Most recent performance
There are currently no scheduled performances of Monotones I and II. It was last on stage 12–23 February 2013.
These two short, non-narrative ballets each present an extended pas de trois that is perfectly matched to Satie’s haunting piano music.
Frederick Ashton distilled the exquisite tranquility of Erik Satie’s pieces in Monotones I and II, which display some of his most modernist choreography. Monotones II was created first and given its premiere at the Royal Opera House in 1965, accompanied by Satie’s Trois Gymnopédies. Ashton created a second piece to Satie’s Trois Gnossiennes (Monotones I), and the two were presented together the following year. Satie’s Préludes d’Eginhard was played as an overture.
Monotones I opens with a slow, serene pas de trois in a wonderful example of adagio classicism. The dancers remain on stage throughout the entire work, with their smooth lines of movement unbroken. Monotones II features another pas de trois that mirrors the controlled movements of the first. Satie’s delicate music, coupled with Ashton’s beautiful choreography, is wonderfully haunting.
News and features
5 April 2013
UK audiences can relive Tamara Rojo's final ROH performance on 15 July.
18 February 2013
What being in the studio with Frederick Ashton was really like.
Monotones is a ballet in two parts by Frederick Ashton based on the music of Erik Satie.Monotones II was created first as a gala piece for a gala performance in aid of the Royal Ballet Benevolent Fund in 1965. Ashton had long been inspired by the Gymnopedies by Erik Satie of 1888 and took orchestrations by Claude Debussy and Roland Emmaneul as the basis of a pas de trois for two men and one woman. The premiere was on 24 March 1965 with Vyvyan Lorraine, Anthony Dowell, and Robert Mead. The piece was a great success – so much so that in 1966, Ashton enlarged the piece so that it would be long enough to be performed in the normal repertory, by the addition of Monotones I, which formed an overture to the earlier work. This piece in many ways forms a mirror image of Monotones II. Based on Satie's Gnoissienes, it is another pas de trois, but in this case for two women and one man; the premiere was given by Antoinette Sibley, Georgina Parkinson, and Brian Shaw.Ashton took his cues in choreographing the ballet from the form, structure and inspiration of Satie's music. The ternary structure of the Gymnopedies and Gnossienes supports what has been referred to as a "trinitarian obsession" of Ashton's. The two sections of the work also represent a contrast between the earthiness of the Gnoissienes in Monotones I - where the characters wear green costumes, engage in weighty and accented lunges, and shield their eyes from the sun - and the celestial, infinite and seamless qualities of the Gymnopedies in Monotones II, where the dancers are white-costumed, lit from above, and perform suspended arabesques, the men lifting the woman to "walk on air".The work uses classical language in its choreography, and like his Symphonic Variations represents a pinnacle of Ashton's own classicism.On his death, Ashton's will left the ballet to the care of Tony Dyson, now chair of the Frederick Ashton Foundation.