Classical ballet and recorders?

share this article

White Lodge, the Royal Ballet School's junior wing: now undergoing a £22 million redevelopment
White Lodge, the Royal Ballet School's junior wing: now undergoing a £22 million redevelopment
The recorder is indelibly associated with school and dreaded first music classes, but the association will be on a considerably higher plane on 21 June when the world recorder star Michala Petri combines with the Royal Ballet School for a one-off show on Midsummer’s night.

michalapetriStaged at the school’s White Lodge, Richmond Park, the performance is a fund-raiser to redevelop the grade 1-listed 18th-century former royal hunting lodge, which has taken a battering from centuries of first riding boots, then ballet shoes. The programme, titled A Magical Misummer’s Night, has Petri (pictured right) accompanied by guitarist Lars Hannibal playing music associated with birds, and involving a wide selection of recorders.

There will be a ballet for the pupils, set to a programme of Scheindienst Variations for recorder played by Petri. The event is one of the highlights of the Petersham Festival in Richmond, which runs through the summer and also includes organ recitals by Simon Preston and Christopher Herrick.

White Lodge was built in 1727 by architect Roger Morris for George II, and its use switched between royals and prime ministers for almost 200 years - Edward VIII was born there. The royal family finally abandoned it in the Twenties, due to the lack of privacy, and it became privately owned until the Fifties. Sadler's Wells Ballet School took it over in 1955, and the school is now in the throes of a £22million redevelopment project.

  • The Royal Ballet School website - the school's public end-of-year performances are at the Linbury Studio Thatre, Royal Opera House, 30 June-3 July, and the main stage Royal Opera House Matinee 11 July
  • The Petersham Festival website

rating

0

share this article

Support the future of arts journalism

Subscribe to theartsdesk.com

Thanks so much for choosing genuinely independent arts journalism theartsdesk’s mission has never been more important – in an age of relentless algorithmic recommendation, sponsored content and unreliable AI, the expertise and discernment of individual critics deeply embedded in their specialist areas is absolutely vital.

If you want more of that in your life, why not subscribe now?

If you do this before the 31st August, you’ll be able to keep at this “founders rate” for life: your subs will never increase! You can choose to subscribe annually for just £40 simply click here
or monthly for £5 per month simply click here.

Not ready to subscribe?

If you want to support with a little extra or aren’t ready to subscribe just yet, there’s also the option to give direct to our crowdfunder to support our imminent redesign and exciting expansion with new features and collaborations Simply contribute here: https://gofund.me/c3f6033d.

However you choose to be involved, you can proudly say that you are picking the right side in the battle for truth and humanity in the modern information landscape. And we will be very glad to have you on board!

more dance

Much-appreciated words of commendation from readers and the cultural community
Aakash Odedra is superb as a tortured creature seeking freedom and transcendence
Double bill takes the Royal Ballet dancers to unusual new heights
The latest tranche of Korean contemporary dance offered a mesmerising instant classic
A handsome production in need of a stronger score and deeper characterisation
A triptych of ambitious works by Wayne McGregor fails the sandwich test
Getting it very right and very wrong in this contemporary double bill
After 25 years and counting, Cassa Pancho's fine company remains essential
The kindly Skoog made history as a brutal Interrogator in a classic modern ballet
The craic's 90 in Michael Keegan-Dolan's extraordinary wild ride of an evening
The great dance-theatre maker’s 2008 piece makes a timely London debut