Two Footnotes to Ashton

Production Photos

Zenaida Yanowsky in Two Footnotes to Ashton(2005)©John Robinson

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June 16 2005 Linbury Studio Theatre, Royal Opera House, London (as part of ‘Inspired by Ashton’ programme)

Further performances

June 17, 18 2005


Revisolo for Zenaida Yanowsky ‘Footnote to Ashton:

November 29, 2007 ‘White Christmas’ - The Place Theatre London

July 28 – August 7, 2010 Carlos Acosta/Zanaida Yanowsky - ‘Premieres’, London Coliseum

Creative Team


The Royal Ballet


MusicSolo: Handel: “Per te lasciai la luce” performed by Magdalena Kozena (recorded)
Duet: Gluck: “Di questa centra in seno” performed by Cecilia Bartoli


Kim Brandstrup

Costume Design

Kandis Cook


Steven Scott


Duet: Alina Cojocaru, Johan Kobborg
Solo: Zenaida Yanows

Two Footnotes to Ashton

Royal Ballet
Linbury Theatre, Royal Opera House, London , June 16 2005

review extracts

“Kim Brandstrup’s Two Footnotoes looks nothing like Ashton, yet its opening duet, danced by Alina Cojocaru and Johan Kobburg, captures Ashton’s ability to distil pages of emotion into a single image – a searing glance, a yielding of the back – and to root that rush of emotion in the physical swoop of the music. By contrast, the solo, danced by Zenaida Yanowsky, is all about those moments of silence, even awkwardness, through which Ashton allowed pain and despair to intrude on the stage.”

Judith Mackrell, The Guardian

“..some of the most gorgeous choreography of Brandstrup’s career.”

Debra Craine, The Times

“Kim Brandstrup’s playful pas de deux (danced to a Gluck aria) was the unrivalled hit of the evening….It was an instant classic, the kind of work you want to see again immediately. Whatever happened to encores?”

Louise Levene, The Sunday Telegraph

“Two Footnotes to Ashton is a gorgeous piece of dancing – humorous, subtle and complete. It’s team mate is a solo for Zenaida Yanowsky, equally strong and powerfully evocative..”

Sarah Frater, The Evening Standard

“A total charmer”

Ismene Brown, The Daily Telegraph

“Ravishingly realised, ravishingly made”

Clement Crisp, Financial Times

Programme Note