Passion, tragedy, fierce devotion. Queen Victoria’s diaries revealed a life so sensational that her daughter Beatrice tried to rewrite history. Her irrepressible love for Albert sparked a royal dynasty. But his untimely death brought the world's most powerful woman to her knees with grief.
Northern Ballet's new biopic brings the sensational story of Victoria to life in dance. Choreographed by Cathy Marston, creator of Northern Ballet’s acclaimed Jane Eyre.
Music by Philip Feeney
Choreography, direction and scenario by Cathy Marston
Coproduction between Northern Ballet and The National Ballet of Canada
Choreographer, director and scenario | Cathy Marston
Set and costume designer | Steffen Aarfing
Playwright and scenario | Uzma Hameed
Lighting designer | Alastair West
Additional orchestration | John Longstaff
Queen Victoria | Abigail Prudames
Prince Albert | Joseph Taylor
Older Beatrice | Pippa Moore
Younger Beatrice | Miki Akuta
John Brown | Mlindi Kulashe
Liko | Sean Bates
Lord Melbourne | Jonathan Hanks
The iconic ballet, reimagined. Following its sensational 2016 world premiere and UK tour, Akram Khan’s Giselle returns to London by popular demand, and is performed in Liverpool and Dublin for the first time. One of the greatest romantic ballets of all time, Giselle is the first full length ballet choreographed by Akram Khan.
The classic story of love, betrayal and redemption has been reimagined in this stunning new version, with sets and costumes by Academy-Award winning designer Tim Yip (Crouching Tiger Hidden Dragon), an ‘ominous, gothic’ (The Observer) adaptation of Adolphe Adam’s original score by composer Vincenzo Lamagna and performed by English National Ballet Philharmonic, dramaturgy from Ruth Little and lighting design from Tony Award-winner Mark Henderson.
Although he choreographed more than 100 ballets over the course of his career, Frederick Ashton was not one to repeat himself. From full-length narrative creations to miniature pas de deux, each of his works is unique in concept, performed in a style that is uniquely suited to its particular story, its music and the dancers in which it was created. And yet, despite the precision of his choreography, each dancer in an Ashton role can find their own way through it, creating an interpretation that is not only faithful but also personal.
On this recording, before Marguerite & Armand come two excellent performances by the Company, each showing different aspects of Ashton. His exquisite The Dream (1964), an adaptation of Shakespeare's A Midsummer Night's Dream, set to Mendelssohn's musical response to the play, stars Steven McRae and Akane Takada as the ethereal king and queen of the fairies. In an interview (also included), Dowell, the original Oberon, mentions his relief at how dancers still find the roles difficult: Oberon, especially, is among the most demanding male roles in the repertoire. But, despite all the challenges, McRae and Takada are as light as air in their moving pas de deux de reconciliation.
In collaboration with Naxos
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Christopher Wheeldon, Artistic Associate of The Royal Ballet, created his adaptation of Shakespeare’s late great romance The Winter’s Tale for The Royal Ballet in 2014. Building on the success of Wheeldon’s Alice’s Adventures in Wonderland, The Winter’s Tale received ecstatic praise at its premiere, acclaimed by critics and audiences alike for its intelligent, distinctive and emotionally powerful story, told through exquisite dance. It is now widely judged to be a modern ballet classic.
The story follows the destruction of a marriage through consuming jealousy, the abandonment of a child and a seemingly hopeless love. Yet, through remorse and regret – and after a seemingly miraculous return to life – the ending is one of forgiveness and reconciliation. With powerful designs by Bob Crowley and atmospheric music by Joby Talbot, The Winter’s Tale is a masterful modern narrative ballet.
Con la colaboración de Naxos
Since its very first performance 1856 at the Paris Opera, Le corsaire has been regarded as one of the most impressive narrative ballets of the 19th century. The director of the Wiener Staatsballett has choreographed a new version, basing his interpretation mainly on the rich French and Russian performance traditions.
Action, music, choreography, scenery and costumes are carefully combined into a new overall picture which focuses on the high points of the colourful events surrounding the leading couple of Conrad and Medora.
With the collaboration of Naxos