Ballet Nights 009: Bound In Motion

Summer is in full swing, but we’re already looking ahead to September and the return of Ballet Nights. Our ninth edition is just around the corner; a bold new programme that brings together exciting artists who are all shaping the dancing world in their own way, but together Bound in Motion.

In a small break with tradition, our Ballet Nights House Concert Pianist, Viktor Erik Emanuel, won’t be stepping into the Spotlight alone to open the show, but rather joined by violinist, Michael Bochmann MBE, performing Henri Wieniawski’s Polonaise de Concert, Op.4 in D Major. Having last performed together in Ballet Nights 007: Pillars and Pioneers, this is sure to be an electric reunion, opening the programme with a bang. 

It also won’t be the last you see of Viktor that night, as he returns to open Act II with Gaspard De La Nuit, M.55: III Scarbo. The third and final movement of a piano suite by Maurice Ravel, composed in 1908; it’s one of the most technically demanding pieces in the piano repertoire and is known for its dark, fantastical, and nightmarish quality. Ravel once said he wanted to write something more difficult than Balakirev’s Islamey, and this movement is the result. It pushes both performer and listener into a strange, flickering world where reality and nightmare blur. Having been involved in every Ballet Nights since its inception, we are always thrilled to welcome Viktor Erik Emanuel back on to the stage.

The live music doesn’t stop there, with Cello Soloist, Rebecca Hepplewhite accompanying First Artist of The Royal Ballet, Denilson Almeida in a reimagination of the iconic solo, The Dying Swan, choreographed by Principal of The Royal Ballet, Calvin Richardson. Capturing the final moments in a symbol of beauty, fragility, and fleeting grace, this new interpretation takes on fresh physicality and emotional depth while honouring its iconic roots. Set to the aching strains of Saint-Saëns’ Le Cygne, it’s a quiet, powerful meditation on life, loss, and transformation.

Following this, we are thrilled and honoured to host the London Debut of Ballet D’Jerri, Jersey’s National Ballet Company, who will perform Footsteps, choreographed by Garrett Smith to music by Imogen Heap. A company founded in 2022 under the Artistic Direction of Carolyn Rose Ramsay, it is dedicated to creating bold, contemporary dance that resonates with local audiences as well as representing the Channel Islands on international stages.

If you attended Ballet Nights New Voices, Ballet Nights Glasgow, or Ballet Nights 008: Spring into Show, and were mesmerised by the sharp, intricate and explosive moves of Faye Stoeser and Hannah Ekholm, making up the choreographic duo Ekleido - gear up for their new piece, Femina. Joined on the main stage by Jasper Narvaez, Roshaan Asare, Rory Clarke; this is not one to miss.

Another set of Ballet Nights Favourites and Principals of English National Ballet, Sangeun Lee & Gareth Haw will also be returning once again to the Cadogan Hall Stage, performing William Forsythe’s Slingerland Duet. A masterclass in classical precision reimagined through a contemporary lens, stripped of narrative and ornamentation, the duet draws attention to the architecture of ballet itself - line, balance, counterbalance, and the dialogue between bodies in space. The movement is both exacting and fluid, with intricate partnering that explores weight, timing, and trust. Forsythe stretches classical vocabulary to its limits, allowing moments of extreme extension, suspended stillness, and unexpected shifts in momentum. With its cool clarity and geometric beauty, Slingerland Duet is both an homage to and a deconstruction of traditional pas de deux form.

As if Act I wasn’t packed enough, it is headlined by Spanish Viral Flamenco Sensations, Andrés Barrios and El Yiyo. Barrios brings a rich, jazz-inflected take on flamenco piano, rhythmic, lyrical, and full of surprise; while El Yiyo electrifies the stage with percussive footwork, commanding presence, and raw emotion. Together, they push flamenco into new territory, blending tradition with innovation. The result is both deeply rooted and thrillingly fresh; a meeting of two artists who speak the same passionate language in entirely different ways.

Kicking off Act II, with a new work choreographed by another Ballet Nights fan-favourite, Jordan James Bridge, whose work embodies a physical intelligence in every phrase, with choreography that feels both architecturally complex and instinctively human. Whether solo or ensemble, Bridge’s work carries a quiet intensity; a dance of thought, body, and feeling in perfect conversation. This new work, Flux, will be performed by up and coming star of The Royal Ballet, Caspar Lench, who joined us last for Ballet Nights Glasgow, performing 324a, choreographed by Soloist of The Royal Ballet, Joshua Junker.

Speaking of Rising Stars, the next piece Sirens is choreographed by Omar Toussaint, a student of Rambert School entering his third and final year. Performed by fellow students Keavie Holliday, Morgan Phillips, and Chloe Hurn; it promises to be a thrilling and confident display of emerging talent - a bold preview of the new voices emerging into the dancescape. 

As the penultimate piece, Glasgow born Star of Gauthier Dance, Andrew Cummings, will perform Marco Goeke’s Infant Spirit; a piece created for Gauthier Dance back in 2018, as an Homage to Pina Bausch after her death. A deeply emotional solo, the work brought a tear to Artists backstage, as well as audiences at Ballet Nights Glasgow, and we are thrilled to bring it south to London’s Main Stage.

Though the magic won’t be over yet, with the final act headlined by Star Principals of The Royal Ballet, Fumi Kaneko and Vadim Muntagirov, performing George Balanchine’s Apollo Pas de Deux; the first of any Balanchine seen at Ballet Nights. Originally choreographed in 1928 to Igor Stravinsky’s score, the full ballet tells the story of the Greek god Apollo’s journey from youth to maturity, guided by the three muses - Calliope, Polyhymnia, and Terpsichore. Balanchine’s choreography emphasizes clean lines, neoclassical purity, and a sense of restrained elegance. The movement is precise yet expressive, combining grandeur with subtle lyricism. Apollo is celebrated for its innovative structure and its role in defining Balanchine’s signature style—where classical technique meets abstract storytelling, creating a timeless exploration of artistic inspiration and growth. To see this piece performed by Vadim and Fumi, such incredible and accomplished Principals of The Royal Ballet, promises to be truly special. A rare opportunity to witness artistry and technical mastery combined in a performance full of depth, elegance, and emotional power.

With two nights at Cadogan Hall on the 10th and 11th of September, book now to secure the best seats in the house for this packed and exciting programme, and join us for BOUND IN MOTION.