Northern Ballet, based in Leeds, West Yorkshire, recently announced that it is exploring a potential partnership with Opera North, which has raised concerns among its orchestra members. This strategic partnership could result in Northern Ballet dancers performing alongside Opera North’s orchestra, but many are apprehensive about the future.
Mary Gilbert, who has been an oboe player with the Northern Ballet Sinfonia for an impressive 35 years, expressed her deep concerns, saying that the orchestra’s last performance together on June 9th might have been their final show. “It’s very upsetting,” she noted.
In a statement, Northern Ballet acknowledged the financial challenges stemming from production and touring costs, which have compelled them to consider recorded music for some performances, a shift made in the previous year. “We are maintaining dialogue with members of Northern Ballet Sinfonia as we recognize how challenging the past 12 months have been for them,” the company said, emphasizing the potential impact on the livelihoods of its freelance musicians who have long been associated with the ballet.
John Melbourne, the principal percussionist for the orchestra, voiced his concerns about the proposed merger, describing it as a potential “watering down” of both entities. He argued, “Two Yorkshire-based orchestras will become one. How can this be good news? One orchestra cannot do the job of two. This suggests less opera and less ballet from these two once-great companies.”
Echoing these sentiments, Ms. Gilbert warned that the merger would represent a “massive diminishing of arts in this country.” She passionately added, “I don’t want to be the last incumbent of my chair. Someone passed it on to me, and I want to pass it on, too.”
The Musicians’ Union, which represents professional musicians, described the situation as “deeply troubling.” Paul Reed, the North of England regional organizer, highlighted the dedication of Northern Ballet Sinfonia’s musicians, some of whom have committed decades to the company. He noted, “This is a precarious situation, and these decisions will have an impact on the talent pipeline. It will be deeply disappointing if the company follows through with these plans.”
As Northern Ballet navigates these difficult waters, the future of live music in ballet performances stands at a crossroads, with implications that resonate well beyond Yorkshire.
