Barry Wordsworth: Best of the Brits

When I came back from studying in Amsterdam, the Sadler’s Wells Ballet were doing a piece by Sir Kenneth MacMillan, a ballet called Las Hermanas (The Sisters), to a score by Frank Martin. It was a harpsichord concerto and the soloist they had booked fell sick. I was asked if I would come and play it, and that’s what started my connection with the ballet and my love for working with dancers in the theatre. Before then I had been an organist and church musician. The ballet was a big success but eventually dropped out of the repertoire and they (Sadler’s Wells Ballet) said to me, ‘we understand you like to conduct, would you like a go?’ Ultimately it worked well, so they gave me a job as Assistant Conductor.

The power of his theatrical ability to tell stories wonderfully, we see this this so clearly in The Dream and in Marguerite and Armand.

My knowledge of Sir Fred’s choreography came through his notators and assistants, in particular Faith Wurth, and Monica Parker, both of whom had a deep understanding of his style. He was retired by the time I joined the company, so we only usually saw him for the last few rehearsals.

When Ninette de Valois founded Sadler’s Wells (later The Royal Ballet), she was asked why she called it the ‘theatre ballet’ and she said, “because the British don’t know much about the ballet, but they love the theatre.” And I think that theatricality is what makes Ashton’s work so British.

Variety of style and approach is very important to the future of any artform, and in ballet, I feel it’s very important to maintain a balance between traditional works and present-day creations.

I think choreographers are inspired by the power of his plays, and the challenge of conveying that power in wordless theatrical performance.

Yes, I did La traviata at Sadler’s Wells, and it was a wonderful experience, along with a lot of operettas, which were also fabulous experiences.

I think conducting the Last night of the Proms in 1993 was an amazing experience, and I will never forget the excitement of that evening. We performed, amongst other things in the programme, Constant Lambert’s The Rio Grande, for chorus, orchestra and piano soloist. It was wonderful to include repertoire by the first Music Director of The Royal Ballet.