#Hershy Kay

[doyouknowthismusical]

Note that there are a lot of Peter Pan musicals, this is the 1950 one by Leonard Bernstein with Jean Arthur originating the role of Peter

[balletthebestphotographs]

Ashley Bouder

Ashley Bouder (New York City Ballet), “Tarantella”, choreo by George Balanchine, music by Louis Moreau Gottschalk, reconstructed and orchestrated by Hershy Kay (Grand Tarantelle for Piano and Orchestra, Op. 67), costume by Barbara Karinska (Varvara Jmoudsky), 2011 Dance Open Ballet Festival, Oktyabrskiy Concert Hall Большой концертный зал Октя́брьский, Saint Petersburg, Russia (April 22, 2011).

Source and more info at Photographer Stas Levshin on Facebook Photographer Stas Levshin on Instagram

Note I: This blog is open to receiving and considering any suggestions, contributions, and/or criticisms that may help correct mistakes or improve its content. Comments are available to any visitor.

Note II: Original quality of photographs might be affected by compression algorithm of the website where they are hosted.

[projazznet]

Stan Getz – Focus

Focus is a jazz album recorded in 1961, featuring Stan Getz on tenor saxophone with a string orchestra. The album is a suite which was originally commissioned by Getz from composer and arranger Eddie Sauter. Widely regarded as a high point in both men’s careers, Getz later described Focus as his favorite among his own records. Stan Getz – tenor saxophone Steve Kuhn – piano John Neves – bass Roy Haynes – drums Alan Martin, Norman Carr, Gerald Tarack – violin Jacob Glick – viola Bruce Rogers – cello Eddie Sauter – arranger Hershy Kay – conductor

[gremlins-hotel]

thank you @fumblingmusings for the tag!

alrighty y'all i'm pulling these from my...uhhhhhh 5,000+ songs across several platforms...

Magic - Yung Gravy

Love Hurts - Nazareth

Devil Eyes - Slowed - ZODIVK

December, 1963 (Oh What A Night) - Frankie Velli & The Four Seasons

Broke Boy - Malia Civetz

Different - Glenn Gatsby Remix - Marina & The Kays, Glenn Gatsby

House of the Rising Sun - The Dead South

Help Me - Canned Heat

Sublimation - Neo Fresco

The No Pants Dance - TWRP, Ninja Sex Party

@ironicorange @artistically-hershie @irlusa @spinyfruit @sunnysssol @temtamoo @abbittheturtle @advisorsage if you so choose!

tagged by @i-really-like-dragons and @lunartexan thank you :D (seperate post so I can combine both tag games haha)

first one is post the first ten songs in a randomized list of your liked songs and tag ten people: I don't have spoitify so I just clicked play at random on my phone's music app and wrote down the first ten songs that started

Eden - Monkey Majik Plastic Love - Mariya Takeuchi accidentaly in Love - Counting Crows L.O.V.E - Frank Sinatra PonPonPon - Rin An unusual prince/once upon a dream 😂 tsukiakari no dearest - Aoi Shouta, Maeno Tomoaki sie ist nicht zu fassen - Ron von Lankeren I think? It's hard to find who sang which old german anime opening theme it always just says anime allstars fsaghda Twist again - Chubby Checkers hgfash Moustache - Twin Twin

and second one is a picrew chain using this picrew c:

I tag uhhh.... @scarlettlillies because this is about music :D @k3llyb3an @angie-massei-2 @lindonwald @samrut @chessna2 and whoever else likes to!

only if you all want to of course c: feel free to take only one or ignore entirely o/

[larryland]

REVIEW: The Knights Present "Candide" at Tanglewood

REVIEW: The Knights Present “Candide” at Tanglewood

[vinyl-problemchen]

Record #030:  Candide - 1974 Broadway Cast Recording

(07/10/2020)

Candide is a weird beast that I have uh complex feelings about. Generally, I do enjoy what Bernstein wrote, most of it a lot, and there are numbers in Candide that are truly stunning or at least highly entertaining; and I am very much here for a critique, or rather a mocking of that blind-eyed optimism that presumably only privileged people can afford, so I get it, Voltaire, I get it.

But. I really hate that novella and I really hate the show as a whole. It is a cynical, one-joke affair that even given how short the book is, goes on for way too long. And unfortunately that’s also true of Candide, the stage work, and here Candide the cast recording.

Usually I am the first to applaud any record of a musical that tries to capture the entire score and maybe even include some of the spoken bits so you can get as much of it as home as possible without reading a synopsis. It’s a great idea and certainly makes sense if there is more music than dialogue in the first place, or maybe if narration is already worked into the show, as it was here. Unfortunately what works for, say, Sweeney Todd, or Follies, maybe even Show Boat doesn’t for Candide as it only draws attention to the works biggest flaw - the source material (and the adaptation for it, here done by Hugh Wheeler)

And, to be honest, not all songs or musical sequences in Candide are great. So combine the overextension of the narrative with songs that aren’t fun and you get a recording that deeply irritated me the longer it went on. A truly frustrating experience.

The positive: the numbers that are good are indestrucible, and the re-orchestrations by Hershy Kay are fun (although the piano filling in for a proper string section is a bit sad, pointing to the unfortunate trend of cutting instrumentalists from the band pits due to, to quote Alan Jay Lerner, “Good Economics”), the cast is mostly solid. I usually love Lewis J Stadlen but his Voltaire voice is grating. Mark Baker seems to have been a cuter and younger Candide than Rounseville, but it’s sad to lose Voice in that process. A criticism that seems to basically apply to the entire cast (minus Stadlen, who as Pangloss, is better than his predecessor in the 1956 production) although June Gable as the Old Lady is probably the stand out.

Some of the new songs/revisions with Sondheim lyrics are good too, most of all “Life Is Happiness” but even that becomes a tough listen with all the interjections by Voltaire. Ah well.

Hm. Yeah. Think that’s one for the “Records I Turned Out To Hate” pile... womp womp.

Favourite Track: A1, “Overture”. Indestructible even with the smaller orchestrations, and nothing irritating to sour it.

[gramilano]

Sara Mearns of New York City Ballet in “Spring” from Jerome Robbins’ The Four Seasons, photo by Paul Kolnik

The fourth week of programming of New York City Ballet’s six-week digital spring season has been announced.

On Tuesday 12 May at 8 pm EDT, NYCB will release a programme of Jerome Robbins’ Afternoon of a Faun and “Spring” from The Four Seasons, and excerpts from George Balanchine’s Divertimento No. 15, The Four Temperaments, and Western Symphony.

On Friday 15 May the company will make available Justin Peck’s Pulcinella Variations.

Each program will be available for 72 hours after it premieres on NYCB’s website, Facebook, and YouTube pages.

NYCB’s digital season also includes “Ballet Essentials” classes for all ages on Mondays and Thursdays at 6 pm EDT; “Wednesday with Wendy,” ballet-inspired movement classes held on Instagram Live on Wednesdays at 5 pm EDT; “Ballet Breaks,” 20-minute workshops for children ages 3-8 held on Saturdays and Sundays at 11 am EDT; and new episodes of City Ballet The Podcast on Mondays. All offerings are available free of charge on several platforms, and more details can be found in the attached overview and at www.nycballet.com/digitalspring.

Sterling Hyltin and Joseph Gordon of New York City Ballet in Jerome Robbins’ Afternoon of a Faun photo by Erin Baiano

WEEK 4: Monday, May 11 – Sunday, May 17

Monday 11 May

City Ballet The Podcast

“Hear the Dance” episode on Jerome Robbins’ Afternoon of a Faun, featuring former NYCB Principal Dancer and SAB Chairman of Faculty Kay Mazzo and former NYCB dancer Afshin Mofid, hosted by NYCB dancer Silas Farley (available at podcast.nycballet.com, Apple Podcasts, Spotify, Stitcher, Luminary, the iHeartRadio app, and other podcast platforms)

Ballet Essentials – Russian Seasons

45-minute interactive movement workshop suitable for people of all ages and level of training consisting of a ballet warm-up and a movement combination inspired by Alexei Ratmansky’s Russian Seasons, taught by NYCB Soloist Unity Phelan (register at balletessentials.nycballet.com; workshop at 6 pm EDT)

Tuesday 12 May: NYCB Performance

New York City Ballet in Balanchine’s Divertimento No. 15, photo by Paul Kolnik

Sterling Hyltin of New York City Ballet in Jerome Robbins’ Afternoon of a Faun photo by Paul Kolnik

Ask la Cour of New York City Ballet in “Phlegmatic” from Balanchine’s The Four Temperaments photo by Erin Baiano

Roman Mejia of New York City Ballet in “Rondo” from Balanchine’s Western Symphony photo by Erin Baiano

“Spring” from The Four Seasons Music by Giuseppi Verdi Choreography by Jerome Robbins

PRINCIPAL CASTING: Sara Mearns and Tyler Angle with the NYCB Orchestra, Conductor: Andrew Litton, NYCB Music Director Filmed on May 3, 2018, David H. Koch Theater, Lincoln Center

“Theme and Variations” from Divertimento No. 15 Music by Wolfgang Amadeus Mozart Choreography by George Balanchine

PRINCIPAL CASTING: Lauren King, Sterling Hyltin, Ana Sophia Scheller, Abi Stafford, *Tiler Peck, Andrew Veyette, Daniel Applebaum, and *Andrew Scordato (*first time in a role) with the NYCB Orchestra, Conductor: Andrew Litton, NYCB Music Director Filmed on September 22, 2016, David H. Koch Theater, Lincoln Center

Afternoon of a Faun Music by Claude Debussy Choreography by Jerome Robbins

PRINCIPAL CASTING: Sterling Hyltin and *Joseph Gordon (*first time in a role) with the NYCB Orchestra, Conductor: Andrew Litton, NYCB Music Director Filmed on October 11, 2018, David H. Koch Theater, Lincoln Center

“Third Variation: Phlegmatic” from The Four Temperaments Music by Paul Hindemith Choreography by George Balanchine

PRINCIPAL CASTING: Ask la Cour with the NYCB Orchestra, Conductor: Andrew Litton, NYCB Music Director; Solo piano: Stephen Gosling Filmed on January 18, 2017, David H. Koch Theater, Lincoln Center

“Rondo” from Western Symphony Music by Hershy Kay Choreography by George Balanchine

PRINCIPAL CASTING: Teresa Reichlen and *Roman Mejia, with Lauren King, Taylor Stanley, Megan Fairchild, and Jared Angle (*first time in a role) with the NYCB Orchestra, Conductor: Andrew Litton, NYCB Music Director Filmed on May 9, 2019, David H. Koch Theater, Lincoln Center Introduction by Sterling Hyltin, NYCB Principal Dancer (available at nycballet.com, facebook.com/nycballet, and youtube.com/nycballet from Tuesday 12 May 12 at 8 pm until Friday 15 May at 8 pm EDT)

Wednesday 13 May

Wednesday with Wendy

Live ballet-inspired movement class suitable for people of all ages and levels of training, taught by NYCB Associate Artistic Director Wendy Whelan (available on Instagram Live at 5 pm EDT and IGTV at instagram.com/nycballet)

Thursday 14 May

Ballet Essentials – The Four Temperaments

45-minute interactive movement workshop suitable for young adults and adults consisting of a ballet warm-up and a movement combination inspired by George Balanchine’s The Four Temperaments, taught by NYCB Principal Dancer Adrian Danchig-Waring (register at balletessentials.nycballet.com; workshop at 6 pm EDT)

Friday 15 May: NYCB Performance

Emilie Gerrity of New York City Ballet in Justin Peck’s Pulcinella Variations, photo by Paul Kolnik

Indiana Woodward of New York City Ballet in Justin Peck’s Pulcinella Variations, photo by Paul Kolnik

Pulcinella Variations Music by Igor Stravinsky Choreography by Justin Peck

PRINCIPAL CASTING: Sterling Hyltin, Miriam Miller, Tiler Peck, Emilie Gerrity, Indiana Woodward, Russell Janzen, Andrew Scordato, Gonzalo Garcia, Anthony Huxley with the NYCB Orchestra, Conductor: Andrews Sill, NYCB Associate Music Director Filmed on October 5, 2018, David H. Koch Theater, Lincoln Center Introduction by Justin Peck, NYCB Resident Choreographer and Artistic Advisor (available at nycballet.com, facebook.com/nycballet, and youtube.com/nycballet from Friday 15 May at 8 pm until Monday 18 May, at 8 pm EDT)

Saturday 16 May 16

Ballet Breaks – A Midsummer Night’s Dream 20-minute interactive movement workshop for children ages 3-8, consisting of a warm-up and choreography inspired by George Balanchine’s A Midsummer Night’s Dream, taught by NYCB dancer Ashley Hod (register at nycballet.com/balletbreaks; workshop at 11 am EDT)

Sunday 17 May

Ballet Breaks – A Midsummer Night’s Dream 20-minute interactive movement workshop for children ages 3-8, consisting of a warm-up and choreography inspired by George Balanchine’s A Midsummer Night’s Dream, taught by NYCB dancer Ashley Hod (register at nycballet.com/balletbreaks; workshop at 11 am EDT) Programming subject to change (05/04/20)

Week 4 of New York City Ballet’s six-week digital spring season The fourth week of programming of New York City Ballet’s six-week digital spring season has been announced.

[iwontdancenetwork]

Pacific Northwest Ballet | George Balanchine's Tarantella 

George Balanchine created Tarantella in 1964 for New York City Ballet principal dancers Patricia McBride and Edward Villella. In his book, Balanchine’s Stories of the Great Ballets, the choreographer had this to say about this charming work: “This pas de deux is one of a long series of short ballets I have made for the gifts of specific dancers. The music is for solo piano and orchestra, based on the Grande Tarantelle of the New Orleans pianist-composer Louis Gottschalk, who dazzled Europe and the United States with his recitals a hundred years ago. This work, which I asked Hershy Kay to orchestrate for us, is thought to be the first work for piano and orchestra ever composed by an American. It is a dazzling display piece, full of speed and high spirits. So, I hope, is the dance, which is ‘Neapolitan,’ if you like, and ‘demi-caractère.’ The costumes are inspired by Italy, anyhow, and there are tambourines.”

Created for a particular pair of dancers, Tarantella continues to challenge artists of succeeding generations, whose virtuosity it delightfully showcases. The ballet has been in Pacific Northwest Ballet’s repertory since 1985. Notes by Jeanie Thomas, 1995.

[diyeipetea]

Cool Jazz (XV): Stan Getz (II). La Odisea de la Música Afroamericana (215) [Podcast]

Cool Jazz (XV): Stan Getz (II). La Odisea de la Música Afroamericana (215) [Podcast]

Por Luis Escalante Ozalla.

La Odisea de la Música Afroamericana es un programa de radio dirigido, presentado y producido por Luis Escalante Ozalla, autor de los libros Nueva Orleans (1717-1917): Sexo, Raza y Jass y Y se hace música al andar con swing.

El capítulo 215 de La Odisea de la Música Afroamericana de Luis Escalante Ozalla continúa recorriendo la senda del Cool Jazz. El programa sigue…

[khwethemule]

#Lyrics to 🎤"Jeux d'enfants, Op. 22, WD 56 (Orch. H. Kay & R. Douglas): No. 11. Petit mari, petite femme!" - Georges Bizet feat. Roy Douglas, Hershy Kay, San Francisco Ballet Orchestra & Martin West @musixmatch mxmt.ch/t/136286850

[theatreaficionado]

1600 Pennsylvania Avenue played a mere 7 official performances on Broadway before closing a financial and critical disaster. While Capitol was still willing to record the proposed cast album, Leonard Bernstein and Alan Jay Lerner balked. Our loss.

Thankfully this live tape captures the score as it played on Broadway, a shell of the original metaphysical conceit (actors in rehearsal, stepping out and commenting) and ended up a sort of White House revue. The music and most of the lyrics are quite glorious, but the book is not.

Here is the musical's delightful overture, which replaced the staid symphonic Prelude used in the Philadelphia premiere.

Some fun trivia about the music itself: The Prelude was restored for the revised A White House Cantata, and was recycled for Bernstein's Songfest. The lively 7/8 piece in the beginning of the Broadway overture is the show's replacement opening number "Rehearse!," which was later combined with the act two number "The Grand Ol' Party" for the orchestral piece "Slava! A Political Overture" in honor of Rostropovich's inaugural season with the National Symphony Orchestra in 1977.

[balletthebestphotographs]

Ashley Bouder

Ashley Bouder (New York City Ballet), “Tarantella”, choreo by George Balanchine, music by Louis Moreau Gottschalk, reconstructed and orchestrated by Hershy Kay (Grand Tarantelle for Piano & Orchestra, Op. 67), costume by Barbara Karinska (Varvara Jmoudsky), 2011 Dance Open Ballet Festival, Oktyabrskiy Concert Hall Большой концертный зал Октя́брьский, Saint Petersburg, Russia (April 22, 2011).

Source and more info at Photographer Stas Levshin on Facebook Photographer Stas Levshin on Instagram

Note I: This blog is open to receiving and considering any suggestions, contributions, and/or criticisms that may help correct mistakes or improve its content. Comments are available to any visitor.

Note II: Original quality of photographs might be affected by compression algorithm of the website where they are hosted.

[balletthebestphotographs]

Carla Körbes and Stephen Hanna

Carla Körbes and Stephen Hanna, “Who Cares?” choreo by George Balanchine, music by George Gershwin arranged by Hershy Kay, costumes by Barbara Karinska (Varvara Jmoudsky), 2010 Dance Open Ballet Festival, Mikhailovsky Theatre Михайловский театр, Saint Petersburg, Russia (March 29, 2010).

Source and more info at: Photographer Gene Schiavone Shop Photographer Gene Schiavone Website Photographer Gene Schiavone on Twitter Photographer Gene Schiavone on Tumblr Photographer Gene Schiavone on Amazon Photographer Gene Schiavone on Pinterest Photographer Gene Schiavone on You Tube Photographer Gene Schiavone on Facebook Photographer Gene Schiavone on Instagram

The Artistry of Grief by Gene Schiavone The Pink Olga Nightgown by Gene Schiavone BALLET ♡ Hopes, Tears, and Cheers by Gene Schiavone (Facebook Public Group)

Note I: This blog is open to receiving and considering any suggestions, contributions, and/or criticisms that may help correct mistakes or improve its content. Comments are available to any visitor.

Note II: Original quality of photographs might be affected by compression algorithm of the website where they are hosted.

[larryland]

by Macey Levin

As the world probably knows, 2018 would have been Leonard Bernstein’s 100th birthday,  also that of Jerome Robbins.  Bernstein was a musical genius as a conductor, music educator on television and a composer of classical music, ballets, and broadway musicals.  In our part of the world Barrington Stage Company has produced a dynamic West Side Story while Tanglewood has dedicated several programs to Bernstein with special focus the week of August 18th through the 25th, his actual birthday.

In addition to West Side Story his musicals include On the Town, Wonderful Town, Trouble in Tahiti, a seldom-produced Peter Pan and Candide, which straddles Broadway musical and light opera and was part of the week-long celebration in a staged performance on August 22nd and 23rd in Ozawa Hall.

The show has had a long and controversial history.  In 1953 playwright Lillian Hellman (The Little Foxes, The Children’s Hour, Toys in the attic, etc.) suggested to Bernstein they should collaborate on a musical version of Voltaire’s satirical novella.  Hellman had never written a comedy and highly respected director Tyrone Guthrie was a newcomer to Broadway.  After several stops and starts (at the same time Bernstein was working on West Side Story with Arthur Laurents, Jerome Robbins and Stephen Sondheim) the show opened on December 1, 1956 featuring Barbara Cook and Robert Rounesville for seventy-three performances, not a lengthy run.  Arguments and accusations were bandied about followed by relief that it closed.

A 1973 restructured version directed by Hal Prince with Mark Baker, Lewis J. Stadlen and Maureen Brennan at the Brooklyn Academy of Music later transferred to Broadway.  The new libretto was written by Hugh Wheeler with contributions by Sondheim, Richard Wilbur, John Latouche as well as Bernstein.  It ran for almost two years.  A third production in 1997 featured Jim Dale, Andrea Martin, Jason Danielly and Arte Johnson for a 104 performances.

The music for the recent celebratory production was performed by The Knights, a 23-member ensemble under the artistic director brothers Colin, a violinist, and Eric Jacobsen, conductor.  At first a loosely structured chamber music group, they cooperatively developed their arrangements and incorporated in 2007.  Every musician contributes to the interpretation of any given piece creating a sense of camaraderie and a unified approach.  Their sound in back of Candide was glorious.

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The principals, Miles Mykkanen (Candide, Tenor,) Sharleen Joynt (Cunegonde, Soprano,) Margaret Gawrysiak (Old Lady, mezzo-soprano) and Evan Jones (Pangloss, Voltaire, Cacambo. baritone) had glorious voices that helped to define the characters.  The ensemble, dressed in Commedia dell’arte costumes and whiteface, were energetic with impressive voices.

The production, with a cast of 13, directed by Alison Moritz and choreographed by John Heginbotham, sparkled.  With minimal props and set pieces, the staging was inventive utilizing the hall’s expansive stage while the choreography was dazzling.

Aaron Copp’s stage and lighting design enhanced the production’s objectives by focusing attention on the action and the vocalists.  The costumes designed by Amanda Seymour, using the Commedia as a basis, were colorfully fitting for the style of production as were Tommy Kurzman’s wigs and make-up design.

Bernstein and all his creative partners would have been exhilarated by this Candide.  Regrettably it had only two brilliant performances.

Candide by Leonard Bernstein, (Scottish Opera Edition of the Opera House Version – 1989) Book by Hugh Wheeler based on the satire by Voltaire; Lyrics by Richard Wilbur with additional lyrics by Stephen Sondheim, John Latouche, Dorothy Parker, Lillian Hellman and Leonard Bernstein; Orchestrations by Leonard Bernstein and Hershy Kay; Musical continuity and additional orchestrations by John Mauceri; For The Knights: Colin Jacobsen and Eric Jacobsen Artistic Directors; Music Director and Conductor; Eric Jacobsen; Cast: Miles Mykkanen (Candide) Sharleen Joynt (Cunegonde) Margaret Gawrysiak; Evan Jones (Pangloss/Voltaire/Cacambo) Alexander Elliot (Maximilian/Grand Inquisitor/Sea Captain) Alex Mansoori (Baron/Governor/Vanderdendur/Ragotski) Sarah Larsen (Paquette) Zoe Johnson (Ensemble) Emma Sorenson (Ensemble) Chandler Johnson (Ensemble) Luke MacMillan (Ensemble) John Eirich and Courtney Lopes (Dancers); Running time: Two hours, thirty minutes, including one intermission; August 22-23, 2018; Tanglewood, Ozawa Hall, Lenox, MA.

REVIEW: The Knight Present “Candide” at Tanglewood by Macey Levin As the world probably knows, 2018 would have been Leonard Bernstein's 100th birthday,  also that of Jerome Robbins. 

[gramilano]

Symphonic Dances – Zenaida Yanowsky © ROH 2017, photograph by Bill Cooper

The latest mixed-programme from The Royal Ballet was unveiled last night and will run until the end of this month. “Virtuoso dance from The Royal Ballet in a programme that includes Forsythe and Balanchine classics and Wheeldon’s 2016 narrative ballet” also saw the world premiere of Liam Scarlett’s new creation for the Company, Symphonic Dances.

The Vertiginous Thrill of Exactitude

William Forsythe’s ballet to the last movement of Schubert’s ‘Great’ Symphony is an exhilarating celebration of virtuoso dance.

The Vertiginous Thrill of Exactitude – Vadim Muntagirov, Marianela Nunez © ROH 2017, photograph by Bill Cooper

Choreography William Forsythe

Music Franz Schubert

Costume designer Stephen Galloway

Lighting designer Tanja Rühl

with

Marianela Nuñez, Beatriz Stix-Brunell, Akane Takada, Vadim Muntagirov and Steven McRae

The Vertiginous Thrill of Exactitude – Akane Takada, Steven McRae © ROH 2017, photograph by Bill Cooper

Tarantella

George Balanchine’s exuberant pas de deux is full of swagger, charm and ballet brilliance.

Tarrantella – Franchesca Hayward, Marcelino Sambe © ROH 2017, photograph by Bill Cooper

Choreography George Balanchine

Music Louis Moreau Gottschalk

Orchestration Hershy Kay

Costume designer Karinska

Lighting designer Simon Bennison

with

Francesca Hayward and Marcelino Sambé

Tarrantella – Marcelino Sambe © ROH 2017, photograph by Bill Cooper

Tarrantella – Franchesca Hayward © ROH 2017, photograph by Bill Cooper

Strapless

This one-act narrative ballet from Christopher Wheeldon spins a tale of ambition and hypocrisy around John Singer Sargent’s Portrait of Madame X, to an original score by Mark-Anthony Turnage.

Strapless – Natalia Osipova and Matthew Ball © ROH 2016, photograph by Bill Cooper

Choreography Christopher Wheeldon

Scenario Christopher Wheeldon and Charlotte Westenra after Deborah Davis

Music Mark-Anthony Turnage

Designer Bob Crowley

Lighting designer Natasha Chivers

with

Amélie Gautreau: Natalia Osipova

John Singer Sargent: Edward Watson

Dr Samuel-Jean Pozzi: Federico Bonelli

Albert de Belleroche: Matthew Ball

Strapless – Natalia Ospiova as Amelie Gautreau © ROH 2016, photograph by Bill Cooper

Strapless – Natalia Osipova and Federico Bonelli as Dr Pozzi. © ROH 2016, photograph by Bill Cooper

Strapless – Edward Watson, Matthew Ball and Natalia Osipova © ROH 2016, photograph by Bill Cooper

Strapless – Edward Watson and Natalia Osipova. © ROH 2016, photograph by Bill Cooper

Strapless – Natalia Osipova as Amélie Gautreau © ROH 2016, photograph by Bill Cooper

[rehearsal photos]

Symphonic Dances

The Royal Ballet’s Artist in Residence creates a new one-act ballet for the Company, to Rachmaninoff’s great final work.

Symphonic Dances – Nicol Edmonds, Tristan Dyer © ROH 2017, photograph by Bill Cooper

Choreography Liam Scarlett

Music Sergey Rachmaninoff

Designer Jon Morrell

Lighting designer David Finn

with

Zenaida Yanowsky

Symphonic Dances – members of The Royal Ballet © ROH 2017, photograph by Bill Cooper

Symphonic Dances – Zenaida Yanowsky © ROH 2017, photograph by Bill Cooper

Symphonic Dances – Zenaida Yanowsky © ROH 2017, photograph by Bill Cooper

Symphonic Dances – James Hay, Zenaida Yanowsky © ROH 2017, photograph by Bill Cooper

Symphonic Dances – Zenaida Yanowsky, James Hay © ROH 2017, photograph by Bill Cooper

Conductor Koen Kessels

Concert Master Peter Manning

Orchestra of the Royal Opera House

Photo album: Opening night at The Royal Ballet includes premiere of Liam Scarlett’s Symphonic Dances The latest mixed-programme from The Royal Ballet was unveiled last night and will run until the end of this month.