Ballet Nights 011: Convergence, From The Producer

The Producer
6 days ago
5 min read

Ballet Nights is always packed full of extraordinary stars, placed alongside new discoveries and exciting happenings, celebrating the true breadth and talent this art form has to offer. Then again, you might expect me to say that, given I am the producer of the show. That said, having worked on this programme since January, I am still in awe of how jam-packed it is and would, aside from contractual responsibilities, be encouraging everyone to see Convergence next Wednesday.

Returning to Cadogan Hall for its eleventh London programme, the line-up is ambitious and full of unmissable moments, from the UK debut of Pittsburgh Ballet Theatre and Taiwan’s internationally acclaimed B.DANCE, to companies joining us from closer to home: Birmingham Royal Ballet and English National Ballet.

As usual, music remains central to Ballet Nights programming. Kicking off the night, Quartet Concrète returns with String Quartet No. 9 in C major, Op. 59 No. 3 (“Razumovsky”). A work commissioned by Count Andrey Razumovsky, it opens with a brief, mysterious introduction before unfolding with energy and clarity, moving through elegance and wit to a brilliant fugal finale. Here, Beethoven combines Baroque technique with driving momentum, bringing the quartet to an exhilarating close.

With the mood and stage set, Pittsburgh Ballet Theatre takes to the stage for the first of two works performed that night, an important moment for a company never before seen in the UK. Founded in 1969 by choreographer Nicolas Petrov and arts advocate Loti Falk, who believed Pittsburgh should have a world-class ballet company, it carries a rich legacy of classical and contemporary repertoire and is renowned on the international stage. Tonight, Hannah Carter and Lucius Kirst perform the late Ben Stevenson’s 1st Movement from Three Preludes, a work made all the more poignant given his recent passing.

Keeping the audience on their feet, next up is Germain Zambi, a Krump star performing his own work Frame. Born in Congo and raised in Italy, he later settled in France, where he developed his artistic career. Initially trained in breakdancing and hip-hop, he found his true expression in Krump, a highly emotional and explosive dance style originating in Los Angeles. Zambi’s work stands out for blending street dance with contemporary and musical influences, creating performances that are both powerful and nuanced. I am personally very excited for this one; you can't say it is often that you see Krump alongside world ballet stars.

At Ballet Nights, we are thrilled to continue showcasing New Futures in dance, with English National Ballet School joining Convergence to perform Lynne Charles’ Études on the Theme of Satie. At its core, the piece draws on the concept of the étude, a short musical composition traditionally created to refine technique or showcase artistic skill. In this choreographic interpretation, the étude becomes more than an exercise; it transforms into a living, breathing embodiment of growth. Each phrase of movement serves as both practice and performance, revealing the discipline required to master form while embracing the vulnerability of expression. It is always such a pleasure to work with these schools, and we’re only just getting started, with Ballet Nights New Futures only a few months away.

B.DANCE from Taiwan joins the international line-up next, with Hsin-Chien Chou and Shu-Han Yeh performing Po-Cheng Tsai’s Floating Flowers. The work is inspired by a traditional Taiwanese religious celebration that takes place during the Ghost Festival, one of the most beautiful and popular Buddhist ceremonies in the country. Floating lanterns placed on water are meant to worship deities, send away bad luck, and bring happiness. In Southeast Asian culture, the lanterns carry wishes and pay respects to the deceased. In Po-Cheng Tsai’s childhood, his father would take him to the festival, guide him in writing his wishes on the lanterns, and set them adrift to watch them flow down the river. Since his father’s passing, Tsai speaks about how he lost faith in the ritual but was inspired to create Floating Flowers to honour his father and free himself from those memories.

If Act I wasn't promising enough, it ends with a very special moment, bringing former Principal of The Royal Ballet and English National Ballet, Alina Cojocaru, together with former Principal of the Vienna State Opera, Denys Cherevychko, to perform George Balanchine’s celebrated Diamonds Pas de Deux, from the full-length ballet Jewels. Dazzling and classical in style, it evokes the splendour, with white tutus and an atmosphere of ceremonial pageantry. The work pays homage to Balanchine’s training in St Petersburg and the legacy of the Mariinsky Theatre, inspired by his visit to the jeweller Van Cleef & Arpels.

Opening Act II, Ballet Nights house concert pianist Viktor Erik Emanuel returns to perform Widmung. Originally written in 1840 as a song for his wife Clara, it is one of Robert Schumann’s most heartfelt expressions of love. Franz Liszt’s piano transcription transforms the lyrical original into a virtuosic solo work, preserving its warmth and passion while expanding its emotional and technical range. Blending intimacy with brilliance, the piece reflects both Schumann’s poetic voice and Liszt’s dazzling pianism. We have worked with Viktor since Ballet Nights 001, and it is always a pleasure to have him with us at Cadogan Hall.

Denys Cherevychko then returns to perform Les Bourgeois. Set to Brel’s sharp and spirited chanson, it is a witty and theatrical solo that blends classical virtuosity with playful character work. With humour, charm, and precise musicality, the dancer brings the song’s satirical edge to life, transforming it into a vibrant display of personality and technical brilliance. Having seen this work in Manchester, Brighton, and Richmond, I certainly won’t be saying no to seeing it again.

Next, Birmingham Royal Ballet’s Ixan Llorca Ferrer and Samara Downs, hot off their run of Don Quixote at Sadler’s Wells, perform Peter Darrell CBE’s pas de deux from Chéri. Based closely on the novel, the ballet is set in Paris in 1910 and explores themes of ageing and lost love. It tells the story of the final days of a long-running affair between Léa, a still-beautiful but no-longer-young courtesan, and her handsome but spoiled lover, Chéri, who is half her age. The pas de deux comes from Scene 4, the wedding scene, where, after the guests depart, Léa reflects on her future before Chéri returns for a private farewell.

Representing another leading UK company, Fabian Reimair, Swanice Luong, and Martinho Santos of English National Ballet take the stage with Bloom, Then Fade, choreographed by Rentaro Nakaaki. A piece that explores the universal passage of grief through the image of a cherry blossom tree. This evening of dance, full of unmissable moments, ends as it began, with Pittsburgh Ballet Theatre’s Hannah Carter and Lucius Kirst returning to perform the Nutcracker Pas de Deux, a preview of Trey McIntyre’s new production set to premiere in 2027. For some audiences, it may seem unusual to watch an excerpt from The Nutcracker after a weekend of sunshine and marathon running, but what a treat to see this choreographer’s take on such an iconic work while it is still in development, a full year before its American premiere.

Writing this, I am reminded of how brilliant Convergence promises to be: a truly unmissable evening of dance, with such a talented line-up, each one pushing the boundaries. A cast that will never be seen on the same stage again. I know I wouldn’t miss this for the world, so if you haven’t bought your ticket, now is your chance.

See you there.

Olivia Godwin, Producer