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Arts Council England have issued the following statement in response to our press release (read our statement about the cuts)
Northern Ballet’s new National Portfolio funding equates to a 6.5% cut in cash terms and 14.9% in real terms from what they received in regular funding in 2010/11 and its National Portfolio funding level for 2014/15.
As financial cuts to arts organisations across the country are announced, Leeds-based Northern Ballet has been told it will receive around 25% less (£800k)* in 2012/13 from Arts Council England (ACE) than it took to successfully run the Company in 2010/11.
This is a significant reduction of income and disappointing news for the Company, which recently took up residence in a new, purpose-built home on Quarry Hill, Leeds, in what is now described as the city's cultural hub.
We managed to squeeze a rehearsal in on Saturday at midday before the matinee. It made for quite a long day but it's all coming together so well now that it was definitely worth it! We are getting to the point where we are saying less and playing more. Small suggestions seem to be instantly germinating and creating the finishing touches that we are working on now.
The rehearsal between shows went really well yesterday. We did some in-depth work on the Tartini. We had been discussing whether we should be attempting to play in an authentic Baroque style. After some debate we decided that it wasn't such a good idea. The clarinet hadn't even been invented at this time so we're already very, very un-authentic!! We have now settled on a more contemporary voice.
Our annual Easter Course is fast approaching. Final preparations are under way and it will definitely be an exciting week. I will be having my last planning meeting on Thursday with our composer Richard Kenwood-Herriot. Richard will be accompanying our daily energising class and creating some electrifying music to add to the drama as we learn stage fighting techniques. He will also write an original piece of music throughout the week to accompany the scene from the production as we work.
The crinolines have been bustling across the lacquered floor of Northern Ballet’s atrium. Sumptuous dress and contralto have quivered through the air and, for a short time at least, the vestiges of the Viennese court have run amongst the lithe shapes of the Company dancers and the flurries of children in tutus. Sitting to next to parents with panini’s and dotted amongst employees power-lunching the casual observer might spot Dr.