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Voices of British Ballet

Voices of British Ballet
Voices of British Ballet
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  • Leo Kersley
    In this podcast, the dancer and teacher Leo Kersley discusses his formative years in London in the 1930s and the many different companies he eventually worked with during the Second World War, including a stint at the Windmill Theatre. Talking to Patricia Linton, director of Voices of British Ballet, he also mentions how, as a conscientious objector, he was briefly imprisoned at the start of the war. The interview is introduced by Jane Pritchard.Leo Kersley was born in poverty in Hertfordshire in 1920. His family having moved to London, he studied dance under a number of teachers, including Marie Rambert at the Mercury Theatre in 1934, dancing professionally from time to time. He was a soloist in Ballet Rambert from 1936 to 1939, and in 1939 worked for the Ballet Trois Arts.On the outbreak of World War Two in 1939, he registered as a conscientious objector and was briefly imprisoned. On his release, during 1940 and 1941 he combined his work in a hospital with dancing for Rambert in the evenings alongside his first wife, Celia Franca. He was a member of Sadler’s Wells Ballet from 1941-1942, and then the International Ballet. He was a member of the Anglo-Polish Ballet from 1942-1943. From 1945 until 1951 Kersley performed with Sadler’s Wells Theatre Ballet. In 1952, Kersley went to teach in Denver, Colorado, and in 1953 to Rotterdam in The Netherlands. Whilst there he danced with a number of companies but returned to England in 1959 to set up his own school in Harlow, which he ran until his second wife, Janet Sinclair. With Sinclair, who died in 1999, he published the well-regarded Dictionary of Ballet Terms in 1952. PhotoAnne Heaton (as A Serving maid), Leo Kersley (as A Shepherd) in THE GODS GO A'BEGGING; Sadler's Wells Opera Ballet; at Sadler's Wells Theatre, London UK 1946;Credit : Frank Sharman / Royal Opera House / ArenaPAL.com Hosted on Acast. See acast.com/privacy for more information.
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  • Lucette Aldous
    You can hear in her voice how much Lucette Aldous appreciated and revelled in every step of her way from Ballet Rambert to Festival Ballet and The Royal Ballet. There’s a fascinating glimpse of the young Kenneth MacMillan and later the mindfulness of the much older John Field. In conversation with Patricia Linton, Lucette speaks about joining – and then leaving – Ballet Rambert; about working in Festival Ballet with John Gilpin and being taken under Anton Dolin’s wing, especially for Giselle; about how, when she went to The Royal Ballet, Field ‘wrapped his ballerinas in cotton wool’; and about how MacMillan’s earlier approach to choreography differed in his later ballets. The interview is introduced by Deborah Weiss.Lucette Aldous was born in New Zealand in 1939, but lived in Sydney, Australia, from the age of three months. After studying in Sydney, she won a scholarship to study at The Royal Ballet School in 1955. She joined Ballet Rambert in 1957, being promoted to ballerina in 1958. She went to Festival Ballet in 1963, dancing with John Gilpin, and then in 1967, at the behest of John Field, to The Royal Ballet.Aldous returned to Australia in 1970 and joined The Australian Ballet. When there she was invited to work with the Kirov Ballet, one of the first Australian dancers to be so honoured. Acclaimed in many ballerina roles of all parts of the repertoire, her partnerships with Rudolf Nureyev in The Nutcracker for The Royal Ballet and in Don Quixote for The Australian Ballet were noteworthy. She retired from dancing in 1976, subsequently teaching in Perth, Western Australia. In 2018 Lucette Aldous was made a Companion of the Order of Australia. She died in 2021. Hosted on Acast. See acast.com/privacy for more information.
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  • Kenneth Olumuyiwa Tharp
    In conversation with Alastair Macaulay in 2019, Kenneth Tharp conveys a multitude of observations, along with historical content, and both personal and professional insights. He paints a picture of a vibrant moment in the unfolding of dance history in this country and all the key people of this moment are there. The interview is introduced by Alastair Macaulay.Kenneth Olumuyiwa Tharp, a key figure in UK arts and culture, was born in Croydon in 1960, with a Nigerian father and an English mother. He attended the Perse School, Cambridge, and the Cambridge College of Arts and Technology, before training at the London Contemporary Dance School, graduating in 1981. When the LCDS began offering degrees he returned to study whilst a member of the London Contemporary Dance Theatre and gained a first-class degree in 1987.He performed professionally as a dancer for 25 years, first with the London Contemporary Dance Theatre (from 1981 until 1994) and then with Arc Dance Company (from 1994 to 2005). He was co-director of Artyfartyarts, a multidisciplinary arts group, and he has choreographed over 45 dances. He was chief executive of The Place from 2007 until 2016, and director of The Africa Centre, London from 2018 to 2020. He has worked with The Royal Ballet School’s Dance Partnership and Access Programme as a choreographer, teacher, director and advisor, and taught for many years at The Royal Ballet School’s Summer School at White Lodge. Among many other roles in the arts, he has served on the board of the Royal Opera House, and as a trustee of Matthew Bourne’s New Adventures Company and the Chineke! Foundation and Orchestra. Kenneth Olumuyima Tharp was appointed an OBE in 2003 and a CBE in 2017, both for services to dance. Hosted on Acast. See acast.com/privacy for more information.
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  • Keith Money
    Keith Money is a pioneering photographer of ballet. He moved from loving and photographing horses to loving and photographing dancers. He decided he wanted to see the nuts and bolts of a dancer’s life, so he developed an entirely different approach to ballet photography. In this podcast he explains to Patricia Linton how it was watching Margot Fonteyn and her artistry that first inspired him to work with dancers. The interview is introduced by Tobias Round who is the son of dance photographer, Roy Round.Keith Money was born in New Zealand in 1927 and educated there. He received a Fine Art degree from the Elem School of Fine Art before setting off for the country of his English forbears. Gifted in four disciplines, writing, photography, and painting in oil and watercolour, he has written, painted and travelled extensively.Initially a contributor and illustrator for a variety of equestrian publications, Money also wrote for national newspapers and journals. He then authored books of his own and published collections of his own extraordinary photographs, as well as painting in oils and watercolour. Throughout the 1960s, 1970s and 1980s he had both solo exhibitions and was included in many others. His work has given lasting pleasure. The nub of it all is his wonderful eye, whatever his subject, whether it is horses, dancers or skies; and it is this that will hold true for posterity. Hosted on Acast. See acast.com/privacy for more information.
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  • Joseph Horowitz
    Joseph Horowitz is the composer of16 ballets scores, two one-act operas, five string quartets, nine concertos, and many works for wind and brass, as well as music for television. He made his Royal Ballet debut in 1990, revising Adolphe Adam’s score for Peter Wright’s production of Giselle. Other ballets include Alice in Wonderland, composed for Festival Ballet in 1953. In this episode he explains to Patricia Linton that his early enthusiasm was for the visual arts, and that it was only from about the age of 19 that he turned seriously to music. After a degree at Oxford University, he attended the Royal College of Music and then went to Paris for revelatory study with the legendary Nadia Boulanger. While there he went to Boris Kochno’s ballet class, saw Yvette Chauviré dance (which greatly inspired him), and was given sage advice on writing for the ballet by Roland Petit. After that, in 1951 he conducted for Colonel de Basil’s Ballet Russe, at the end of their existence. Colin Davis, a contemporary as a student, was co-conductor, and the ballet master was Serge Grigoriev, whose musical understanding turned out to be somewhat idiosyncratic. The episode is introduced by Stephen Johnson.Joseph Horowitz, the British composer and conductor, was born to a Jewish family in Vienna in 1926. His father was the co-founder of Phaidon Press, which he founded in 1923. In 1938, the family emigrated from Austria, to escape the Nazi threat, and to seek a safer life in England. Horovitz read music and modern languages at New College, in Oxford, while simultaneously giving piano recitals for army camps during the war. This progressed to studying composition at the Royal College of Music in London under Gordon Jacob, where he won the Farrar prize. He then went to Paris to continue his studies under Nadia Boulanger.In 1950, Horovitz became the music director of the Bristol Old Vic. During the Festival of Britain in 1951 he conducted ballet and concerts at the Festival Amphitheatre in London. He then conducted for Colonel de Basil’s Ballet Russe. During the 1950s, a number of his compositions were broadcast on the BBC, and in 1961 he became Professor of Composition at the Royal College of Music where he was later awarded an Honorary Doctor of Music.As well as the Commonwealth Medal in 1959, Jospeh Horowitz won many awards for his music, both in this country and abroad. He died in 2022.Image: © Wolfgang Jud Hosted on Acast. See acast.com/privacy for more information.
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About Voices of British Ballet

Voices of British Ballet tells the story of dance in Britain through conversations with the people that built its history. Choreographers, dancers, designers, producers and composers describe their part in the development of the artform from the beginning of the twentieth century. Hosted on Acast. See acast.com/privacy for more information.
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