted against one another, vying for attention from different parts of the stage.
David Bintley recently described Stewart’s piece as being ‘probably the most extreme piece that we have ever done’. However he also points out that it was influenced by the Birmingham Royal Ballet dancers on whom it was created, and so like the other pieces in the programme it still has its roots in classical ballet. The score however is very much of a contemporary nature, its thrilling industrial edge having wowed audiences on last year’s tour of the South West and as part of the Company’s autumn programme Quantum Leaps.
You can see a video interview with choreographer Garry Stewart, recorded when he was first creating the piece in 2009, here:
Grosse Fuge, meanwhile, has not been performed by Birmingham Royal Ballet for over a decade. Choreographed by Hans van Manen, who also created Twilight, the battle-of-the-sexes highlight from 2008′s tour of the North East, the piece presents a more delicate and sensual interplay between four couples.
Van Manen also created starkly effective costume designs for the piece, which see the men stripped to the waist with belted black trouser skirts that swirl and swish to highlight the aggression of their steps, while the women’s vulnerability is brought out in simple flesh-coloured leotards set off by hair pinned elaborately in a tiara motif.
Over the three pieces in this bill, Birmingham Royal Ballet offers a taste of what makes the Company so strong at the moment, as well as a unique chance to see ballet that you will not see anywhere else. As Director David Bintley recently commented: ‘What have we won awards for? Not the full-length story ballets that everybody does, but the shorter, more adventurous works, that’s where the critical acclaim comes.’
Make sure you don’t miss this opportunity to share in what all the fuss is about.
At the time of publication, tickets are not yet on sale. However as soon as booking opens, full details will appear here.
Birmingham Royal Ballet will once again be splitting in two for simultaneous tours at opposite ends of the country. Tickets are not yet on sale, however full repertory details and names of some venues have already been released along with performance dates.
The tours are designed to showcase Birmingham Royal Ballet’s work in the wider regions surrounding some of the Company’s ‘core’ touring venues in the North East and South West of England.
Now in its seventh year, the endeavour features works highlighting the diverse stregth of the Company’s repertoire. Both the North East and South West legs includes a highlight from the Company’s 2009 season, a preview of what’s to come later in 2010, and ballets from the very first of these regional tour back in 2004.
Details confirmed to date are as follows (further venues TBA):
The Centre and its Opposite
The Dance House
Slaughter on 10th Avenue
Cheif Executive Christopher Barron recently said: ‘Initially an experiment, these tours have swiftly become a key part of our UK touring activity, allowing us to engage with audiences just beyond the reach of some of our most valued core touring venues. In instances where people feel they live just too far away to come and see us in Plymouth or Sunderland, we are proud that year after year we are able to bring the work of Birmingham Royal Ballet closer to home.
‘It is of great credit to the Company that we are able to stage these ballets – the same ballets that form parts of our home seasons at Birmingham Hippodrome – in such a large number of different theatres and in such a short space of time.
‘The fruits of these labours have always been met with a great reception from all audiences on these tours, and Birmingham Royal Ballet looks forward to playing to even more people in 2010.’