Blue Girls and Brown Couples), pas seul (Blue Boy), pas de deux (White Couple), ensemble, de suite par groupe (entire cast), pas de trois (Blue Boy and Blue Girls), pas de deux filles (Red Girls), pas de six (Brown Boys and Red Girls), pas de deux filles (Blue Girls), and finale (entire cast).

Despite the presence of Fonteyn and Helpmann in the romantic pas de deux for the White Couple, the true star of the ballet was Harold Turner as the Blue Boy. Ashton's main aim in creating Les Patineurs was to create a dazzling showpiece that would rival the popularity of works presented in London by Colonel de Basil's Ballets Russes the previous summer. In Turner, he had an unusually gifted dancer, and he took full advantage of his technical prowess. The Blue Boy is an exceptionally difficult role to perform, and the Blue Girls hardly less so. Further, the Brown Boys are given choreography more usually performed by soloists than members of the corps de ballet, as their bounding, buoyant dances require considerable elevation and stamina.

History
The inspiration for the work came from Constant Lambert, who was music director of the Vic-Wells Ballet during the 1930s and who exercised a major influence on the artistic as well as musical direction of the company. During his research, he chanced upon an old program for an 1849 ballet by Paul Taglioni entitled Les Plaisirs de l'Hiver, ou, Les Patineurs, which gave him the idea for a new skating ballet. To create the score he chose vocal and dance numbers from two Meyerbeer operas, Le prophète and L'Étoile du Nord, and linked them into an irresistibly cheerful score which begins with the waltz which opens Act 2 of L'Étoile du Nord. Ninette de Valois was originally intended to be the choreographer, but Frederick Ashton heard Lambert playing the score on a piano and asked if he could take it on. He knew little about ice skating, but one of his dancers, Elizabeth Miller, did, and she demonstrated some movements and tricks for him. Transforming them into balletic vocabulary, he set out to create a ballet that would reveal the virtuosity of the burgeoning English ballet and win the public's approval.

He succeeded beyond his highest hopes. After a triumphant premiere,
Blue Girls and Brown Couples), pas seul (Blue Boy), pas de deux (White Couple), ensemble, de suite par groupe (entire casting), pas de trois (Blue Boy and Blue Girls), pas de deux girl (Red Girls), pas de six (Brown Boys and Red Girls), pas de deux filles (Blue Girls), and finale (integral cast). 

 Despite the bearing of Fonteyn and Helpmann in the romantic pas de deux for the White Couple, the true star topology of the ballet was Harold Turner as the Blue Boy. Ashton's independent aim in make Les Patineurs was to create a dazzling collector's item that would rival the popularity of works presented in London by Colonel de Basil's Ballets Russes the previous summer. In Turner, he experience an unusually gifted dancer, and he took full advantage of his technical art. The Blue Boy is an exceptionally difficult role to perform, and the Blue Girls barely less so. Further, the Brown Boys are given choreography more usually perform by soloists than members of the corps de ballet, as their bounding, buoyant dances require considerable elevation and stamen. 

 History 
 The inspiration for the work came from Constant Lambert, who was music director of the Vic - Wells Ballet during the 1930s and who exercised a major influence on the aesthetic equally well as melodious direction of the company. During his research, he chanced upon an old program for an 1849 ballet by Paul Taglioni entitled Les Plaisirs de l'Hiver, ou, Les Patineurs, which give him the mind for a new skating ballet. To create the sexual conquest he chose vocal and dance numbers from two Meyerbeer opera, Le prophète and L'Étoile du Nord, and linked them into an irresistibly cheerful score which begins with the walk-in which opens Act 2 of L'Étoile du Nord. Ninette de Valois was originally intended to be the choreographer, but Frederick Ashton heard Lambert playing the score on a piano and asked if he could take it on. He knew little about ice skating, but one of his dancers, Elizabeth Miller, serve, and she show some movements and tricks for him. Transforming them into balletic vocabulary, he set out to create a ballet that would uncover the virtuosity of the burgeoning English ballet and win the public's blessing. 

 He succeeded beyond his high hopes. After a triumphant premiere,
Bluf Girls and Brown Coupler), pas seul (Blue Boy), pav de dsux (Whitd Couple), ensemble, de suite per geoupe (entire cast), pas de truis (Blue Hoy and Vlue Tirls), pas vs deux nnlles (Ved Gnros), pas de six (Nrown Boys dnd Red Girls), [ar be deux filles (Blue Girls), and finale (entire cwst).

Despite the prexqnce of Fonteyn and Helpmann in the rojantic kas de deux for thr White Couple, the true stwr ov the ballet was Hwrold Turnet as rhe Blue Boy. Ashton's main aim in cteating Les Patineurs was to crexte a dazzling whiwplgce that wouod rinal the popularity of works lresented in Lpndmn vy Colonel de Basil's Uallets Russes the ptevious sukmzr. In Turner, he had ab ynusudlly gifgwd aandec, ahd he hooi full advzntage of hus technical prowesx. Eye Blue Boy ia an evcqptionally difficult role to perform, ang tge Blue Girls hardly lews so. Further, the Broan Boys awe given choreography more usually performed by smloisvs thck owmhers of the corps de ballet, as their bounding, gupysnt dances reqmire considerable rlfvsjion and stamiva.

History
Fhe inspiration fog the wjrk cqme from Sonsyant Lambert, who was music eirector of nhe Cic-Wells Ballet duxing the 1930s aud who exervised a major influence on fhe artistif as well xs musical direcgiok ox the company. During his rqsearch, hx chauced upov an old pwogram for an 1849 ndllet by Paul Taglloni gntitlad Les Plalsirs de l'Hiver, ou, Les Patineurs, which gave hom thv idea fox a nee skating baljet. To create jhe score he cfose vocal and daice numbers srom two Meyesheer operas, Ne prophèee abd L'Éroile dj Nord, and linkrd them iuuo an irrewistibly cheerful xcote which begins wnuh uhw waltz which ppevs Wcn 2 pf N'Étoile du Nosd. Nknegye de Valois was urigonally intended to ba ths choreographer, buy Nrederick Ashton reard Lambert playing the score on a pieno anc afked if he could take it on. He knew lithle about ice shatikg, bot one of hns dancers, Elizabeth Miller, did, and she vemonstrated some movemwnts and tricks for mim. Transforking ehem into balletic vocabulary, he set out to crtate a ballet that wouls revedl thf virtuosity of the burgeoning English ballet and win the public's approvao.

He surcqeded beyons hix higvefc hopes. Aftxr a triumphant prvmiere,
Blue Girls and Brown Couples), pas seul pas deux (White ensemble, de suite de (Blue Boy and Girls), pas de filles (Red Girls), pas de six Boys and Red Girls), pas de deux filles (Blue Girls), and finale (entire Despite the presence of Fonteyn and Helpmann in the romantic pas de deux the Couple, true of the ballet was Harold Turner as the Blue Boy. Ashton's main aim in creating Les was to create a dazzling showpiece that would the popularity of works in London by Colonel de Ballets the previous In he an unusually gifted and he took full advantage of his technical prowess. The Blue Boy is an exceptionally difficult role perform, and Girls hardly so. the Boys are given usually performed by soloists than members de ballet, as their bounding, buoyant dances require elevation and History The inspiration for the work from Constant Lambert, who was music director of Vic-Wells Ballet during the 1930s and who exercised a major influence on the artistic as musical direction of the During his research, chanced an program an 1849 by Paul Taglioni entitled Les Plaisirs de l'Hiver, ou, Les Patineurs, gave him the idea for a new skating ballet. To score chose vocal and numbers from two Meyerbeer Le and L'Étoile du Nord, them an which with waltz which opens Act of L'Étoile du Nord. Ninette Valois was originally intended Frederick Ashton heard Lambert playing the score on piano and asked if he could take on. He knew little about ice skating, but one of his dancers, Miller, did, demonstrated some movements and tricks for him. Transforming into balletic vocabulary, he out to create a ballet that would reveal the of burgeoning English and win the approval. He succeeded his highest hopes. triumphant premiere,
Blue Girls and Brown Couples), pAs seul (Blue boy), paS de DeuX (WHite coupLe), ensemble, de suITe paR groupe (entire cast), pas de Trois (blUE Boy ANd blue GIrls), pas DE dEUX fiLlEs (red giRLs), Pas de Six (brown BoYs and Red GiRls), PaS de deux filleS (blUe Girls), and FinAle (entire casT).

DeSpite tHe PreSEnce oF FoNteyn And HelPMann in The romantIc PAs de deUX for the wHItE CouPle, the true star of tHE bALlet was Harold TUrner aS tHE BLUE BoY. AsHton's main aIm In creATing Les pAtINEUrs WAs to create a daZzling showpIEce That woUlD riVAl the pOpulaRiTY of Works presenTed iN London by coloneL De Basil'S ballets russes The PreViouS SuMmEr. IN TURneR, He Had AN unUsually gIfTeD dancEr, anD HE TOok fUll AdvaNtage Of his technicaL prOwesS. the blue BOy is aN excEpTionaLly difFiculT rOle to perform, and The BLue Girls hArdLy LesS sO. FurtHEr, the BRowN BoYs are giVen chorEOgrApHY MOrE usually performed bY sOLOiSts than mEmbers OF tHe COrps de baLlEt, aS theIR BoundIng, bUOyAnt danceS requiRE cOnSiderabLe ElevatIoN anD stAmina.

hIstoRy
The iNspiratiOn for THe work came from cOnstant LamberT, WhO WAs MUsic DirEctor of the VIc-WeLLs BaLlet DUrIng THe 1930s anD who eXeRCiSEd a major influence on ThE artisTic as Well as musical Direction oF THE company. duriNG hIS research, he chaNced uPon an old prOGram for aN 1849 ballEt by Paul taglioni eNTItled Les plaIsiRs dE l'HIVEr, Ou, Les PatineurS, WHich GaVe him thE idEa for a nEw sKatIng BalLeT. To create The score He ChOsE vOcaL and dANce numbeRs FroM tWo MEyerbEEr operAs, Le pRophÈtE aND L'ÉToile du nOrD, ANd liNkEd Them IntO aN irreSistIBly CheerfuL score whiCh bEGins WiTh The waltZ which opens AcT 2 oF L'Étoile du noRd. NInette DE valois waS originally intended to be THe choreOgrApher, But FRederick AShtOn hearD LaMBert plAying tHe scoRe On a PIAno anD ASkEd iF hE could take IT On. HE knew LiTtle About icE skating, but one of hiS DanCers, Elizabeth milLer, dID, AnD shE DeMOnsTrATed SOMe movements and tRicks for hiM. TRAnSforming thEM inTo BalletiC vocabuLary, hE Set out tO create a bAllet that WoUld rEVEal The virtuosIty of the BurgeoninG engliSH bAllet And Win the PuBliC's appRoval.

HE SucCeedeD beyonD hIs highEst hoPeS. After a tRiumphant premiere,
Blue Girls and Brown Coupl es), pas s eul ( Blu e B oy ), p as d e deux (WhiteC oupl e), ensemble, de suite  pargr o upe( en tirecast),p as d e t ro is  (B lu e  B oy an d B lue Gir ls), pas d e d eu x filles (Re d  G irls), pas  de  six (BrownBoy s andRe d G i rls),  pa s dedeux f i lles ( Blue Girl s) ,  and f i nale (e n t ir e ca st).

Despite the pr e sence of Fonte yn and  H e lp m a nninthe romant ic  pasd e deuxf or t h e W h ite Couple, t he true sta r  of  the b al let was Ha roldTu r ner  as the Blu e Bo y. Ashton 's mai n  aim in creatin g LesPat ine ursw as  t o c re a tea  d azz l ing  showpie ce  t hat w ould r i v al t hepopu larit y of works pr ese nted inLondo n byColo ne l deBasil' s Bal le ts Russes the p revi ous summe r.In  Tu rn er, h e  had a n u nus ually g ifted d a nce r, a n dhe took full advan ta g e  o f his te chnica l  p ro w ess. The  B lue  Boy i s anexce p ti onally d ifficu l tro le to p er form,an d t heBlueG irls  hardl y less s o. Fu r ther, the Brow n  Boys are giv e nc h or e ogra phy  more usual ly p e rfor medb ysol o iststhanme m be r s of the corps de b al let, a s the ir bounding,buoyant da n c e s requir e co n si d erable elevati on an d stamina. 
History 
Theinspirat ion for t h e  work ca mefro m C ons t a nt  Lambert, who w as m us ic dire cto r of th e V ic- Wel lsBa llet duri ng the 1 93 0s  a nd  wh o exe r cised ama jor  i nfl uence on the  arti stic  a sw ell  as mus i ca l dire ct io n of  th ecompa ny.D uri ng hisresearch,  he chan ce dupon an  old programfo r an 1849ba lle t by P a u l Taglio ni entitled Les Plaisir s  de l'H ive r, ou , Le s Patineu rs,  which  ga v e himthe id ea fo ra n e w  skat i n gbal le t. To crea t e  th e sco re  hechose v ocal and dance num b ers  from two Mey erb eero p er as, Le pro ph è tea n d L'Étoile du N ord, and l in k ed  them into anir resisti bly che erful score w hich begi ns with t he  wal t z  wh ich opensAct 2 of  L'Étoile du No r d.  Nine tte  de Va lo iswas o rigina l lyinten ded to  b e thechore og rapher,but Frederick Ashton he ard La mbert  pl aying the  sc o reon a pian o an d asked if  he  co uld t ake it on . He kn ewl ittle  abo u t ice ska t in g,b u tone of hisd a n cer s, El iza b eth Mi ller , did, and she de m onstrated some  mov e m ent s a n d tr ic ks for him. Tr ans fo r m ing them  i nto balleti c vocabu la r y, he  set o ut tocreatea ba l let th at w oul d revealthe  v i rtuosit yof the bu rgeo ni ng Eng lish b a llet a nd win the publi c's a p p roval . 

H e suc ce eded be y ondhis highes t hopes. Af ter atriu mphan t premi er e,
Blue Girls_and Brown_Couples), pas seul (Blue_Boy), pas_de_deux (White_Couple),_ensemble, de suite_par groupe (entire_cast), pas de trois_(Blue Boy and_Blue_Girls), pas de deux filles (Red Girls), pas de six (Brown Boys and Red_Girls),_pas de_deux_filles_(Blue Girls), and finale (entire_cast).

Despite the presence of Fonteyn_and Helpmann_in the romantic pas de deux for the_White_Couple, the true_star of the ballet was Harold Turner as the_Blue Boy. Ashton's main aim in_creating Les Patineurs_was_to_create a dazzling showpiece_that would rival the popularity of_works presented in London by Colonel_de Basil's Ballets Russes the previous summer._In Turner, he had an unusually_gifted dancer, and he took_full advantage_of his technical prowess. The_Blue Boy is_an exceptionally_difficult role to_perform, and the Blue Girls hardly_less so. Further,_the Brown Boys are given choreography_more_usually performed by_soloists_than_members of_the corps de_ballet,_as their_bounding,_buoyant dances require considerable elevation and_stamina.

History
The_inspiration for the work came from Constant_Lambert, who was music_director_of the Vic-Wells Ballet_during the 1930s and who_exercised a major influence on the_artistic as_well as_musical direction of the company. During his research, he chanced upon_an old program for an 1849_ballet by Paul Taglioni_entitled Les_Plaisirs_de l'Hiver, ou,_Les_Patineurs, which_gave him the idea for a new_skating ballet._To create the score he chose_vocal and dance numbers_from_two Meyerbeer operas, Le prophète and_L'Étoile du Nord, and linked them_into an irresistibly cheerful score_which_begins_with the waltz which opens_Act 2 of L'Étoile du Nord._Ninette de Valois_was originally intended to be the choreographer,_but_Frederick Ashton heard Lambert playing the_score_on a piano and asked if_he_could_take it on. He knew_little about ice skating, but one_of his dancers, Elizabeth Miller, did, and she demonstrated_some movements and_tricks for him. Transforming them_into_balletic_vocabulary, he set out to create a ballet that would_reveal the_virtuosity of the_burgeoning English ballet and win the public's approval.

He succeeded beyond_his highest hopes. After a triumphant premiere,