Ballet Central

Valses Nobles et Sentimentales premiered 1 October 1947 by Sadler’s Wells Ballet at Sadler’s Wells, London.

Ashton had used Valses Nobles et Sentimentales for his 1935 Valentine’s Eve for Ballet Rambert, and he revisited Ravel’s ravishing, swooning score for his new 1947 piece for Sadler’s Wells Ballet, which encapsulated the postwar yearning for glamour, style and elegance in a Britain bankrupted by World War II and still dominated by austerity and rationing.

Sophie Fedorovitch designed Ashton’s ballet against an abstract décor of screens and silhouetted palms, suggesting a ballroom, with luscious velvet and tulle costumes in maroon and pink, redolent of both the original 1830s Romantic ballet and the exhilarating Parisian catwalk designs of Christian Dior’s 1947 New Look, with its elegantly exaggerated feminine tailoring and extravagant yards of swirling skirts. Nothing could have captured so completely the glamorous, escapist dreams of a glumly rationed post-war Britain.

By Tim Tubbs

Choreography – Frederick Ashton

Founding Choreographer of The Royal Ballet Frederick Ashton (1904–88) was one of the most influential dance figures of the 20th century. In his work with the Company he developed the distinctive ‘English style’, and left a vast corpus of works that are regularly performed by The Royal Ballet and companies around the world, among them La Fille mal gardée, Marguerite and Armand and Symphonic Variations.

Ashton was born in Ecuador to British parents. He first saw ballet when Anna Pavlova performed in Lima in 1917, later claiming ‘from the end of that evening I wanted to dance’. In England Ashton was tutored by Leonid Massine and made his choreographic debut for Marie Rambert in 1926. After working with Rambert and Ida Rubinstein, in 1935 he was appointed Resident Choreographer of Vic-Wells Ballet (later The Royal Ballet) by Ninette de Valois. With De Valois Ashton played a crucial role in determining the course of the Company and The Royal Ballet School. In 1963 he took over from De Valois as Director of the Company and in addition to choreographing introduced several significant works, including Bronislava Nijinska’s Les Noces and George Balanchine’s Serenade, and commissioned Kenneth MacMillan’s Romeo and Juliet. He retired in 1970 but continued to choreograph throughout his life, producing his last major work, Rhapsody, in 1980.

Ashton’s style is distinctive for its épaulement (the way the head and shoulders are held) and fleet footwork. All his works combine elegance with breathtaking technical demands.

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