Frederick Ashton

As young dancers, they were best friends and fierce rivals. Deedee left the stage for marriage and motherhood, while Emma would become an international ballet icon. But when Deedee's teenage daughter is invited to join Emma's dance company and begins an affair with a young Russian star, the two women are forced to confront the choices they've made, the resentments they've hidden and the emotional truths they must face at the turning point.

A melancholy poet reflects on three women he loved and lost in the past: a mechanical performing doll, a Venetian courtesan, and the consumptive daughter of a celebrated composer.

Passengers on an ocean liner recall their greatest loves.

The Royal Ballet Company brings Squirrel Nutkin, Tom Thumb, Hunca Munca, Jemima Puddle-Duck, Jeremy Fisher, Pigling Bland, and Pigwig to the screen doing pirouettes and pas de deux in this filmed ballet production directed by Reginald Mills. The film more properly belongs, however, to choreographer Frederick Ashmore, composer John Lanchbery, and costume designer Rostislav Douboujinsky. This literal adaptation concerns the shy Beatrix Potter and how, when all of the toy animals in her room come to life, she emerges from her shell and begins to enjoy life. Sequences include a rowdy dance with Tom Thumb and Hunca Munca destroying a collection of plaster food, a midnight pas de deux between Pigling Bland and Pigwig, and a corps de ballet of dancing mice.

‘Ondine’, a ballet by Frederick Ashton, premiered at the Royal Opera House, Covent Garden, on 27 October 1958, with Margot Fonteyn in the title role of the water nymph. In this 2009 revival (27 May 2009 to 8 June 2009) at the Royal Opera House, Covent Garden, in London, the role of Ondine is performed by Miyako Yoshida, in the spellbinding underwater world of Ondine, staged by the Royal Ballet. Frederick Ashton’s shimmering choreography, Lila de Nobili’s impressionistic sets and Hans Werner Henze’s vibrant and inventive score, composed especially for the occasion, combine in an unforgettable way to evoke the myriad moods and colours of the sea.

Prince Siegfried is celebrating his coming of age. The Queen Mother informs him that, the following day, during the grand ball held to mark his birthday, he must choose a future wife. Displeased at not being able to choose her out of love, he goes into the forest during the night. It is then that he spots a flock of swans. He raises his crossbow, prepares to shoot, but stops immediately: before him stands a beautiful woman dressed in white swan feathers, followed by twelve other women dressed in the same way, four of whom are known as the ‘little swans’. ‘Swan Lake’ is a ballet by Pyotr Ilyich Tchaikovsky, comprising 4 acts and 4 scenes, or 3 acts and 4 scenes. The staging is based on a libretto by Vladimir Begichev and Vasili Geltser. The story is an ancient German legend recounting the tale of the beautiful Princess Odette, transformed into a swan by the curse of the evil sorcerer Rothbart. Recorded live at the Royal Opera House, Covent Garden, on 17 March 2015.

Frederick Ashton's La Fille mal gardée (The Wayward Daughter) is one of the choreographer's most joyous and colourful creations. Inspired by his love for the Suffolk countryside, the ballet is set on a farm and tells a story of love between Lise, the daughter of Widow Simone, and Colas, a young farmer. It contains some of Ashton's most stunning choreography, most strikingly in the series of energetic pas de deux that express the youthful passion of the young lovers, performed here by Natalia Osipova and Steven McRae. The ballet is laced with exuberant good humour, and elements of national folk dance, from dancing chickens and a maypole dance to a Lancashire clog dance for Widow Simone, performed by Philip Mosley.

The wicked fairy Carabosse is furious she wasn’t invited to Princess Aurora’s christening. She gives the baby a spindle, saying that one day the Princess will prick her finger on it and die. The Lilac Fairy makes her own christening gift a softening of Carabosse’s curse: Aurora will not die, but will fall into a deep sleep, which only a prince’s kiss will break. The masterful 19th-century choreography of Marius Petipa is combined with sections created for The Royal Ballet by Frederick Ashton, Anthony Dowell and Christopher Wheeldon. Recorded live as part of the Royal Opera House Live Cinema Season 2019/20 with encore screenings broadcast online during the #OurHousetoYourHouse programme.