Podcasts about frederick ashton

On today's episode of "Conversations On Dance", we are joined by former Chief Dance Critic of the New York Times and performing arts historian Alastair Macaulay to discuss the legacy of composer Maurice Ravel around the corner from his 150th birthday. We talk about Ravel's major commissions for dance, how dance influenced his compositions outside of those meant for the concert dance stage, and his continued impact on major choreographers of the 20th century and onwards, like Frederick Ashton and George Balanchine. The Torvill and Dean “Bolero” referenced: https://www.olympics.com/en/video/torvill-and-dean-s-legendary-bolero-performance-music-mondaysLINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/COD-email Hosted on Acast. See acast.com/privacy for more information.

The Royal Ballet and Opera House in London continue their programme of access to their productions for blind and partially sighted people with both live and recorded audio described performances, along with accompanying introductory notes and touch tours. If you have ever wondered what goes in to audio describing ballet and dance then do join RNIB Connect Radio's Toby Davey for an insight into how the Royal Ballet's current production of Cinderella is brought to life for blind and partially sighted people through pre show introductory notes, touch tours and audio described performances. Prior to the general rehearsal of Cinderella On Monday 2 December 2024 Toby caught up with Professional Audio Describers Julia Grundy and Jane Brambley to find out what goes in to the process of describing a ballet production like Cinderella, how they both work on their description scripts, thinking about what props and costumes to include on a touch tour and whether they adapt their live description script at all for the recorded description which is now available at every performance of Cinderella.  After chatting with Julia and Jane Toby also caught up with Ania Kapazat, one of the Administrative Producers at the Royal Ballet, to find out more about how she has helped Julia and Jane with their description as well as listening in to the dry run of their audio description at the general rehearsal of Cinderella. During the first interval of the general rehearsal of Cinderella Toby managed to catch up with Kevin O'Hare, Director of The Royal Ballet, to firstly chat about how things have gone in getting this production of Cinderella to the general rehearsal, how embedded access and audio description is within the company and a snap shot stand out moment from Cinderella that really shows how everything comes together to bring the story of Cinderella to life on stage with audio description too. About Cinderella The Royal Ballet's current production of Cinderella continues on the main stage of the Royal Opera House until 16 January 2025 with recorded audio description now available at every performance.  This enchanting ballet by The Royal Ballet's Founder Choreographer Frederick Ashton is a theatrical experience for all the family over the festive holiday. A co-production between the Royal Ballet and the national Ballet of Canada. In 1939, Frederick Ashton first began to consider creating a full-length work, the Company's first three-act ballet. At the time it seemed like the obvious next step for British ballet. The idea was shelved during the war but in 1946 Ashton returned urgently to it. Inspired by other balletic adaptations of Cinderella coming out of Russia, Ashton chose to create his own version of Charles Perrault's famous rags-to-riches story. Set to Prokofiev's exquisite score the ballet received its premiere in 1948 featuring Moira Shearer and Michael Some's in the lead roles.  A World Where Dreams Blossom  The designs of this production of Cinderella are heavily influenced by nature and flowers. As the Fairy Godmother and the Seasons' fairies come into Cinderella's world, the muted tones of the family living room are taken over by a burst of colour. The creative team behind the exquisite world of Cinderella includes set designer Tom Pye (My Neighbour Totoro, Olivier award for Best Set Design), costume designer Alexandra Byrne (Elizabeth: The Golden Age, Academy Award for Best Costume Design), lighting designer David Finn (Brokeback Mountain), video designer Finn Ross (Les Miserables, Frozen) and illusions by Chris Fisher (Harry Potter and The Cursed Child).   To find out more about The Royal Ballet's current production of Cinderella do visit the following pages of the RBO website - https://www.rbo.org.uk/tickets-and-events/cinderella-details You will also find more information about access at the royal Ballet and Opera House on the following access pages of their website - https://www.rbo.org.uk/visit/access-at-rbo Image shows the RNIB Connect Radio logo. On a white background ‘RNIB' written in bold black capital letters and underline with a bold pink line. Underneath the line: ‘Connect Radio' is written in black in a smaller font.

RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next in his regular Connect Radio theatre reviews. This week Vidar is reviewing Birmingham Royal Ballet's revival of Frederick Ashton's ballet ‘La fille mal gardée' at the Birmingham Hippodrome Theatre with description by Professional Audio Describers Julia Grundy and Jonathan Nash. About ‘La fille mal gardée'  Lise has a choice to make. Loaded country bumpkin or penniless, hunky farmhand? Of course, there's no contest, but her mum has other ideas.  Heels are dug in and sparks fly, as a mother-daughter battle ensues. Mixing spectacular classical ballet with slick comedy, a clog-dancing dame, and a super-cute pony, as well as live music by the Royal Ballet Sinfonia, this is fantastic entertainment for you, your friends, and all your family whether it's their first ballet or a much-loved favourite. To find out more about Birmingham Royal Ballet do visit their website - https://www.brb.org.uk  And for more about access at Birmingham Hippodrome including details of audio described performances do visit the following pages of the theatre's website - https://www.birminghamhippodrome.com/plan-your-visit/access/ (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

Aujourd'hui, je reçois Marc Moreau, danseur étoile de l'Opéra de Paris. Il raconte son parcours de danseur déterminé et résilient et son bonheur d'être consacré à 36 ans. On l'écoute avec joie, Cette conversation a été enregistrée le 1er mars, un an après sa nomination à l'issue de "Ballet Impérial" de George Balanchine au Palais Garnier. Hier soir, le 26 mars, une nouvelle étoile a rejoint la troupe de l'Opéra de Paris - Bleuenn Battistoni - qui a été couronnée sur la scène du Palais Garnier à l'issue de "La Fille mal gardée", un ballet de Frederick Ashton.

Wayne Sleep tells Michael Berkeley about the music that has inspired his career of nearly 60 years. Wayne Sleep is one of the most celebrated dancers of all time. He's performed more than fifty leading roles for the Royal Ballet, and had roles created for him by choreographers including Frederick Ashton, Ninette de Valois and Rudolf Nureyev. Equally at home on the stage of the Royal Opera house, performing musical theatre in the West End, choreographing, directing or teaching, he's known for his versatility, flawless technique, dramatic flair and humour. He made headlines around in the world in 1985 when he danced – to the total surprise of everyone there - with Diana, Princess of Wales, on the stage of the Royal Opera House. He tells Michael about the secrecy surrounding their rehearsals and the friendship between them that followed their performance. Wayne chooses the music that has shaped his long career including pieces by Mahler, Britten and Andrew Lloyd Webber. And, in a highly emotional moment, he hears for the first time since his childhood the voice of his adored mother on a record specially restored for this programme. Producer: Jane Greenwood A Loftus Media production for BBC Radio 3

Julia Tehven Sutton began her professional career with Minnesota Dance Theatre under the Artistic Director and Founder Loyce Houlton, performing in many of her original works as well as ballets of renowned choreographers such as Balanchine, Glen Tetley, Frederick Ashton, Petipa and Michael Fokine. In 1988 Julia joined Myron Johnson's Ballet of the Dolls dancing in countless original works including the Children's Theatre productions of Beatrix Potter and Worn Out Dancing Shoes (based on the 12 Dancing Princesses by the Brothers Grimm). Julia has also danced with James Sewell Ballet, Minnesota Opera, Chanhassen Dinner Theater and acted in the Jungle Theatre productions of Who's Afraid of Virginia Wolf, The Glass Menagerie and Bus Stop. She has performed with local choreographers and was invited to join Robin Stiehm's Dancing People for a performance in Ashland Oregon. She has taught ballet at Larkin Dance, Summit School of Dance, Minnesota Dance Theatre,Zenon and most recently at the Reif Dance program in Grand Rapids, MN. In 2004 Julia was awarded the McKnight Fellowship for Dancers and commissioned John Kelly for her SOLO piece, Mrs. Hamlet. Julia now lives in Central Minnesota in a beautiful house on a beautiful lake with a beautiful husband and beautiful daughter, Ruby, and is quite content.

Arizona Philharmonic (AZPhil), Margot Fonteyn Academy of Ballet (MFAB), Voci Sorella of Yavapai Youth Choirs, Una Voce Women's Choir, and British conductor Alexander Walker team up to present an unforgettable afternoon of festive holiday dance and music—A Nutcracker Christmas Celebration. In this premier Prescott Holiday event, international alumni of the Academy dance to Tchaikovsky's iconic Nutcracker Suite and Frederick Ashton's Les Patineurs, a winter ballet set to the music of Giacomo Meyerbeer, performed by Arizona Philharmonic, Prescott's professional orchestra. Act II of The Nutcracker will be performed, and the entire show runs two hours including intermission. The outstanding youth Voci... For the written story, read here >> https://www.signalsaz.com/articles/a-nutcracker-christmas-celebration/Follow the CAST11 Podcast Network on Facebook at: https://Facebook.com/CAST11AZFollow Cast11 Instagram at: https://www.instagram.com/cast11_podcast_network

Julie Kent became the Artistic Director of The Washington Ballet in July 2016. She is the longest-serving ballerina in American Ballet Theatre's 79-year history. She began her dance training with Hortensia Fonseca at the Academy of the Maryland Youth Ballet in Bethesda, MD and attended summer sessions at American Ballet Theatre II and the School of American Ballet before joining American Ballet Theatre as an apprentice in 1985. In that same year, Kent won first place in the regional finals of the National Society of Arts and Letters at the Kennedy Center. In 1986, she was the only American to win a medal at the Prix de Lausanne International Ballet Competition, and she became a member of ABT's corps de ballet.Kent starred in the Herbert Ross film “Dancers” in 1987 opposite Mikhail Baryshnikov. She was appointed a Soloist with ABT in 1990 and a Principal Dancer in 1993, the year in which she became the first American to win the Erik Bruhn Prize in Toronto and was named one of People Magazine's “50 Most Beautiful People.” In April 2000, Kent achieved another triumph, becoming the first American to win the “Prix Benois de la Danse.” Later that year, Kent starred in the motion picture “Center Stage” directed by Nicholas Hytner. In 2012, she was awarded an Honorary Doctorate of Performing Arts from the University of North Carolina School of the Arts as well as a “Lifetime Achievement Award” from Dance Magazine. Since 2014, she has been the Brand Ambassador for HANIA New York, a luxury line of hand-knit cashmere in NYC.During Kent's long performing career, she has acquired a vast repertoire dancing over 100 ballets, including all of the major classical, dramatic and neo-classical roles in works by Marius Petipa, George Balanchine, Jerome Robbins, Frederick Ashton, Kenneth MacMillan, John Cranko, Anthony Tudor, Michel Fokine, Agnes DeMille, Merce Cunningham, Jose Limon, Jiri Kylian, Ronald Hynd, Ben Stevenson and Christopher Wheeldon. As well, she has had roles created on her by John Neumeier, Lar Lubovitch, Mark Morris, Twyla Tharp, Alexei Ratmansky, Nacho Duato, Stanton Welch, James Kudelka, Jorma Elo, David Parsons, Jessica Lang, and Natalie Weir. Her appearances as a guest include invitations from the Mariinsky Theatre, Teatro alla Scala, New York City Ballet, Stuttgart Ballet, Berlin Staatsballett, Australian Ballet, Bayerisches Staatsballett, Teatro Colon, Ballet de Santiago, and others. In August of 2015, after a 30-year performing career, Kent was named Artistic Director of ABT's Summer Intensive, a comprehensive summer dance program for 1,400 students at five campuses across the US.Since Kent arrived at The Washington Ballet, she has brought important classical and contemporary masterworks into the repertoire, including her and Victor Barbee's own critically acclaimed staging of The Sleeping Beauty, described by New York Times former chief dance critic Alastair Macaulay as “one of the world's finer Sleeping Beauties.” Kent's steadfast commitment to the development of artists, rising choreographers, and the creation of arts education initiatives that benefit the community of our Nation's Capital, showcase her dedication to creativity, expression, and to propelling ballet forward into the 21st century.Kent is married to The Washington Ballet's Associate Artistic Director Victor Barbee, and, as a mother of two children, she has helped redefine the image of the American Ballerina.

We speak to Artistic Director of The Royal Ballet, Kevin O'Hare about guiding one of the largest opera houses in the world through a pandemic, his thoughts on the Netflix series 'The Crown', his film debut at the age of 7 and much more!Kevin O'Hare is Director of The Royal Ballet. Appointed in July 2012, he is responsible for driving the artistic direction of the Company. He is committed to the promotion of outstanding creativity and artistic excellence, developing talent and widening the Company's performing platform.O'Hare was born in Yorkshire and trained at The Royal Ballet School. He began his performing career with The Royal Ballet's sister company Sadler's Wells Royal Ballet, and stayed with that company as a Principal during its transformation into Birmingham Royal Ballet. During this time he performed extensively in the UK and internationally, including as a guest artist with many leading companies. His repertory included all the leading classical roles, such as Prince Siegfried (Swan Lake), Prince Florimund (The Sleeping Beauty), Albrecht (Giselle) and Romeo (Romeo and Juliet). O'Hare worked with many leading figures in the ballet world, including Ninette de Valois, Peter Wright, Frederick Ashton, MacMillan and David Bintley, as well as creating many roles. He also produced many galas and choreographic evenings.O'Hare retired from the stage in 2000, entering into a traineeship in company management with the Royal Shakespeare Company. This led to the post of Company Manager with BRB in 2001, and in 2004 he joined The Royal Ballet as Company Manager. He was made Administrative Director in 2009 before being appointed to his current role. Under his directorship the Company has been distinguished with numerous honours including the Olivier Awards, Benois de la Danse and Critics' Circle National Dance Awards. His collaborative approach to the industry is demonstrated in such initiatives as World Ballet Day and inviting guest UK ballet companies to share the stage for the 2017 MacMillan celebrations. He is on the board of The Royal Ballet School, Northern Ballet and the Royal Academy of Dance and is a Trustee of the Frederick Ashton Foundation. He was appointed a CBE in 2018.

En este episodio, Jessica y Cindy reciben el mes de Julio conversando brevemente sobre las larga y exitosa carrera de este coreógrafo y bailarín inglés nacido en Guayaquil. --- Support this podcast: https://anchor.fm/enavant/support

Welcome to the Instant Trivia podcast episode 108, where we ask the best trivia on the Internet. Round 1. Category: Celebrity Books 1: This pop artist published his philosophy "From A to B and Back Again" in 1975 and his "Diaries" in 1989. Andy Warhol. 2: His "Roasting in Hell's Kitchen" has been called "the essential autobiography for foodies". Gordon Ramsay. 3: He's written a slew of "redneck" books, including "You Might Be A Redneck If This is the Biggest Book You've Ever Read". Jeff Foxworthy. 4: This comedian's "shopgirl" was turned into a 2005 film staring himself and Claire Danes. Steve Martin. 5: In 1996 this comedian celebrated his 100th birthday with "100 Years: 100 Stories". George Burns. Round 2. Category: Spencers For Hire 1: Spencer was the middle name of this "Little Tramp". Charlie Chaplin. 2: Born in Lansing, Spencer Abraham represents this state in the U.S. Senate. Michigan. 3: As sec'y of this D.C. institution, Spencer Baird began the collection housed in its museums. Smithsonian. 4: This group's Stevie Winwood sang the following. The Spencer Davis Group. 5: This actor who played a famous priest at one time aspired to the priesthood. Spencer Tracy. Round 3. Category: Dance 1: Act II of this 1948 fairy tale ballet choreographed by Frederick Ashton is set at a palace ball. Cinderella. 2: Born in Italy in 1918 and raised from age 10 in New York, he was the top Spanish dancer of his time. Jose Greco. 3: First popular in Paris music halls around 1840 and considered vulgar, its name is French for "gossip". Can-Can. 4: For a contra dance, couples form 2 of these and face each other. Lines. 5: Goddess Pele made the earth shake, but some say her sister made Hawaiians shake by giving them this dance. the hula. Round 4. Category: Book Report 1: Boy, I never knew the Civil War's outcome was so close until I read "Unconditional Surrender", a bio of this general. Ulysses S. Grant. 2: I wish more poems were as funny as the ones in Shel Silverstein's "Where" this happens. the Sidewalk Ends. 3: I was touched by the story of Opal and the dog she names after this Southern supermarket chain. Winn-Dixie. 4: I liked "The Adventures of" this detective, except his friend Dr. Watson is really boring. Sherlock Holmes. 5: If I were Rebecca, I'd have stayed on this farm and not let them send me off to the town of Riverboro. Sunnybrook Farm. Round 5. Category: Historic Dates 1: He had a historic date with Nora Barnacle June 16, 1904, the day on which "Ulysses" is set. James Joyce. 2: The Egyptian government opened his mummy case on March 6, 1924. Tutankhamun. 3: In 1945 May 7 was called V-E Day and September 2 was called this. V-J Day. 4: This Spanish conqueror of Peru and the Incas was killed by his former followers June 26, 1541. Francisco Pizarro. 5: The Russian Revolution began Nov. 7, 1917, or Oct. 25 on this calendar named for Caesar. Julian calendar. Thanks for listening! Come back tomorrow for more exciting trivia!

Episodio en Inglés, si deseas verlo con subtítulos, te invito a ir a nuestro canal de YouTube. Julie Kent ha estado al frente del Washington Ballet desde julio de 2016 y fue la primera bailarina con mayor carrera en los 80 años de historia del American Ballet Theatre. Comenzó su formación en danza con Hortensia Fonseca en la Academy of the Maryland Youth Ballet en Bethesda, MD y asistió a sesiones de verano en American Ballet Theatre II y en la School of American Ballet antes de unirse a American Ballet Theatre como aprendiz en 1985. Ese mismo año , Kent ganó el primer lugar en las finales regionales de la Sociedad Nacional de Artes y Letras en el Kennedy Center. En 1986, fue la única estadounidense en ganar una medalla en el Concurso Internacional de Ballet Prix de Lausanne y se convirtió en miembro del cuerpo de ballet de ABT. Kent protagonizó la película de Herbert Ross "Dancers" en 1987 junto a Mikhail Baryshnikov. Fue nombrada solista con ABT en 1990 y bailarina principal en 1993, año en el que ganó el premio Erik Bruhn, en Toronto, y fue nombrada una de las "50 personas más bellas" de la revista People. En abril de 2000, Kent ganó el "Prix Benois de la Danse" siendo la primera estadounidense en ganar este premio. Más tarde ese año, Kent protagonizó la película "Center Stage" dirigida por Nicholas Hytner. En 2012, recibió un Doctorado Honoris Causa en Artes Escénicas de la Escuela de Artes de la Universidad de Carolina del Norte, así como un "Premio a la Trayectoria" de la Dance Magazine. Desde 2014, ha sido la embajadora de la marca de HANIA New York, por Anya Cole, una línea de suéteres tejidos a mano. Durante su carrera interpretativa, Julie Kent adquirió un vasto repertorio de más de 100 ballets, incluídos los principales papeles clásicos, dramáticos y neoclásicos en obras de Marius Petipa, George Balanchine, Jerome Robbins, Frederick Ashton, Kenneth MacMillan, John Cranko, Anthony Tudor, Michel Fokine, Agnes de Mille, Merce Cunningham, José Limón, Jiří Kylián, Ronald Hynd, Ben Stevenson y Christopher Wheeldon. Además, ha tenido papeles creados para ella por coreógrafos como John Neumeier, Lar Lubovitch, Mark Morris, Twyla Tharp, Alexei Ratmansky, Nacho Duato, Stanton Welch, James Kudelka, Jorma Elo, David Parsons, Jessica Lang y Natalie Weir. Sus apariciones como invitada incluyen invitaciones del Teatro Mariinsky, Teatro alla Scala, New York City Ballet, Stuttgart Ballet, Berlin Staatsballett, Australian Ballet, Bayerisches Staatsballett, Teatro Colón, Ballet de Santiago y otros. Antes de unirse al Washington Ballet, en agosto de 2015, después de una carrera de 30 años, Julie fue nombrada Directora Artística del Summer Intensive de ABT, un programa integral de verano para 1,400 estudiantes que se lleva a cabo en cinco localidades en los Estados Unidos. Julie Kent está casada Victor Barbee, director artístico asociado del Washington Ballet, desde 1996 y tiene dos hijos. Es una de las pocas mujeres líderes en todo el mundo en el papel de directora artística, Kent está redefiniendo la imagen y el impacto de la bailarina estadounidense.

This week’s Barre Talk guest is Kevin O’Hare, Director of The Royal Ballet. O’Hare’s ballet career began with The Royal Ballet’s sister company Sadler’s Wells Royal Ballet. He became a Principal dancer during its transformation into Birmingham Royal Ballet. He performed extensively in the UK and internationally with leading figures in the ballet world, including Ninette de Valois, Peter Wright, Frederick Ashton, MacMillan and David Bintley. O’Hare is celebrating his ninth season as Director of the Royal Ballet.

If you missed them, you may want to listen to the first podcasts in this series on basic movements of ballet in theory and practice: 014 “Powerful Plies” 016 “Tendus & What it Means to Stretch” 018 “Relever & Rising,” 019 “Tourner - turning, rotation, and creative U-turns,” and 020 “Sauter, Jumping, & Leaps of Faith.” Stay tuned for “Élancer - to dart,” the last installment of the series, still to come! In yoga, we cultivate steadiness and ease in our movements, which can create a graceful, smoothly gliding impression. Mentally, we practice detachment, a lack of resistance, skimming past obstacles, letting go of sticking points, and awareness of what serves us and how to let go of what does not. Moving towards winter, I especially enjoy Frederick Ashton's ballet “Les Patineurs,” a playfully gliding riff on an ice-skating rink. But truthfully, in ballet we do like a bit more friction between our feet and the surface beneath us than an ice skater does. Much of our early work as dancers is developing a relationship with the floor as well as with our own bodies, learning to balance and to slide with poised control. Indian actor Salman Khan said, “Have you ever seen a duck gliding smoothly on water? Does it ever look like it is paddling furiously underneath the surface? I don't have to show that I am working very hard,” to me this encapsulates the hidden effort of ballet. The exercise of tendus (discussed in more depth in episode #016!) are a practice in sliding one foot across the floor, and they eventually lead to glissade, which is a jump that involves sliding the feet across the floor and is performed either low-to-the-ground as a connecting step or with some elevation. In the book of her Russian ballet technique, Basic Principles of Classical Ballet, Agrippina Vaganova clarifies, “It would seem that the very name of this step indicates the gliding characteristic of it. Yet we see that this movement is very seldom distinguished from other movements, and is lost on the stage.” (p.96) Indeed, it is these small connecting steps that form the glue that creates the smooth whole of our dance performance. If you're listening in real time, we just passed the Autumnal Equinox and fall has officially arrived. Many seize this seasonal transition as an opportunity to let go of their own burdens where they can, allowing them to relax and enjoy the harvest time or move powerfully into the final quarter of the year. What can you release this season? May you glide into your week and this spectacular time of year, and visit me at ablythecoach.com for more helpful resources!

In this podcast former principal dancer and Artistic Director of the Joffrey Ballet, Ashley Wheater talks about his experience of leading the company for the last 13 years. Born in Scotland, Ashley was recently appointed MBE by the Queen for his exceptional service to dance in the UK. Ashley began his esteemed career training at The Royal Ballet School before joining the London Festival Ballet (now English National Ballet) and moving across the world to dance with The Australian Ballet and then onto the Joffrey Ballet and finally the San Francisco Ballet until he retired following an injury. Joffrey Artists Greig Matthews and Amanda Assucena. Photo by Cheryl Mann. Listen to Ashley share his experience of working with ballet greats including Frederick Ashton, George Balanchine, William Forsythe, David Bintley and more, plus acclaimed choreographers Christopher Wheeldon, Cathy Marsden, Stephanie Martinez, Justin Peck, Yuri Possokhov...and the list continues! As Artistic Director, Ashley gives an insight into building on the legacy of founding director, choreographer and dancer Robert Joffrey, what he looks for in dancers, how a company without a hierarchy works, his advice for the next generation of dancers, plus his vision for the future. PRESS PLAY. https://djwpodcasts.s3-eu-west-1.amazonaws.com/1wwwod/Joffrey+Ballet+Ashley+Wheater.mp3

Gillian Lynne is best known as the choreographer of Cats and Phantom of the Opera, among other West End hits. She received a lifetime Olivier Award earlier this year. But her career began more than seven decades ago, when she was spotted as a dancer by Ninette de Valois. She danced during the War, with doodlebugs falling around her and just two pianos in the pit - no orchestras, as all the men were away fighting. She danced in the first night at Covent Garden after the War, when audiences dusted off their evening clothes. She then moved into movies, playing a gypsy temptress in The Master of Ballantrae opposite Errol Flynn. The sexual chemistry wasn't confined to the screen - she and Flynn had an affair, though his drink problem meant 'He wasn't a great lover. At the end of the day, he couldn't... But he was a beautiful man.' As she developed as a choreographer, Gillian Lynne worked with the leading composers of the day, including Sir Michael Tippett. In fact she asked him to make changes in his Ritual Dances (from The Midsummer Marriage) so it would become a bit clearer what on earth was going on. 'I said to Colin Davis, I don't know what this is about. But I think it's about orgasms. He said, "Quite right, dear girl. Quite right!"' Now 87, Lynne talks frankly about her career, and people she has worked with, like Frederick Ashton and Dudley Moore. She is still working - 'If I didn't I'd keel over' - and thanks to her daily workout, she is still enviably fit. She tells the story of finding love for the first time when she was in her 50s - with a man 27 years younger than herself. She's naughty, irreverent, and fun; this is also priceless social history. Music choices include Fauré, Walton, Vaughan Williams, Tippett and Errol Garner. First broadcast in September 2013.

The New Elizabethans: Margot Fonteyn. James Naughtie considers the life and legacy of Dame Margot Fonteyn, widely considered to be one of the greatest classical dancers of the 20th century. She spent her whole career with the Royal Ballet and was appointed prima ballerina absoluta by The Queen. Her greatest artistic work was with the Russian star Rudolf Nureyev. Beginning in the 1960's when she was 42, he 24 - they formed an on and off stage partnership that lasted until her retirement in 1979. They debuted Kenneth MacMillan's Romeo and Juliet, and Frederick Ashton choreographed Margeurite and Armand for them, a role which wasn't performed by any other artists until the 21st century. The New Elizabethans have been chosen by a panel of leading historians, chaired by Lord (Tony) Hall, Chief Executive of London's Royal Opera House. The panellists were Dominic Sandbrook, Bamber Gascoigne, Sally Alexander, Jonathan Agar, Maria Misra and Sir Max Hastings. They were asked to choose: "Men and women whose actions during the reign of Elizabeth II have had a significant impact on lives in these islands and/or given the age its character, for better or worse." Producer: Alison Hughes.

Monica Mason, Director of The Royal Ballet and Guest Ballet Master, Christopher Carr, compare and contrast the works of Frederick Ashton and Kenneth Macmillan with emphasis on The Dream and Song of the Earth. Interviewed by Clare Thurman.

Dame Monica Mason has spent all of her working life at the Royal Ballet in London. Now 70 she is about to start her final season as Director of the Royal Ballet. In conversation with Norman Lebrecht she talks frankly and warmly of the experiences her various roles in the company have given her. Born in South Africa she first encountered ballet in Johannesburg and began to dance. After the sudden death of her father when she was just 13 she tells Norman how her mother brought her to London where they lived frugally in a bedsit in Finsbury Park. Monica got a place at the Royal Ballet School and then unexpectedly was put in the company. Here she immediately encountered some of the great figures in international ballet whom she talks about in this interview.. The founder of the Royal Ballet was Dame Ninette de Valois who was then at the helm and a figure who fought for the company throughout the war years but who inspired fear in many. Frederick Ashton was the founder choreographer of the company and later held the post of Artistic Director. Monica Mason tells of dancing in his full length ballet Ondine to music by Henze which he found difficult to work to, but generally she was not one of his favourite dancers. Monica also talks about Margot Fonteyn who for many years danced many of the best roles and continued past the normal age when dancers retire partly due to the arrival of Rudolf Nureyev with whom she formed a memorable partnership. Mason also talks of dancing with Nureyev herself. She found a more direct working partnership with Ashton's successor Kenneth Macmillan who built his version of Rite of Spring around her . Macmillan was a troubled man subject to dark moods who, when he discovered Monica was considering leaving as her dancing years came to an end, persuaded her to stay as his assistant. She agreed and worked closely with him and was there when he died suddenly backstage during an evening performance. Monica Mason remained during the difficult years of the 90s when the Royal Opera House went through a troubled period, continuing as assistant to Norman Morrice, Anthony Dowell and then Ross Stretton. And it was only after Stretton's sudden dismissal that she went into the role of Director herself, at first she thought, on a temporary basis. Soon after she was offered the job. She reflects on her experiences as Director and how she has tried to move the company on, appointing Wayne McGregor as resident choreographer and commissioning a new full length ballet from Christopher Wheeldon. Producer Tony Cheevers.

Monica Mason, Director of The Royal Ballet talks about the story of Frederick Ashton's famous ballet La Fille Mal Gardée.

Monica Mason, Director of the Royal Ballet talks about the story of Frederick Ashton's famous ballet La Fille Mal Gardée.

Tamara Rojo, Principal dancer for the Royal Ballet and Clement Crisp, dance critic, talks about the characters and storyline behind Frederick Ashton's ballet Ondine.

Sue Lawley's castaway this week is the Artistic Director of the Royal Ballet, Sir Anthony Dowell. His future was determined as a child when he stood before Dame Ninette de Valois with his trousers rolled to the knee. It took only a short glance at his legs for her to accept him into the Royal Ballet School. As he grew and developed as a dancer, his talent was spotted and soon the great choreographers Kenneth Macmillan and Frederick Ashton began creating roles for him. His outstanding technique and dramatic sense inspired generations of dancers. But now, as Director of the Royal Ballet, he fights to keep dance at the top of the arts agenda in the face of much criticism and controversy. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Eight English Dances by London Philharmonic Orchestra Book: Wind in the Willows by Kenneth Grahame Luxury: Sketch pad and paints

Sue Lawley's castaway this week is the Artistic Director of the Royal Ballet, Sir Anthony Dowell. His future was determined as a child when he stood before Dame Ninette de Valois with his trousers rolled to the knee. It took only a short glance at his legs for her to accept him into the Royal Ballet School. As he grew and developed as a dancer, his talent was spotted and soon the great choreographers Kenneth Macmillan and Frederick Ashton began creating roles for him. His outstanding technique and dramatic sense inspired generations of dancers. But now, as Director of the Royal Ballet, he fights to keep dance at the top of the arts agenda in the face of much criticism and controversy. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Eight English Dances by London Philharmonic Orchestra Book: Wind in the Willows by Kenneth Grahame Luxury: Sketch pad and paints

Roy Plomley's castaway is choreographer Sir Frederick Ashton.Favourite track: Piano Concerto No. 21 in C by Wolfgang Amadeus Mozart Book: A La Recherche Du Temps Perdu by Marcel Proust Luxury: Cards

Roy Plomley's castaway is choreographer Sir Frederick Ashton. Favourite track: Piano Concerto No. 21 in C by Wolfgang Amadeus Mozart Book: A La Recherche Du Temps Perdu by Marcel Proust Luxury: Cards