Celebration of Dance

Frederick Ashton, who was knighted in 1962 for his services to ballet, is one of the most prominent figures in the history of dance and is regarded as one of the defining artists of 20th-century ballet of the 20th century. In 1935, he was recruited by Ninette de Valois to join the Vic-Wells Ballet—which would first become the Sadler’s Wells Ballet and later the Royal Ballet in London— as a dancer and chief choreographer; his career is closely linked to the famous London company: From 1942 to 1963, Ashton served as deputy director, and from 1963 to 1970 as director of the Royal Ballet.

With his lyrical, clear, and deeply musical choreographic language, Ashton shaped English dance like no other. His un­mistak­able style, de­fined as the “English style,” is par­ticularly char­acterized by fast, precise footwork, an emphasis on épaulement (posture of the head and shoulders), and a flexible upper body. What unites all his works is the subtle combination of elegance and the highest technical standards.

This year’s balletgala pays tribute to this great artist and offers insights into Ashton’s comprehensive body of work, featuring iconic moments from his choreo. The gala opens with *Rhapsody*, one of Ashton’s final works, created for Mikhail Baryshnikov. In this work, the fusion of the lyrical English style with the brilliance of Russian technique comes into its own: “A timeless masterpiece of classicism and radiant artistic virtuosity.”

In addition to the solo “Dance of the Blessed Spirits ” set to the music of Christoph Willibald Gluck—which expresses Orpheus’ longing for Eurydice, his Pas de quatre from Swan Lake, and the Pas de deux “Voices of Spring” to Johann Strauss’swaltz by Johann Strauss, the program also features a pas de deux from Ashton’s ballet comedy *La Fille mal gardée*: “Frederick Ashton’s *La Fille mal gardée* perfectly embodies the principles of this great master: From the very beginning of his career, he was equally committed to preserving tradition and to innovation. His sense of romance, his humor, his charm, and his sense of style characterize his entire body of work and culminate in this piece, which, though deeply rooted in tradition, has nonetheless become his most authentic expression. In short: an “Ashton ballet”—a label that stands in for all the hymns of praise sung in honor of this ballet.” (Alfred Oberzaucher)

Alessandra Ferris’s curation of the gala also sheds light on choreographic intersections and the intense relationships between Ashton andthese artists. For example, the Grand Pas de deux from *Le Corsaire*, danced electrifyingly at Covent Garden in 1962 by Margot Fonteyn and Rudolf Nureyev —Ashton played a decisive role in bringing together one of the most legendary couples in ballet history – as well as the moving solo *The Dying Swan*, choreographed by Michel Fokine for Anna Pavlova, the ballerina whom Ashton always admired and who inspired his desire to become a dancer, are not to be missed.

George Balanchine, a choreographer whom Ashton deeply respected, brings the gala to a close with his glamorous “Diamonds” from *Jewels *. Christopher Wheeldon’s evocative *Within the Golden Hour* celebrates its Vienna premiere: “With his ballet artistry, the British choreographer stands firmly in the tradition of Frederick Ashton and builds a bridge to George Balanchine. The 2026 Ballet Gala will be an unforgettable celebration of dance, taking the audience on a journey through the shared artistic vision of these choreographers,” said Alessandra Ferri.

As part of the global festival Ashton Worldwide 2024–2028, marking Ashton’s 120th birthday in 2024 and the 40th anniversary of his death in 2028, which celebrates the universal appeal of his works as well as his artistic legacy, the 2026 ballet gala promises a spectacular end to the season.