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Scènes de ballet[edit]

Stravinsky said his music for Scènes de ballet was free of any literary or dramatic intentions and that "the parts follow each other as in a sonata or in a symphony in contrasts and similarities." He did, however, specify different dances for the 11 parts of his score. Stravinsky, who was living in Hollywood at the time, originally wrote Scènes de Ballet for a review called The Seven Lively Arts, presented by showman Billy Rose at the Ziegfield Theater in New York City on December 7, 1944. The leading roles were danced by Anton Dolin (who had choreographed the piece) and Alicia Markova. Since then, the score has been used by a number of choreographers, including John Taras (for New York City Ballet's 1972 Stravinsky Festival) and Frederick Ashton who, in 1948, created a ballet for Margot Fonteyn, Michael Somes and a corps de ballet, as well as Christopher Wheeldon's 1999 ballet for the students of the School of American Ballet.

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Sophie Fedorovich[edit]

or Fedorovitch) was born in Russia and came to London in 1920. Fedorovich was one of Frederick Ashton's closest friends and collaborators, designing his first ballet, A Tragedy of Fashion, in 1926 and subsequently Les Masques, Mephisto Valse, Le Baiser de la fée, Nocturne, Horoscope Dante Sonata, Symphonic Variation and his production of Gluck's Orfeo ed Euridice in 1953, the year she died. Ashton dedicated A Month in the Country to her memory. She also created designs for André Howard's La Fête étrange for the London Ballet (1940) and Veneziana for Sadler's Wells Ballet (1953), her last work. For Covent Garden Opera (now Royal Opera), she designed Madama Butterfly, Sophie and La traviata.

A chapter from Following Sir Fred's Steps - Ashton's Legacy, the published proceedings of the conference on the choreographer Sir Frederick Ashton and his work, held at Roehampton University in 1994, and edited by Stephanie Jordan and Andrée Grau.

Sophie Fedorovich bis[edit]

Fedorovitch, Sophie (b Minsk, 15 Dec. 1893, d London, 25 Jan. 1953). Russian-British stage designer who played a seminal role in the development of British ballet. She studied painting in Moscow and at the St Petersburg Academy but after the Revolution settled in London in 1920. During the next decade she lived in various European cities, exhibiting her paintings but from 1932 worked almost exclusively in stage design. Her first professional commission came from Rambert, to design Ashton's first ballet A Tragedy of Fashion (1926). She and Ashton became close friends and collaborators and she designed many of his works including Le Baiser de la fée (1935), Symphonic Variations (1946), and Valses nobles et sentimentales (1947), the sophisticated economy of her design having an important influence on his choreography. She designed for several other British choreographers including de Valois, Tudor, and Howard as well as for opera and theatre. Between 1951 and 1953 she was a member of the artistic advisory panel of Sadler's Wells Ballet—a role she had unofficially undertaken for many years.

Read more: http://www.answers.com/topic/sophie-fedorovitch#ixzz1R6KJO5d0

Sophie Fedorovich ter[edit]

My Dearest Friend, My Greatest Collaborator Ashton, Fedorovitch and Symphonic Variations Beth Genné

It is impossible for me to write about Sophie Fedorovitch without the deepest emotion, for in her death I lost not only my dearest friend but my greatest artistic collaborator and adviser. (Ashton, in Fleet, 1955, p. 22)[1]

With these words Ashton paid tribute to artist Sophie Fedorovitch after her accidental death in 1953.

Sophie Fedorovitch and Frederick Ashton came from different worlds. In personality and temperament, too, they may have seemed mismatched. Fedorovitch was born and raised in Minsk, and studied painting in Cracow, Moscow, and war-torn St Petersburg. Born in 1893, she was eleven years older than Ashton. With her blunt, almost gruff manner and her solitary Spartan style of life, she had no interest in appearances or social life. Ashton, an Englishman, born in Ecuador, raised in Peru and schooled in England, was well spoken, sociable, and attracted (when they met at least) to the frivolous social world of the twenties and thirties. Yet, personally and professionally, they were profoundly connected. In this paper I’d like to examine the nature of their friendship and collaboration by discussing their work on Symphonic Variations, the ballet that Ashton considered to be their ‘most successful’ and ‘most flawless’ work (Fleet, 1955, p. 22).

Ashton and Fedorovitch met in 1925, introduced by Marie Rambert. Rambert had met Fedorovitch in 1921 in Enrico Cecchetti’s studio, where she had come to study and draw the dancers of the Ballets Russes while they rehearsed for Diaghilev’s historic production of The Sleeping Princess (Rambert, 1972, p. 119). Fedorovitch also came occasionally to watch Rambert’s dancers, and one day Rambert invited her and Ashton to lunch after class. Ashton was immediately attracted to the young Polish artist: ‘I was fascinated,’ he told David Vaughan ‘by her appearance - she was the first woman I had seen who wore her hair cut very short, and she dressed in a very singular way - she was a garçonne type, with a marvellously beautiful choirboy’s face’ (Vaughan, 1977, p. 12). After lunch the two continued their conversation at the Express Dairy in Notting Hill Gate, and from that day became the closest of friends. Looking back at that afternoon, twenty-eight years later, Ashton described it as a profoundly important event in his life: ‘the greatest luck I ever had’, he has written, ‘was when she walked into Rambert’s studio . . . and I loved her from that day’ (Fleet, 1955, p. 23).

At Rambert’s urging, Fedorovitch and Ashton collaborated one year later on their first ballet, A Tragedy of Fashion. The ballet only ran for a few performances, but their experience with A Tragedy of Fashion would change both their lives. Ashton, who had perceived himself first and foremost as a dancer, began gradually to think of himself as a choreographer. And Fedorovitch, who had established herself as a painter, would come to devote her career to set and costume design. Between 1926 and Fedorovitch’s death in 1953, Ashton and Fedorovitch would collaborate on eleven works.

Fedorovitch was far more than just a designer for the Ashton ballets. Ashton discussed every aspect of the ballet with her - not just its decor and costumes, for importantly, Fedorovitch was as interested in the dance as its decor. ‘She loved the ballet for itself,’ wrote Richard Buckle, ‘not only because it gave scope for her work’ (Fleet, 1955, p. 32). Fedorovitch was a regular viewer at Sadler’s Wells and Ballet Rambert performances - not just those which contained her own decor. She saw the visiting companies. She made friends with the dancers, and tracked the development of their careers with interest.

She was also Ashton’s best friend. ‘Sophie understood Fred better than anyone in the world,’ insisted Margot Fonteyn (1975, p. 99). Fedorovitch believed in Ashton and in his talent wholeheartedly. Indeed, she was as concerned about his career as her own. She made it possible for him to continue dancing at a crucial early stage in his career. A Tragedy of Fashion had failed to result in any steady employment for Ashton, who was in dire financial straits. He needed to support his mother as well as himself. (The two were sharing a tiny two-room flat in London.) Fedorovitch persuaded a friend to give Mrs. Ashton money, and convinced her to let her son go on with his dance classes (Dominic & Gilbert, 1971, p. 30). She then made sure that he attended class! Maude Lloyd remembers ‘Sophie acting as Fred’s alarm clock’, calling him up every morning to make sure he got to class on time, a practice that she would continue until her death (personal communication, 1992). She lent him money to audition for Nijinska, and she found him work as an English tutor to one of her Polish friends when he desperately needed it (Dominic & Gilbert, 1971, p. 31). And when she died, she left him the bulk of her estate (Vaughan, 1977, p.269).

Yet despite this maternal stance, Fedorovitch did not indulge Ashton or give him unconditional praise. She was not afraid to be critical, nor did she hesitate to push him when she felt he needed it. ‘She did not spare one’s feelings when she felt that the hard word had to be said,’ wrote Ashton. ‘One accepted it because it was always right, shared with sense, and given without ulterior motive, purely for one’s private or professional well being... Amongst so much that I miss, I miss the gentle bullying’ (Fleet, 1955, p. 23).

Ashton, then, was unshakably sure of Fedorovitch’s love and support, and trusted as well her keen critical judgment. She served as a sounding board as he tried out his ideas. More importantly, she brought, in Ashton’s words ‘a real individuality and vision of her own.. . which enriched one’s choreographic conception . . . Our endless conversations before, during and after a ballet was finished are among my fondest memories... My work with her gave me my happiest times in the theatre’ (Fleet, 1955, p. 22).

The trust was mutual. Those who knew her describe Sophie Fedorovitch as an extremely shy person, who often muttered things so softly that she could be almost incomprehensible. There seems to have been no such problem with Ashton. Just as she called him every morning, he would call her every night, ‘no matter how late’, to continue their endless conversations (Vaughan, 1977, p. 269). Fedorovitch must have felt confident enough of Ashton’s understanding and friendship to open up to him, and he probably saw a side of her that few did. Ashton felt that their work together gave Fedorovitch some of her happiest moments: ‘Her happiness knew no bounds’, he has written, ‘when she believed we had reached true artistic unity’ (Fleet, 1955, p. 22).

This ideal of ‘artistic unity’ is an important one, stemming directly from the ethos of the Diaghilev Ballets Russes, on whose productions both Ashton and Fedorovitch had been nurtured. Diaghilev, as we all know, had revolutionised the art of dance by making the designer an equal partner to the choreographer and composer. Ashton and Fedorovitch had thrilled to the Diaghilev productions. And Fedorovitch, in the tradition of Diaghilev’s artists, was a major contributor to Ashton’s ballets. But unlike those later Ballets Russes productions in which, as André Levinson has described, dance sometimes seemed to take second place to decor (Acocella & Garafola, 1991, p. 68), Ashton and Fedorovitch took dance as their top priority. As Ashton wrote, Fedorovitch ‘believed firmly that nothing must hide the dancing or impede the dancers, and that the background should not distract’ (Fleet, 1955, p. 22).

The hallmark of Fedorovitch’s style, then, was her simplicity and economy of means. With a few well-placed touches of colour and line, she was able to give a sense of time and place and create a mood without cluttering the dancers’ space or distracting the viewer’s eye from their movement. The limited spaces and budgets of the Sadler’s Wells and Mercury theatres, where she and Ashton mounted their earliest works, may have initially forced her into this position; but it was a position that was natural to her, and one that she maintained when creating for the much larger opera house stage.

Ashton’s and Fedorovitch’s central commitment to dancers is revealed clearly in their method of working. In contrast to choreographers like de Valois, who came into the studio with a preconceived plan, which she then set on the dancers, Ashton worked out his choreography in the studio, on the dancers themselves, using their own special qualities and ways of moving to develop his ideas.

Similarly, for Fedorovitch, the design was not a finished product, but, in Ashton’s words, ‘only a point from which to depart’ (Fleet, 1955, p. 22). Her decisions about cut and line were made only when she had seen not only how the material looked when draped on a particular dancer, but, more importantly, when the dancer ‘moved’ in the material. Matilda Etches, the couturière who carried out Fedorovitch’s design ideas, describes this process: ‘Sophie would bring her sketches... I would fold or drape a length of stuff until the mood and feeling of the sketch was captured. At the fittings.., the method would always be the same. No sooner would the costume be on the dancer than Sophie would say in her gruff voice, “move” - the dancer would move with pins falling and lengths of diaphanous stuffs trailing to the floor’ (Fleet, 1955, p. 37).

Even then, the costumes were not ‘set in stone’. Ashton remembers Fedorovitch’s willingness to modify her designs as his ideas developed from day to day: ‘She always attended as many rehearsals as possible, and as she saw the choreography develop, was capable of completely altering her conception to enhance the choreography and the dancers still more’ (Fleet, 1955, p. 22).

This process of evolution and change, with the dancer and the dance at the heart of it all, was the key to the success of the Ashton-Fedorovitch collaboration. The working methods of both were based on the constant refining of an initial idea or constellation of ideas. As Ashton has said: ‘It’s not what you put into a ballet, it’s what you take out’ (Vaughan, 1977, p. xix). Fedorovitch agreed. ‘Her method of designing’, Ashton has written, ‘seemed to be a process of elimination, clearing the stage of all unnecessary and irrelevant details (Fleet, 1955, p. 22).

Symphonic Variations Nothing better illustrates this than the making of Symphonic Variations. By tracing the evolution of Ashton’s initial ideas for this ballet and Fedorovitch’s designs for them, we can almost watch them at work on that paring-down process that was the hallmark of their collaboration.

In 1946, the Sadler’s Wells Ballet, housed before the war at the Sadler’s Wells theatre, was given a permanent home at the Royal Opera House in Covent Garden. The move was significant: as David Vaughan has pointed out, it was one way of acknowledging the company’s place as ‘Britain’s national ballet in everything but name’ (1977, p. 202). It gave them too, for the first time, a full-size opera house stage on which to perform, and with it the capacity for much larger audiences. The inaugural performance at the Opera House, attended by the royal family, was the company’s signature work, The Sleeping Beauty, in an expansive - and expensive - new production with sumptuous costumes and decor by Oliver Messel.

Ashton marked the move with a new ballet to César Franck’s Symphonic Variations for piano and orchestra. As this was their first work for the new stage, both he and Fedorovitch were aware of the significance of the occasion. And as the Sadler’s Wells resident choreographer, Ashton must have felt a special responsibility to prove to others (and to himself) that he could fill the vast new space and hold its huge audience. He was nervous, and so were his dancers. As Margot Fonteyn remembers, ‘The Covent Garden stage, so much bigger than those we had worked on all our lives, still made us all uneasy. Fred had never encountered the problem of filling a large area’ (Fonteyn, 1975, p. 99).

Ashton and Fedorovitch, as usual, worked together ‘ardently’ (Ashton’s word) on Symphonic Variations, planning every aspect of the work, holding their ‘endless conversations’ on the phone, over meals, on walks and bicycle rides. In addition to her role as set and costume designer, Fedorovitch was ‘as much involved in the choreography as the dancers’ (Fonteyn, 1975, p. 99). She also soothed Ashton as he struggled with his anxiety about the ‘weight’ of the occasion and problems of stage size. Fedorovitch ‘was beside him at rehearsals, and sat up with him at night, giving comfort and wisdom in her strange mumbling way and making him laugh when need be’ (Fonteyn, 1975, p. 99).

As usual, Fedorovitch was ready to modify her decor and costumes as Ashton’s ideas developed. This was especially needed with Symphonic Variations, for it changed many times in the choreographer’s mind before the opening date. Initially, Ashton had planned a fairly elaborate narrative, in part inspired by his studies of mystics like St Teresa of Avila and St John of the Cross. He had planned too for a sizable corps de ballet to fill the opera house stage, but as work on the ballet proceeded, his elaborate scenario fell by the wayside and he trimmed the corps de ballet down to just six soloists — three men and three women — telling Fedorovitch not to bother working on the corps costumes (Vaughan, 1977, p. 206).

Further changes were made when the premiere of the ballet was postponed at the last minute because of an injury to Michael Somes, and Ashton, for the first time, had more time to do revisions before the opening night. These revisions and the making of Symphonic Variations were, as David Vaughan has pointed out, done in closed rehearsal for the first time, perhaps an indication of the intense level of concentration that Ashton demanded. (Before that company members had been free to watch him at work; Vaughan, 1977, p. 206.) Fonteyn remembers the particular intensity and care with which revisions were made, and Fedorovitch’s constant involvement: ‘When we started to rehearse it all again, Fred took out a lot of things and simplified and purified the choreography... I remember a lot of discussions and all sorts of different ideas and versions and several different endings, and Sophie Fedorovitch at the rehearsals and coming in each day to say what she thought’ (Dominic & Gilbert, 1971, p. 83). Pamela May remembers Fedorovitch’s contribution to the final moment of Symphonic Variations. At one point Ashton proposed that everyone leave the stage at the ballet’s end, but Fedorovitch argued that it should conclude with the dancers on stage in the opening pose, and Ashton took her advice. May remembers too that Fedorovitch even persuaded her to dye her hair blond to dramatise the contrast with Fonteyn’s dark and Shearer’s red hair (personal communication, 1992). In this way, everything, even ‘tiny details were discussed and reworked as though it was an architectural plan for a building that would last for ever’ (Fonteyn, 1975, p. 99).

Abstracting the English Landscape In the end, Symphonic Variations was daringly simple and abstract. The white backcloth, punctuated by green washes of colour at centre and sides, was inscribed with a curvilinear pattern of black lines continued in a small overhead drape. The costumes, all white for the women, white with touches of black for the men, allowed them complete freedom of movement to execute Ashton’s endlessly interesting choreographic patterns. As A. V. Coton wrote: ‘Nothing whatever is stated of place, person, condition or circumstance’ (Vaughan, 1977, p. 208).

Yet, however hidden, Ashton’s original scenario still underlay the dance and decor. In its initial form, the ‘dominant’ theme of Symphonic Variations was the seasons. ‘At the beginning I meant it to be winter with the three women moving alone coldly, unfertilised,’ Ashton told Richard Buckle. ‘When the man begins to dance he introduces the spring: and the last part of the ballet represents to a certain extent the fullness of summer and the plenty of harvest’ (Buckle, 1947, p. 23).

This seasonal imagery is reflected in Symphonic Variations’ set, which was directly inspired by the English countryside in spring. Fedorovitch had a country cottage, a transformed barn at Brancaster in Norfolk, where she often took refuge from the stress of London life (Fleet, 1955, p. 18). Ashton and Fedorovitch were bicycling there in the spring when, as Ashton tells it, ‘One day we came up a hill and suddenly there was the most marvellous glade, filled with sunshine, and this had the most terrific effect on us; I said, “This is the colour it’s got to be, a sort of greenish yellow” ‘(Vaughan, 1977, p. 209).

This sun-filled country glade clearly appears in Fedorovitch’s preliminary sketches, only to be gradually refined and abstracted until only a suggestion of it remains. In what appears to be the earliest of Fedorovitch’s sketches, trees lean gently in from either side of the stage.[2] Curving clusters of lines suggest a canopy of leaves. Slanting rays of sun stream down on a clearing in the middle, and a ground line which rises gently on either side may suggest the slope of the hill up which Ashton and Fedorovitch bicycled to discover this sylvan spot (Figure 1). As the design evolved these natural images disappeared, replaced by curving shapes which follow, abstract, and extend the original line of trees and shafts of sunlight. As if responding to music, these shapes take on a rhythmic quality. They dynamise the space, and the separate elements which make up the original pencil sketch move towards fusion into one unified design.

Figure 1. Sophie Fedorovitch: preliminary sketch for Symphonic Variations decor; pencil. Collection of James L. Gordon, London. Photograph by John Ross ©.

But trees are not the only source for imagery here, for this is a particularly modern countryside. Marie Rambert recalls that Fedorovitch told her that the black lines that undulate across the backdrop also reflected her fascination with ‘telephone wires patterned against the immense green fields’ of Norfolk (1972, p. 204). And Pamela May remembers Sophie ‘muttering something about electricity and the illustrations of patterns made by electrical currents she’d seen in a book’ (personal communication, 1992). In the later colour sketches for the Symphonic Variations set, the lines of wires, trees, and sunlight are conflated and increasingly simplified as Fedorovitch experiments with various configurations (Figures 2 & 3). In the final set, the linear patterns are ruthlessly pared down (Figure 4). Trees, sunlight and wires are unrecognisable, but a sense of the enclosing shape of the glade remains: the lines bend in protectively. A canopy of branches is suggested by the overhead drape. And the colour, a luminous green, retains the seasonal reference. Christian Bérard sensed it when he called the decor ‘lily of the valley’ (Vaughan, 1977, p. 209). So did Diana Gould Menuhin, when she described the set as ‘vegetal’ (personal communication, 1988).

Figure 2. Preliminary sketch for Symphonic Variations. Collection of James L. Gordon, London. Photograph by John Ross ©.

The three men who pose quietly at the back of the stage for the first part of the ballet seem part of this ‘vegetal’ world. The black lines of the backcloth are picked up in their costumes at ankle, arm and torso.3 These lines connect them definitively to the backdrop, and when they finally move to the front of the stage to dance with the white clad women, they seem to be emerging from the greenery at the back of the stage, symbols - as in Ashton’s original scenario - of spring and fertility.

Figure 3. Preliminary sketch for Symphonic Variations. Collection of James L. Gordon, London. It is this sketch (I believe it to be the penultimate of the series) that Ashton had framed and hung in his house in Suffolk. When the frame was dismantled for reframing after the sale of Ashton's property, four other preliminary sketches were discovered in the backing of the frame. This is convincing proof to me that Ashton and Fedorovitch saw them as a related suite of sketches. Photograph by John Ross ©. (Internet Edition note - now that we can show these figures in colour you can see the original vibrant greens of the set and how they muted and faded with display.)

The Norfolk countryside was not the only factor in determining the ‘look’ of Symphonic Variations: the new space of the Opera House played a crucial role. As mentioned earlier, it worried Ashton and Fedorovitch. The easy way out would have been to fill the stage with a large group of dancers and extensive decor, as Robert Helpmann did in his first ballet for the new stage, Adam Zero. But Ashton and Fedorovitch treat the empty space as an asset, revelling not only in the ability of the dancers to move and stretch in the distances that separate them, but in the distances themselves. As Mary Clarke said to me, ‘Space is part of Symphonic Variations. It is a ballet, in part, about space and the distance between figures.’ In these spaces, too, there may be a hint of those ‘immense green fields’ of Norfolk that Fedorovitch loved.

Figure 4. Sophie Fedorovitch: final set for Symphonic Variations. Based on a black and white photograph by McDougall.

Images of Classical Art Many critics have seen Symphonic Variations as Ashton’s affirmation of classical dance, a renewing of his allegiance to the danse d’école and at the same time his own reworking and revitalisation of it. The danse d’école in part celebrates the idealised Western human body, as first articulated in visual form by ancient Greek sculptors (Macaulay, 1987, p. 6). This visual ideal was reinvestigated and renewed by Renaissance sculptors and painters at the Italian courts where dancing masters, influenced by the same ideals, developed the techniques from which ballet’s present-day vocabulary has evolved.

Resonances with ancient Greek imagery - Greek sculpture in particular - are very clear in Symphonic Variations, not only in the extended moments of stillness in which the dancers, like statues, rest on either side of the stage, but in the all-white colour scheme for the women’s costumes and in their pleating and draping. [4]Both men’s and women’s costumes fully reveal the dancers’ shapes, and Ashton has them stand with the contemplative serenity of Greek statues, not on two alert and ready-to-move legs, but in contrapposto - on one weight-bearing and one relaxed leg - the standard contrapposto pose modified slightly by crossing the relaxed leg in front. This casual pose, so at odds with traditional ballet positioning, seems at first a strikingly modern gesture, but its roots are deep in Greek artistic soil (Figures 5 & 6)[5]. Cynthia Harvey remembers Ashton telling her to do the contrapposto poses ‘as if you were a Greek statue’ (personal communication, 1994). The dancer originally at the centre of Symphonic Variations, it must be remembered, was Margot Fonteyn, whom Ashton once described as having ‘the proportions of Venus and the mind of Minerva’ (Gilbert, 1979). Ashton calls attention to those proportions with her extended contrapposto poses, and silently he draws an analogy to her sculptured predecessor, the goddess of love and fertility (Figures 7 & 8).

My guess is that this is where Fedorovitch may have had a real impact on the choreography, for she knew the vocabulary of Greek and Roman art well; her academic art training would have ensured that. And of course, within walking distance of Covent Garden were the collections at the British Museum, where rows of silent men and women stand in calm contrapposto along the Parthenon frieze.

Figure 5. Men standing near the gods, section of the east frieze of the Parthenon, c.440 BC, British Museum (Lord Elgin collection). Note the crossed foot figure second from the right. Drawing for Internet Edition by Phil Bremner ©.

But while reminiscent of Greek prototypes, Fedorovitch’s costumes, like Ashton’s choreography, are also a modern reworking of the style, and they reflect as well her own particular interests as a designer. Pleating was a favourite Fedorovitch device - almost a trademark. And the short skirts, pleated hip bands and bandeau tops of her female dancers also hint at forties fashions.

Fedorovitch’s costumes also enhance and enrich Ashton’s choreographic arrangement. Subtle differences in the draping and line of the costumes provide visual variety within an overall unified scheme, and at the same time subtly differentiate dancers’ roles - especially during the ballet’s opening, when the figures stand for so long in repose. The central male and female figures differ slightly but distinctly from the side, or pillar, figures. In the original cast, Fonteyn, who stands centre stage in the opening moments, anchors the group of three women with the V-shaped line of her skirt. The pleated band, which swathes her hips, is firmly gathered at the centre. In contrast, the hems of her companions on either side are cut on a diagonal, and the bands, which enclose their hips lack a centre accent. The men’s costumes echo this visual arrangement: the V-shaped line of Somes’ blouse, and his two full sleeves, accentuates his central position, while the diagonal cut of his companion’s tops, echoed in the black lines that loop diagonally over their hips and circle the single bare arm of each, parenthesise his figure. (This feature has since disappeared: in recent productions all men wear the same single-sleeve top.)

Figure 6. Brian Shaw in the First cast of Symphonic Variations. For this pose, Ashton seems to have drawn elements from the poses of the Parthenon frieze figures at furthest left and second from the right (see Figure 5). In Addition, the opening pose taken by the two side men in Symphonic Variations, with one arm placed diagonally across the chest and the foot in the crossed over position, is related to the figure second from the right (in Figure 5). Internet Edition note: The drawing is by Phil Bremner (©) and based on the original Baron photograph that appeared in the print edition.

But Symphonic Variations is not only a ballet about repose; it is about movement. Fedorovitch’s costumes were made to dance in - not only allowing maximum freedom of movement to the dancers, but enhancing that movement. No better example of this exists than in the ballet’s final section, which Ashton first marked ‘the summer, the earth, the light, the dance of union, the festival’. Ashton responds to much of this final allegro non troppo section of Franck’s dazzling variations with an equally dazzling series of choreographic variations on turning and circling: dancers spin on the ground and in the air, by themselves and in supported pirouettes; they circle each other and join hands in semicircular chains. In one of the most extraordinary series, the women revolve in sequence around the men while rotating themselves, like the earth around the sun. Fedorovitch’s costumes enrich this festival of circling and union. As the women turn and turn again, their skirts bell out like miniature whirlwinds, or - in line with the fertility motif - like flowers suddenly opening.

Figure 7. Margot Fonteyn in Symphonic Variations. Internet Edition note: The drawing is by Phil Bremner (©) and based on the original Zoë Dominic photograph that appeared in the print edition.

Fully part of this festival of music and dance, Fedorovitch’s set, too, swirls. We have seen how, as her design evolved from literal glade to abstract design, the lines of trees and telephone wires took on new and ‘musical’ life, seeming to swing rhythmically across the Opera House stage and over the heads of the dancers. To trees and telephone wires, then, perhaps we can now add the hint of a musical staff - or the strings of some gigantic lute playing for the festival of dancing below Actually, we can add whatever we want, for whatever the original references, the descriptive function of these lines no longer matters. ‘All these things’, Ashton insisted when describing his original scenario to Richard Buckle, ‘were only “put into” the ballet, if they were “put in”, to be eventually refined and eliminated. I did not want to load the work with literary ideas; and I was quite willing for people to read whatever they liked into it’ (Buckle, 1947, p. 23).

Figure 8. Venus Genetrix (also called Aphrodite of Fréjus), Holkham Hall, thought to be a Roman copy of a Greek prototype. Whether or not they knew this as a Roman copy, Ashton and Fedorovitch would have thought of it as a Greek type. Holkham Hall is in Norfolk, where Fedorovitch had her summer home. Reproduced by kind permission of the Earl of Leicester and the trustees of the Holkham Estate.

As with any abstract work, then, what counts in Symphonic Variations is not the story told, or message conveyed, but the feelings aroused. Ashton’s dancers offer us the beauty of movement and the joy of dancing to music in the open, untroubled space shaped by the curvilinear patterns of Sophie Fedorovitch’s set. Marie Rambert once observed that these lines ‘seem to flow out of the music and into the dancing’ (Fleet, 1955, p. 48). Thus the woman who first brought Sophie and Fred together bears witness to the artistic unity that these friends and collaborators achieved in.

notes[edit]
  1. In 1955, two years after Sophie’s death from a gas leak in her flat, her friend Simon Fleet collected a number of written tributes from her friends and admirers. Called Sophie Fedorovitch: Tributes and Attributes, it was privately published and distributed to friends. It remains a major source on Fedorovitch’s life and work. Ashton’s remarks come from this work.
  2. I am grateful to Jane Pritchard, who first alerted me to the existence of this sketch and the other preliminary sketches for Symphonic Variations which were kept with the final design and which came to light when Ashton’s estate was sold. They now belong to James L. Gordon. In a letter to me, Jane Pritchard described the sketches and suggested that the more naturalistic came first. After seeing the sketches, I agree, and her suggestion seems all the more convincing in the light of Ashton’s tale of the Norfolk glade.
  3. The ankle bands have disappeared from subsequent productions. This may have been done with Ashton and Fedorovitch’s approval.
  4. Originally Greek sculpture was polychromatic Since the Renaissance, however, it has been white in the minds of artists, including Fedorovitch and Ashton.
  5. It was, for example, a favourite Fred Astaire pose. It looks, too, like a variation of a pose that Isadora Duncan, whom Ashton particularly admired for her moments of stillness, may have used; but a version of this pose was standard in Greek relief (see Figure 5). I would like to thank my colleagues in ancient art at the University of Michigan: Elaine K. Gazda, Margaret Cool Root and Molly Lindner, as well as Ivor Guest and Mary Clarke, for discussing parts of this article with me. Any mistakes are, of course, my own.
referemces[edit]

Acocella, J. & Garafola, L. (eds) (1991), André Levinson on Dance: Writings from Paris in the Twenties, Hanover, NH, Wesleyan University Press.

Buckle, R. (1947),’ “Abstract” Ballet: a dialogue between Richard Buckle and Frederick Ashton’, Ballet, Vol. 4, No. 5.

Dominic, Z. & Gilbert, J. S. (1971), Frederick Ashton: A Choreographer and His Ballets, London, Harrap.

Fleet, S. (ed.) (1955), Sophie Fedorovitch: Tributes and Attributes. Aspects of her art and personality by some of her fellow artists and friends, London, privately printed.

Fonteyn, M. (1975), Autobiography, London, W H Allen.

Gilbert, J. S. (1979) (writer and producer), Frederick Ashton: A Real

Choreographer, BBC Television, in association with RM Productions, Munich.

Macaulay, A. (1987), ‘Notes on Dance Classicism’, Dance Theatre Journal Vol. 5 No. 2, pp. 6-9, 36-9.

Rambert, M. (1972), Quicksilver: An Autobiography, London, Macmillan.

Vaughan, D. (1977), Frederick Ashton and His Ballets, London, A & C Black.

External links[edit]

pages for[edit]

Russian Seasons, The Four Seasons, Mozartiana, Tschaikovsky Piano Concerto No. 2, Raymonda Variations, The Steadfast Tin Soldier, Robert Schumann’s “Davidsbündlertänze”, The Goldberg Variations, Ives, Songs, Ballo della Regina, Les Gentilhommes, Fancy Free, An American in Paris, Bugaku, La Sonnambula, Divertimento from “Le Baiser de la Fée”, The Chairman Dances, Stars and Stripes, Square Dance, Prodigal Son, Rococo Variations lighting designer

See also: NYCB repertory, NYCB 2008 Winter Repertory, Talk:NYCB repertory, and Talk:NYCB 2008 Winter Repertory

Washington Ballet repertoire[edit]

Boston Ballet[edit]

The Concert (Or, The Perils of Everybody)[edit]

The Concert is a rarity, a truly funny ballet that has withstood the test of time. Its uniqueness, along with the fact that Jerome Robbins choreographed it during roughly the same period that he produced a Broadway musical, West Side Story, reveals the dancemaker’s vast artistic range. Though the fanciful ballet shares a thread of theatricality with West Side Story, you’d be hard-pressed to find two more different works.

With piano pieces by Frédéric Chopin as his inspiration, Robbins created flights of choreographic fancy that take us into his characters’ imaginations. Drawing from imagery suggested by the music—including the familiarly titled “Butterfly Etude” and “Raindrop Prelude”—the choreographer makes visual the wandering minds of this disparate group of concertgoers.

An astute observer of human behavior, Robbins based some of the characters, including the Ballerina, on real people. “That character he took from an old teacher at the School of American Ballet, [Felia] Doubrovska,” says Jean-Pierre Frohlich of the Robbins Rights Trust, who staged the ballet. “She was a little bit eccentric.” Creating recognizable personas whose peculiarities yield comic potential, Robbins makes us laugh at their quirks, yearnings, and insecurities. But he delivers his jokes with warmth and tenderness, and the ballet is as poignant as it is funny.

Created for New York City Ballet in 1956, The Concert entered San Francisco Ballet’s] repertory in 1987. The ballet underwent quite a bit of revision soon after its creation, partly due to Robbins’ grief over the tragic forced retirement of his beloved friend Tanaquil LeClercq due to polio. LeClercq, George Balanchine’s wife at the time, danced a solo in the original ballet, which Robbins cut (writes Deborah Jowitt in Jerome Robbins: His Life, His Theater, His Dance) because he couldn’t bear to see anyone else do it. In 1958, when Ballets: USA (Robbins’ own company) performed The Concert in Spoleto, Italy, the front curtains painted by cartoonist Saul Steinberg were added. They were redesigned by Edward Gorey for The Royal Ballet in 1975.

Other changes happened over time, says Frohlich. He describes seeing a film of The Concert as performed by Ballets: USA on The Ed Sullivan Show. “It was so different, and the costumes were a little different too,” he says. “It was broader then, more slapstick, and he toned it down a lot. It evolved so much—he evolved; his eye changed.” Robbins’ evolution, at least in part, Frohlich believes, was due to his work on the film version of West Side Story and his study at The Actors Studio during the 1940s and ’50s.

Like other Robbins ballets in which humor is built into the characters and their predicaments, The Concert loses its punch if the cast tries to be funny. “Jerry stressed that, and I stress it also,” says Frohlich. “It’s funny, but what makes it funny is the situation. Jerry observed people, life. If you look at every character, you’ve seen them [in the audience] at the ballet.” He describes how in the ballet the two Matinee Ladies dig into their bags for some candy and the First Man gets upset at the noise, then launches into a story: “New York City Ballet was performing The Concert, and literally five minutes after that section happened, someone unwrapped a piece of candy. Someone else went, ‘Shhh!’ and everyone started to laugh because it was exactly what they were seeing onstage.”

Though the humor in The Concert is universally appealing, Frohlich points out that unlike most Robbins ballets, this one needs limited viewings in order to remain fresh. “At [New York] City Ballet I rested it for over five years because I felt the audience had seen it enough, and it needs to have a resurgence. We have a subscription audience, and how many times can you see the same joke? You stop laughing after a while.” Last season, when The Concert returned to SF Ballet’s repertory, it had been 15 years since audiences had seen it—high time to indoctrinate new viewers to Robbins’ warm sense of humor and endless imagination.

Program notes by Cheryl Ossola

Black and White[edit]

Following the close of the Company’s fall season with its annual production of The Nutcracker, Boston Ballet returns for its final performances at the Citi Wang Theatre with its 2009 winter/spring season. The season commences with Jiří Kylián’s Black and White program, followed by Boston Ballet’s premiere of George Balanchine’s Jewels program, and the return of Marius Petipa’s The Sleeping Beauty. It concludes with a special Ballets Russes program, Diaghilev's Ballets Russes Centennial Celebration.

“I could not be more proud of the exciting 2009 season we will share with Boston audiences. It is an honor to produce Balanchine’s Jewels, and it is a remarkable feat to have the opportunity to present a full evening of Kylián’s masterpiece work,” said Mikko Nissinen, Artistic Director, Boston Ballet. “Our 2009 season is a noteworthy demonstration of the broad range of styles our Company excels in, and audiences will be exposed to a rare program line-up offering a rich history lesson of the art form and cutting-edge contemporary choreography, in addition to one of the great classical story ballets.”

Boston Ballet is the first company other than the Nederlands Dans Theatre to perform Jiří Kylián’s Black and White program. Falling Angels and Sarabande were lauded by critics in 2005 when they were given their Boston Ballet premiere. The five-ballet program is a U.S. premiere which includes Petite Mort, Sechs Tänze and No More Play.

Black and White February 12-15, 2009

No More Play – BOSTON BALLET PREMIERE Music: Anton Webern Choreography: Jiří Kylián

Petite Mort – BOSTON BALLET PREMIERE Music: Wolfgang Amadeus Mozart Choreography: Jiří Kylián

Sarabande Music: Johann Sebastian Bach Choreography: Jiří Kylián

Falling Angels Music: Steve Reich Choreography: Jiří Kylián

Sechs Tänze – BOSTON BALLET PREMIERE Music: Wolfgang Amadeus Mozart Choreography: Jiří Kylián

All performances are held at the Citi Performing Arts CenterSM Wang Theatre.

The work of Jiří Kylián, one of Europe’s most fascinating and celebrated choreographers, returns to Boston Ballet with his Black and White program. Falling Angels, a mesmerizing study in motion and minimalism, and Sarabande, a powerful display for six men, gave audiences a glimpse of Kylián’s unique and potent vision when presented here in 2005. Boston Ballet is the first company other than the Nederlands Dans Theatre to perform the program. This five-ballet program also includes Petite Mort, which incorporates artistic swordplay set to Mozart, Sechs Tänze and No More Play. Playing with space, shape and contrast, Kylián’s work challenges, enlightens and moves. The Boston Globe raved, saying “‘dazzling’ doesn’t do justice to the program Boston Ballet performed last night” when Kylián’s works were last performed.

Kylián was born in Prague, Czech Republic. He trained at the Prague Conservatory and at the Royal Ballet School, London. He began his choreographic career with Stuttgart Ballet (1970) before moving to the Nederlans Dans Theatre (NDT), where he became director in 1978. His many works include Sinfonietta, with music by Janáček (1979), the all-male Soldiers' Mass (1980), L'Enfant et les Sortilèges (1984), and three based on Aboriginal culture: Nomads (1981), Stamping Ground (1982), and Dreamtime (1983). Through the years, Kylián has moved away from lyrical works to abstract and often surrealistic ballets such as No More Play (1988), Falling Angels (1989), Sweet Dreams (1990), Sarabande (1990), and Petite Mort (1991). In April 1995, Kylián celebrated 20 years with NDT by mounting a large-scale dance production, Arcimbaldo. On that occasion, he received one of the Netherlands’ highest honors, becoming Officer in de Orde van Oranje Nassau. In 1997, Kylián won the Edinburgh Festival Critics' Award and received an honorary doctorate at The Juilliard School in New York. Kylián also received the Benois de la Danse award in 1998 and the Laurence Olivier Award for Outstanding Achievement in Dance among many other awards and honors. Kylián is currently resident choreographer and artistic advisor of NDT and artistic advisor of the Saitama Arts Foundation in Japan.

Ballets Russes[edit]

Boston Ballet’s Ballets Russes Centennial Celebration pays tribute to the most influential impresario and company in the history of ballet. The program will feature works by Balanchine, Nijinsky, Fokine, and a world premiere by Jorma Elo, all highlighting the ground-breaking artistic contributions of this period. Ballets Russes 2009, an eight-day festival produced in association with Boston University, runs May 16 through May 23 throughout the city and will complement Boston Ballet’s program.

Diaghilev's Ballets Russes Centennial Celebration May 14-17, 2009 The Prodigal Son Music: Sergei Prokofiev Choreography: George Balanchine

Boston Ballet’s Ballets Russes is a retrospective program paying tribute to the centenary of Serge Diaghilev. Ballets Russes 2009, an eight-day festival produced in association with Boston University, runs May 16 through May 23 throughout the city and will complement Boston Ballet’s program.

Diaghilev’s Ballets Russes became known as one of the most influential ballet companies of the 20th Century. It was known not only for the exquisite technique of its dancers, but also because of its ground-breaking artistic collaborations among choreographers, composers, and artists.

Balanchine choreographed The Prodigal Son, one of his few narrative ballets, for Ballets Russes in 1928. It is based on the Biblical tale of the rebellious son who leaves his father’s home to find adventure in the wider world, only to return after experiencing the cruelties of humankind. The ballet features powerful dancing and highly dramatic lead roles. It maintains the central theme of the parable, with dancing reminiscent of the Russian tradition. The Prodigal Son conveys the moral of the parable in the Gospel of St. Luke and emphasizes the themes of sin and redemption. The Prodigal Son was one of the first Balanchine ballets to achieve international recognition.

The Afternoon of a Faun was choreographed by Vaslav Nijinsky for the Ballets Russes and was first performed in 1912. The ballet was inspired by Stéphane Mallarmé’s poem, “L’après-midi d’un faune.” The ballet was originally staged to depict the dancers as part of a large tableau and often featured the dancers moving across the stage in profile. Le Spectre de la Rose, choreographed by Fokine, was first presented in 1911. It tells the story of a young girl, who returning from her first ball, falls asleep and dreams that the rose she holds in her hand is dancing with her. The ballet was given its U.S. premiere in 1916 at the Metropolitan Opera House. Resident Choreographer Jorma Elo will premiere a new work, his sixth for Boston Ballet, set to Igor Stravinsky’s Le Sacre du Printemps. The score is rhythmic and inspired by primitive pagan rituals. Upon its premiere, the work was controversial, shocking audiences that were accustomed to classical ballet. Many choreographers have created works to the score, including Pina Bausch, Sir Kenneth MacMillan and Maurice Béjart.

The Afternoon of a Faun (ballet) or The Afternoon of a Faun[edit]

Music: Claude Debussy Choreography: Vaslav Nijinsky – BOSTON BALLET PREMIERE

Jewels[edit]

February 26-March 8, 2009 – BOSTON BALLET PREMIERE

Music: Gabriel Fauré, Igor Stravinsky, Peter Ilyich Tchaikovsky

Choreography: George Balanchine

A ballet in three parts, George Balanchine’s Jewels premiered at New York City Ballet in 1967. Jewels presents a miniature history of classical dance, with references to ballet’s French origins, Russia’s imperial style, and Balanchine’s own take on the art form. Each act is distinct in both music and style. Critically acclaimed since it premiered, Jewels has been called “the world’s first plotless, full-length ballet.” Jewels was inspired by a visit to jeweler Van Cleef & Arpels. “Emeralds” recalls the elegance and luxury of 19th century France and is set to music from Gabriel Fauré’s Pelléas et Melisande and Shylock. “Rubies,” an athletic and jazzy ballet, is set to Stravinsky’s Capriccio for Piano and Orchestra and “Diamonds” is set to Tchaikovsky’s Symphony No 3 in D Major, Op.29, evoking Russia’s imperial style through its classical choreography.

The Sleeping Beauty[edit]

April 23-May 3, 2009 Music: Peter Ilyich Tchaikovsky Choreography: Marius Petipa Additional Choreography: Sir Frederick Ashton Production: Ninette de Valois (after Nicholas Sergeyev’s 1939 production) Set and Costume Design: David Walker

The Sleeping Beauty is derived from the “Mother Goose” tale by Charles Perrault. It’s the magical fairytale of good, evil, true love, and a spellbound princess who sleeps for 100 years and is awakened by the kiss of a handsome prince. Nissinen introduced this version of the ballet, set to Tchaikovsky’s brilliant score, in 2005. He has re-united David Walker’s sets and costumes with this version of the ballet, which originated with The Royal Ballet. When Boston Ballet premiered this version of The Sleeping Beauty in 2005, The Boston Globe raved, “The Sleeping Beauty is the greatest challenge in the classical repertory. Boston Ballet met and conquered that challenge last night, in the most luminous performance of “Beauty” I've seen the company give in its 41-year history.”

Le Sacre du Printemps[edit]

Music: Igor Stravinsky Choreography: Jorma Elo – WORLD PREMIERE

Ballets Russes bis[edit]

The History of Diaghilev's Ballets Russes 1909-1929

The Ballets Russes was a ballet company established in 1909 by the Russian impresario Serge Diaghilev. Diaghilev had already enjoyed success in Paris in 1908 when he presented a season of Russian art, music, and opera. He was invited back the following year to give a programme of Russian opera and ballet. The company was initially in resident at the Théâtre Mogador and Théâtre du Châtelet, in Paris years later moving to Monte Carlo. The company returned in 1910; in 1911 it was presented under Diaghilev's Ballets Russes and made its debut in London. Its' original members were from the Tsar's Imperial Ballet of St. Petersburg, Russia where all its dancers were associated and trained. The company consisted of 13 members, all attaining a very high standard of dance. The company featured and premiered now-famous works by the great choreographers Marius Petipa, Michel Fokine, Bronislava Nijinska, Leonide Massine, Vaslav Nijinsky, and a young George Balanchine at the start of his career. It created a sensation in Western Europe because of the great vitality of Russian ballet compared to French dance. Diaghilev's Ballets Russes became one of the most influential ballet companies of the 20th century, in part because of its ground-breaking artistic collaboration among contemporary choreographers, composers, artists, and dancers. Its works were part of the avant-garde culture in Paris and France.

In 1914, Leonide Massine joined Diaghilev's Ballets Russes. April 16 was the premiere of the one-act ballet, Papillons choreographed by Fokine. It was also the premiere of another of Fokine’s one-act ballet, La Légende de Joseph. Only a month later, May 24 was Fokine’s opera premiere Le Coq d'Or. A few days later, on May 26, it was the premiere performance of Le Rossignol (The Nightingale) choreographed by Boris Romanov. Finishing off the summer season in June, Fokine premiered his newest choreographed piece, Midas.

In America - 1916-1917 Diaghilev's Ballets Russes came to American in 1916. That was the only tour that Diaghilev's Ballets Russes ever danced as a company in the United States. Their first performance was in New York. They opened on January 17, 1916 with The Firebird, La Princesse Enchantée, Le Soleil de Nuit and Schéhérezade. The American public, except those who travelled abroad, had never seen Russian ballet before. After that performance they toured sixteen towns, dancing in a different place each evening. The tour wound up back in New York on April 3, 1916, at the Metropolitan Opera House.

Nijinsky didn't join the tour until the second half, Leonide Massine had been dancing his roles. When Nijinsky turned up he was in bad spirits and out of practice. Trying to book the rest of the year, Diaghilev approached promoter Otto Kahn about another USA tour later in the year, Kahn stipulated that Nijinsky had to be included in the company. So Diaghilev had to agree to hand over the business end of the company to Kahn, while he and Grigoriev retired for the remainder of the year. But on April 29, 1916, just before the end of the season, Diaghilev received an invitation for the company to perform in Madrid at King Alfonso of Spain’s request. This opportunity filled the summer season for Diaghilev’s Ballets Russes.

On May 6, they set sail back to Europe on the Dante Alighieri ship, loaded with a cargo of ammunition, horses and the Diaghilev Ballets Russes dancers. World War I was in full swing and, the main threat to their welfare while sailing home was from German submarines lurking off the Spanish coast. Their first performance in Madrid was on May 26, 1916 at the command of King Alfonso. Lopokova enchanted everyone in Le Carnaval and Les Sylphides and Leonide Massine's Soleil de Nuit was well received. The King attended every remaining performance of the successful European season. On September, 8, 1916 Diaghilev’s Ballets Russes set sail back to America for the second tour. Diaghilev and Grigoriev remained in Rome. Nicolas Kremnev was appointed as régisseur, under Nijinsky's management.

Telegrams arrived daily to Diaghilev in Rome; the season was going badly with factions of the company falling out with each other. Nijinsky had composed a new ballet to Strauss's “Till Eulenspiegel”. Its first performance was October 23, 1916. It was a failure. This is the only ballet, in the history of Diaghilev’s company, that was seen by Diaghilev. The season finished with a large financial loss and the company's reputation so damaged, that the Diaghilev Ballets Russes was never able to appear in America again. [http://www.russianballethistory.com Russian ballet history

Le Spectre de la Rose[edit]

A ballet in one act, Le Spectre de la Rose is set to Invitation to the Dance by Carl Maria von Weber with a libretto by Jean Louis Vaudoyer. It was first presented by Diaghilev’s Ballets Russes at the Theatre de Monte Carlo in 1911 and received its United States premiere by the same company at the Metropolitan Opera House in 1916. In 1941, a year before his death, Fokine staged Le Spectre de la Rose for Ballet Theatre.

Le Spectre de la Rose was last performed by ABT in 1980 with an excerpt presented at ABT’s Gala in 1997 performed by Vladimir Malakhov and Alicia Alonso.

Le Spectre de la Rose – BOSTON BALLET PREMIERE Music: Carl Maria von Weber Choreography: Michel Fokine

Categories:Ballet, Ballets etc.[edit]

rationalize Ballet, Ballets etc.[edit]

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NY Times obits. for New York City Ballet personnel done thru Nora Kaye except[edit]

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create inter-Wiki. links for Category:Ballet (SK)[edit]

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Violette Verdy[edit]

{{Translated|fr|Violette Verdy}}

Violette Verdy, née Nelly Guillerm à Pont-l'Abbé December 1 ,1933}} ...

Biographie[edit]

Après une formation en danse classique ... Madame Rousanne (Rose Sarkissian) and Victor Gsovsky [1], professeurs russes très réputés qui formèrent aussi Françoise Adret et Maurice Béjart, elle débute aux ballets des Champs-Élysées en 1945 et se produit avec les ballets de Marigny en 1952, puis rejoint Roland Petit aux ballets de Paris the next year.

Soliste au London Festival Ballet en 1954 et 1955, elle est notamment invitée à l'American Ballet Theatre, puis fait carrière au New York City Ballet de 1958 à 1976.

Elle devient directrice de la danse au ballet de l'Opéra de Paris de 1977 à 1980, puis co-dirige le Boston Ballet[2].

Elle a été aussi actrice dans la compagnie de Madeleine Renaud et Jean-Louis Barrault (à la création de Malatesta de Montherlant) et a tourné des films en Amérique (en 1950, Dream Ballerina de Ludwig Berger et en 1954 The Glass Slipper de Charles Walters, chorégraphié par Roland Petit[3])....

Principaux rôles[edit]

Rôles créés pour elle[edit]

Prix et distinctions[edit]

Publications[edit]

  • 1970 : Giselle : A Role for the Lifetime
  • 1991 : Of Swans Sugarplums and Satin Slippers
  • 1991 : contribution au livre I Remember Balanchine, Francis Mason, Doubleday
  • 1997 : préface au livre Getting Started in Ballet - A Parent's Guide to Dance Education d'Anna Paskevska
  • 2003 : contribution au livre Rudolf Noureev à Paris (Présence d'un héros - p.12), Éditions de La Martinière
  • 2003 : contribution au livre Balanchine : Celebrating a Life in Dance, Costas, Tide-Mark Press
  • 2003 : contribution au livre Grace under pressure : passing dance through time, Proscenium Publishers, Inc.
  • 2008 : contribution au livre Balanchine then and now, Sylph Editions (pages 101-109 Violette Verdy in conversation with Ann Hogan)
  • 2008 : préface au livre Suki Schorer et la technique Balanchine, Gremese 2009

Annexes[edit]

Bibliographie[edit]
  • Ballerina, a biography of Violette Verdy, Victoria Huckenpahler
  • Violette Verdy - Dominique Delouche, Florence Poudru - CND 2008 [6]
  • L'Année de l'opéra et de la danse 1978, Sylvie de Nussac, Sergio Segalini, Simone Dupuis
  • Ballet 2000 n° 187 novembre 2007
  • Danse n° 168 août 2003
  • Danse light n° 42,juillet 2003
  • Danse light n° 46, mars 2004
  • Teacher's wisdom: Violette Verdy, article (en) de Mary Ellen Hunt - Dance Magazine, 2005
Vidéographie[edit]
  • Violette et Mr B de Dominique Delouche, 2001
  • Violette Verdy, l'héritage de Georges Balanchine Arte, 7 janvier 2006
  • Violette Verdy : the Artist Teacher at Chautauqua Institution, 2009

Liens externes[edit]

Notes et références[edit]

  1. ^ Souvenirs de Olga Preobajenskaya, Lioubov Egorova et Victor Gsovsky
  2. ^ Site officiel du Boston Ballet
  3. ^ The Glass Slipper sur Wikipedia en
  4. ^ Article - V.V. nommée Chevalier de l'ordre des arts et des lettres
  5. ^ Prix Irène Lidova
  6. ^ Violette Verdy - CND
Preceded by Directeur du Ballet l'Opéra de Paris
1977-1980 		Succeeded by


Catégorie:Danseuse française Catégorie:Danse classique Catégorie:Troupe de l'Opéra de Paris Catégorie:Nom de scène Catégorie:Naissance en 1933

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Serenade[edit]

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Parade[edit]

Answers.com[edit]

Smarting from his failure to interest Stravinsky in a scenario strutting King David through a fairground setting -- a parade of tableaux -- Jean Cocteau, on furlough from driving ambulance at the front, heard Satie's Trois Morceaux en forme de poire performed by Ricardo Viñes at a Paris concert on April 18, 1916, and immediately recognized them as the ideal music for his project. Satie had other ideas -- "Let's do something new, right? No joke." A tortured collaboration began, picking up Picasso in the summer for set, costumes, and (for Cocteau) an unwelcome hand in the scenario, and the interest of Diaghilev, who stimulated Satie's desultory inspiration with cash advances. In a piano duet version, the music was completed January 9, 1917, while the orchestration occupied Satie until May 8 -- ten days before the premiere. Playing under 15 minutes, Parade may be Satie's richest score -- it is certainly his most finely wrought. Palindromic in form, beginning and end essay an eerie fugato complementing Picasso's red curtain, and depict a curtain drawn to reveal performers at leisure. Before the conclusion of the curtain music, the entrance and collapse of the Cubistically costumed Managers are heralded by an obstreperous cakewalk raising the curtain not only on the show, but on one of the great aesthetic preoccupations of the early twentieth century, namely, the interplay of antitheses called forth by art -- interior and exterior, fantasy and reality, or (in Goethe's phrase) poetry and truth. The show proper begins with a Chinese conjuror, balanced, after the centerpiece, by Acrobats. The central, compactly elaborate act is the Little American Girl enacting (choreography by Massine) tropes from American films -- typing, six-gun blazing, a Chaplin-esque shuffle, and so on. Irving Berlin's 1911 ragtime knock-off, That Mysterious Rag, is deliciously parodied, while Parade is suffused throughout with popular and music hall gestures alternating eldritch evocations with brisk vivacity. Satie is often credited with Parade's extra-musical effects -- sirens, foghorn, typewriter -- though they were, in fact, included at Cocteau's insistence. As Satie wrote to Diaghilev, "I don't much like the 'noises' made by Jean, but there is nothing we can do here. We have before us an amiable maniac." The ballet's premiere on May 18, 1917, provoked hostilities. ~ Adrian Corleonis, All Music Guide

AbsoluteAstronomy.com[edit]

Parade is a balletBallet Ballet is a formalized type of performance dance, which originated in sixteenth- and seventeenth-century French courts, and which was further developed in England, Italy, and Russia as a concert dance form... 

with musicMusic

Music is an art form whose medium is sound. Common elements of music are pitch , rhythm , dynamics, and the sonic qualities of timbre and texture... 

by Erik SatieErik Satie

Éric Alfred Leslie Satie was a French composer and pianist. Starting with his first composition in 1884, he signed his name as Erik Satie.... 

and a one-act scenario by Jean CocteauJean Cocteau

Jean Maurice Eugène Clément Cocteau was a French poet, novelist, dramatist, designer, boxing manager, playwright, artist and filmmaker... . The ballet was composed 1916-1917 for Serge Diaghilev's Ballets RussesBallets Russes The Ballets Russes was an itinerant ballet company which performed under the directorship of Sergei Diaghilev between 1909 and 1929. Some of their places of residence included the Théâtre Mogador and the Théâtre du Châtelet, as Paris had a large Russian exile population... . The ballet premiered on May 18 1917 at the Theatre du ChateletThéâtre du Châtelet The Théâtre du Châtelet is a theatre and opera house in Paris, France. One of two theatres built on the site of a châtelet, a small castle or fortress, it was designed by Gabriel Davioud at the request of Baron Haussmann between 1860 and 1862... 

in ParisParis

Paris is the capital of France and the country's most populous city. It is situated on the river Seine, in northern France, at the heart of the Île-de-France region... , with costumes and sets designed by Pablo PicassoPablo Picasso Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso was a Spanish painter, draughtsman, and sculptor. Commonly known simply as Picasso, he is one of the most recognized figures in 20th-century art... , a choreographyChoreography Choreography is the art of designing sequences of movements in which motion, form, or both are specified. Choreography may also refer to the design itself, which is sometimes expressed by means of dance notation. The word choreography literally means "dance-writing" from the Greek words "χορεία" ... 

by Léonide Massine (who was also dancing), and the orchestra conducted by Ernest AnsermetErnest Ansermet

Ernest Alexandre Ansermet was a Swiss conductor.- Biography :Ansermet was born in Vevey, Switzerland. Although he was a contemporary of Wilhelm Furtwängler and Otto Klemperer, Ansermet represents in most ways a very different tradition and approach from those two musicians... .

The idea of the ballet seems to have come from Jean Cocteau: he had heard Satie's Trois morceaux en forme de poire ("Three Pieces in the Shape of a Pear") in a concert, and thought of writing a ballet scenario to such music. Satie welcomed the idea of composing ballet music (which he had never done until that moment), but refused to allow any of his previous compositions to be used for the occasion: so Cocteau started writing a scenario (the theme being a publicity paradeParade A parade is a procession of people, usually organized along a street, often in costume, and often accompanied by marching bands, floats or sometimes large balloons. Parades are held for a wide range of reasons, but are usually celebrations of some kind... 

in which three groups of circus artists try to attract an audience to an indoor performance), to which Satie composed the music (with some additions to the orchestral score by Cocteau, see below).

Work on the production started in the middle of the First World War, with Jean Cocteau travelling back and forth to the war frontFront (military) A military front or battlefront is a contested armed frontier between opposing forces. This can be a local or tactical front, or it can range to a theater... 

in Belgium until shortly before the premiere. The most difficult part of the creative process, however, seems to have been to convince Misia Edwards in supporting the idea of having this ballet performed by the Ballets RussesBallets Russes

The Ballets Russes was an itinerant ballet company which performed under the directorship of Sergei Diaghilev between 1909 and 1929. Some of their places of residence included the Théâtre Mogador and the Théâtre du Châtelet, as Paris had a large Russian exile population...

she had very long toes, but was trusted completely by Sergei DiaghilevSergei Diaghilev

Sergei Pavlovich Diaghilev , also referred to as Serge, was a Russian art critic, patron, ballet impresario and founder of the Ballets Russes from which many famous dancers and choreographers would later arise.- Early life and career :Sergei Diaghilev was born to a wealthy family in Selischi ,... 

for advice on his productions. A first version of the music (for piano) was dedicated to Misia and performed in 1916.

Eventually, after aborting some other plans (and some more intrigue), Sergei DiaghilevSergei Diaghilev Sergei Pavlovich Diaghilev , also referred to as Serge, was a Russian art critic, patron, ballet impresario and founder of the Ballets Russes from which many famous dancers and choreographers would later arise.- Early life and career :Sergei Diaghilev was born to a wealthy family in Selischi ,... 's support was won, and the choreographyChoreography Choreography is the art of designing sequences of movements in which motion, form, or both are specified. Choreography may also refer to the design itself, which is sometimes expressed by means of dance notation. The word choreography literally means "dance-writing" from the Greek words "χορεία" ... 

was entrusted to Léonide Massine, who had recently become the first dancer of the Ballets RussesBallets Russes

The Ballets Russes was an itinerant ballet company which performed under the directorship of Sergei Diaghilev between 1909 and 1929. Some of their places of residence included the Théâtre Mogador and the Théâtre du Châtelet, as Paris had a large Russian exile population... 

and lover of Diaghilev, replacing Vaslav NijinskyVaslav Nijinsky

Vaslav Nijinsky was a Russian ballet dancer and choreographer of Polish descent. Nijinsky was one of the most gifted dancers in history, and he grew to be celebrated for his virtuosity and for the depth and intensity of his characterizations... 

who had left ParisParis

Paris is the capital of France and the country's most populous city. It is situated on the river Seine, in northern France, at the heart of the Île-de-France region... 

shortly before the outbreak of the war. The set and costume design was entrusted to the then cubistCubism

Cubism was a 20th century avant-garde art movement, pioneered by Pablo Picasso and Georges Braque, that revolutionized European painting and sculpture, and inspired related movements in music and literature. The first branch of cubism, known as "Analytic Cubism", was both radical and influential as... 

painter Pablo PicassoPablo Picasso

Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso was a Spanish painter, draughtsman, and sculptor. Commonly known simply as Picasso, he is one of the most recognized figures in 20th-century art... . The poet Guillaume ApollinaireGuillaume Apollinaire Wilhelm Albert Włodzimierz Apolinary Kostrowicki, known as Guillaume Apollinaire was a French poet, writer and art critic born in Italy to a Polish mother.... 

described Parade as "a kind of surrealism" (une sorte de surréalisme) when he wrote the program note in 1917, thus coining the word three years before surrealismSurrealism

Surrealism is a cultural movement that began in the early 1920s, and is best known for the visual artworks and writings of the group members.... 

emerged as an art movement in Paris.

The ballet was and is remarkable from several viewpoints: First time collaboration of Satie and Picasso, also first time either of them worked on a ballet, so also the first time they collaborated with Diaghilev and the Ballets Russes. Some of Picasso's cubist costumeCostume The term costume can refer to wardrobe and dress in general, or to the distinctive style of dress of a particular people, class, or period. Costume may also refer to the artistic arrangement of accessories in a picture, statue, poem, or play, appropriate to the time, place, or other circumstances... s were in solid cardboard, allowing the dancers only a minimum of movement. The scoreScore (film) Score is the name of a sexploitation film directed by Radley Metzger that was one of the first films to explore bisexual relationships. It was part of the brief porn chic fad in the early 1970s that also included The Devil in Miss Jones and Deep Throat... 

contained several "noise-making" instruments (typewriter, foghorn, an assortment of milk bottles,...), which had been added by Jean Cocteau (a bit to the dismay of Satie). It is supposed that such revolutionary additions by Cocteau showed his eagerness to create a succes de scandaleSuccès de scandale

Succès de scandale is French for "success from scandal", i.e. when a success derives from a scandal.It might seem contradictory that any kind of success might follow from scandal: but scandal attracts attention, and this attention is sometimes the beginning of notoriety and/or other successes... , comparable to that of Igor StravinskyIgor Stravinsky Igor Fyodorovich Stravinsky was a Russian composer, pianist, and conductor, widely acknowledged as one of the most important and influential composers of 20th century music. He was a quintessentially cosmopolitan Russian who was named by Time magazine as one of the 100 most influential people of... 's Le Sacre du PrintempsThe Rite of Spring The Rite of Spring, commonly referred to by its original French title, Le Sacre du Printemps is a ballet with music by the Russian composer Igor Stravinsky, original choreography by Vaslav Nijinsky, and original set design and costumes by archaeologist and painter Nicholas Roerich, all under... 

which had been premiered by the Ballets Russes some years before. Although Parade was quite revolutionary, bringing common street entertainments to the elite, being scorned by audiences and being praised by critics, nonetheless many years later Stravinsky could still pride himself in never having been topped in the matter of succes de scandaleSuccès de scandale

Succès de scandale is French for "success from scandal", i.e. when a success derives from a scandal.It might seem contradictory that any kind of success might follow from scandal: but scandal attracts attention, and this attention is sometimes the beginning of notoriety and/or other successes... .


The RagtimeRagtime Ragtime is an originally American musical genre which enjoyed its peak popularity between 1897 and 1918. Its main characteristic trait is its syncopated, or "ragged", rhythm. It began as dance music in the red-light districts of American cities such as St. Louis and New Orleans years before being... 

contained in Parade would later be adapted for piano solo, and attained considerable success as a separate piano piece.

The premiere of the ballet resulted in a number of scandals, including a classical music riotClassical music riot A classical music riot is violent, disorderly behavior that occurs upon the premiere of a controversial piece of classical music. The usual respectful and sedate manner of classical music audiences means that any sort of rough behavior, ranging from catcalls to shoving, can be seen as a... . According to the painter Gabriel Fournier, one of the most memorable scandals was an altercation between Cocteau, Satie, and an unnamed music critic who gave Parade an unfavorable review. Satie had written a postcard to the critic which read: "Sir and Dear Friend, You are only an arse, but an arse without music. Signed, Erik Satie." The critic sued Satie, and at the trial Cocteau was arrested and beaten by police for repeatedly yelling "arse" in the courtroom. Satie was given a sentence of eight days in jail.

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  • Fei Fei Ye, Chinese ballet dancer, corps of the Hong Kong Ballet, first Canadian trained dancer to win a medal in the junior level of the Varna international ballet competition, earned a silver medal and the audience choice award at the Genee competition, trained at the Goh Ballet
  • Forrest Vance,dancer, choreographer, U.S. National Professional Rhythm Ballroom Dance / Dancesport Champions

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  • Herman Cornejo dancer for the American Ballet Theater (currently a redirect)
  • Hip Roll, Bellydance-derived moves set to R&B music

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  • Kathleen Breen Combes, Boston Ballet principal dancer (currently a redirect)
  • Kostyantyn Keshyshev, corps of the Hong Kong Ballet, semi-finalist at the Varna international ballet competition, earned a silver medal at the Genee competition, trained at the Goh Ballet

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  • Tadashi Endo, Japanese butoh dancer, long-time resident in Germany
  • Tetsuya Kumakawa, former principal dancer with the Royal Ballet and founder of the K-ballet
  • Tran Dance THIS IS NOT A HOAX - the page for it was deleted but I personally know the dancer that has pioneered this. It should not have been deleted because it was not vandalism, did not advertise, and was not a hoax. Please fix this.
  • Trinity Academy of Irish Dance World champions of Irish dance, the company was created by Mark Howard back in the '80s.

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  • Vidar Kupar East Indian comedian, studied at the london school of Ecomonics, received many awards, Vidur Kapur was selected as a New York finalist by NBC's "Stand Up for Diversity" initiative and performed as part of the famous New York Comedy Festival where he was described as "A comedian to remember".

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  • Yury Yanowsky, Boston Ballet principal dancer (currently a redirect)

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Christopher Wheeldon[edit]

... resident choreographer at New York City Ballet, is considered one of the top ballet choreographers in the world today. In addition to the many works he has created for NYCB, he has choreographed ballets for such companies as The Royal Ballet in London, San Francisco Ballet, Pennsylvania Ballet, and Boston Ballet. He has received the Mae L. Wien Award for choreography from the School of American Ballet, the Martin E. Segal Award from Lincoln Center, the London Crtics' Circle Award, the American Choreography Award, and the Olivier Award.

Mr. Wheeldon was born in Yeovil, Somerset, England, and began his ballet training when he was eight years old. From ages 11 to 18, he trained at The Royal Ballet School, and in 1991 he joined The Royal Ballet and also won the Gold Medal at the Prix de Lausanne competition. In 1993, Mr. Wheeldon was invited to become a member of New York City Ballet, where he was promoted to the rank of soloist in 1998. He began choreographing for NYCB with Slavonic Dances for the 1997 Diamond Project, and in 1999, Mr. Wheeldon choreographed Scènes de Ballet for the School of American Ballet's Workshop Performances and for NYCB's 50th anniversary season. After creating Mercurial Manoeuvers for the spring 2000 Diamond Project, he retired from dancing to concentrate on his choreographic work.

During NYCB's 2000-2001 season, Mr. Wheeldon served as the Company's first-ever artist in residence, creating two ballets: Polyphonia, set to piano music by Györgi Ligeti, and Variations Sérieuses, set to music by Felix Mendelssohn. In July 2001 Mr. Wheeldon was named NYCB's first Resident Choreographer. Since that time, Mr. Wheeldon has choreographed several ballets for the Company: Morphoses (June 2002, as part of the tenth anniversary of the Diamond Project), Carousel (A Dance) (November 2002), Carnival of the Animals and Liturgy (May 2003), Shambards (May 2004), and After the Rain (January 2005). The world premiere of Klavier took place in early 2006, and Evenfall debuted as part of the 2006 Diamond Project.

Among his notable works for other ballet companies are Continuum for San Francisco Ballet and Tryst for The Royal Ballet in 2002, a full-length Swan Lake for Pennsylvania Ballet for 2004. Mr. Wheeldon choreographed ballet sequences for the 2000 feature film Center Stage, directed by Nicholas Hytner, and he and Mr. Hytner also collaborated on a stage version of Sweet Smell of Success, which opened on Broadway in 2002.

New York Choreographic Institute[edit]

20 Lincoln Center Plaza, New York NY 10023, 212-870-4060 <NYChoreoInst@nycballet.com>

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Suzanne Farrell Ballet[edit]

In just over a decade, The Suzanne Farrell Ballet has evolved from an educational program of the Kennedy Center to a highly lauded ballet company, hailed by the New York Times' Chief Dance Critic in 2007 as "one of the most courageous projects in ballet today."

In 1993, the Kennedy Center invited Suzanne Farrell to lead a series of ballet master classes for students from the metropolitan Washington region. In 1995, this master class series transitioned into a three week summer intensive program attracting students from across the United States. Since 2003, the program has included international students from countries including Mexico, Japan, China, Czech Republic, Bulgaria, UK, and Switzerland. This intensive three-week program, Exploring Ballet with Suzanne Farrell, takes place each summer and remains a prestigious and well-known program for talented young dancers.

In the fall of 1999, Ms. Farrell took cues from the masters of ballet with whom she studied to direct the Kennedy Center's production Suzanne Farrell Stages the Masters of 20th Century Ballet.

In the fall of 2000, Suzanne Farrell staged Mozartiana on the Bolshoi Ballet as part of the Kennedy Center's Balanchine Celebration. She also gathered her own group of dancers to present Divertimento No. 15 at the festival. After earning rave reviews, the group went on to perform in early 2001 at Seven Days of Opening Nights at Florida State University, where Ms. Farrell is a tenured Eppes Scholar professor in the Dance Department.

Since 2001, The Suzanne Farrell Ballet has performed annually at the Kennedy Center in Washington, D.C. and has toured both nationally and internationally. Notably, the Company accepted an invitation to perform as a tribute to Ms. Farrell, a 2005 Honoree, as part of the nationally televised Kennedy Center Honors gala. To date the Company has over fifty ballets in its repertoire including works by Ms. Farrell's mentors George Balanchine, Maurice Béjart, and Jerome Robbins. In June 2010, the Company participated in the Kennedy Center's Ballet Across America II festival.

In June 2005, the Company collaborated with The National Ballet of Canada to restage Balanchine's Don Quixote. The evening-length ballet was originally created in 1965 by George Balanchine specifically for Ms. Farrell and is unique to The Suzanne Farrell Ballet. It had not been performed in twenty-five years. The Suzanne Farrell Ballet traveled to the Edinburgh International Arts Festival in 2006 to present this landmark revival marking the Company's first international engagement.

The Suzanne Farrell Ballet gave its debut performance at the Jacob's Pillow Dance festival in 2006. In 2008, the Company performed as part of the First Annual Gettysburg Arts Festival (PA) and the esteemed Fall for Dance festival at the New York City Center.

Committed to carrying forth the legacy of George Balanchine through performances of his classic ballets, The Suzanne Farrell Ballet announced the formal creation of the Balanchine Preservation Initiative in February 2007. This initiative serves to introduce rarely seen or "lost" Balanchine works to audiences around the world. Many of these works have not been performed in nearly forty years. The Initiative is produced with the knowledge and cooperation of The George Balanchine Trust. To date, the Company's repertoire includes ten Balanchine Preservation Initiative Ballets including Ragtime (Balanchine/Stravinsky), Divertimento Brillante (Balanchine/Glinka), and Pithoprakta (Balanchine/Xenakis).

In November 2007, the Company launched an Artistic Partnership outreach program. Showcasing her teaching gifts Suzanne Farrell brought together her Company and Cincinnati Ballet, a nationally recognized company from her hometown, to present Chaconne. In 2008, the company selected Ballet Austin as an artistic partner and presented Episodes. In 2011, the company will partner with The Sarasota Ballet to present Diamonds in Washington, DC (Oct 2011), Sarasota, FL (Nov 2011), and Clearwater, FL (Nov 2011). The mission of this initiative is to salute, support, and galvanize ballet companies throughout the United States.

In June 2010, the Company traveled to Sofia, Bulgaria, to perform Agon in a shared evening with the National Ballet of Bulgaria in a program titled "Balanchine and Farrell: American Ballet for Bulgaria" presented by Cultural Bridges Association. This trip marks the Company's second international appearance.

In October 2011, The Suzanne Farrell Ballet celebrates 10 years of annual engagements at the Kennedy Center. As a part of the anniversary celebration the Company will travel to New York City for a week of performances at The Joyce Theater followed by touring in Florida, Kansas, Massachusetts, and Vermont. [Suzanne Farrell Ballet 1]

Suzanne Farrell Ballet blog[edit]

[Suzanne Farrell Ballet 2]

The Suzanne Farrell Ballet goes to Bulgaria!

Posted by Friday, July 08, 2011

The Suzanne Farrell Ballet was invited to travel to Sofia, Bulgaria to participate in a special program titled Balanchine & Farrell: American Ballet for Bulgaria at the National Opera House June 9-11, 2011. The Suzanne Farrell Ballet performed Balanchine’s Agon in a shared program with the National Ballet of Bulgaria. The National Ballet performed Balanchine’s Divertimento Brillante staged by Suzanne Farrell as well as works by Kathryn Posin and Momchil Mladenov, a Principal with The Suzanne Farrell Ballet.

Posted by at 2:24 PM

Backstage with Jordyn

Posted by Jordyn Richter Thursday, December 09, 2010

Here are some of my photos from behind the scenes during Farrell Ballet's Kennedy Center performances. Enjoy!

Photos by Jordyn Richter and other company members. Posted by Jordyn Richter at 11:45 AM

It's All in the Eyes

Posted by Elisabeth Holowchuk Friday, December 03, 2010

When The Suzanne Farrell Ballet had its first season in 2001, I danced in the corps de ballet of George Balanchine's La Sonnambula. It felt very glamorous to wear a big dress with jewels, long gloves and a mask. This season, when we brought the ballet back, I danced two different roles in the ballet- the Moor Divertissement and the Sleepwalker.

Part of the challenge for me dancing the Sleepwalker was my focus- where I was looking. One of the most important things to me when I am dancing with someone is eye contact. It's how you really connect with your partner and know you are on the same wave length. Looking at each other draws you into the same time and space. It's so important, but also very difficult and very revealing! I feel a lot of a ballet's "perfume" lies in the eye contact between the dancers. Sometimes the eyes speak of love or longing, sometimes anger or fear. Other times a glance can be playful or sassy. Whatever the emotion or "flavor" of the ballet, how you look at each other helps bring all the players together on the same page.

The challenge with the Sleepwalker was that I could never make eye contact with my partner, Kirk. I couldn't look beyond my own sphere, which in this case was the light of my candle. After all this time practicing and working on making eye contact and being expressive in that way, I came across a role where I couldn't use that at all! In a way, I think it added to the desperate feeling of the character. Something must drive this woman to wander at night. Certainly, she is looking for something and can't find it. Part of making that real for me was wanting to be able to look at Kirk, almost seeing him, but never attaining that eye contact. Only once in the ballet, for a moment, did I allow my eyes to focus, but I won't say when or on what...

Elisabeth Holowchuk and Kirk Henning in La Sonnambula. Photo by Matthew Renko.

Posted by Elisabeth Holowchuk at 10:44 AM

Costume Close-up

Posted by Jessica Lawrence Wednesday, December 01, 2010

Photo by Jessica Lawrence

Here is a snapshot of the adorable hats that Kara Genevieve Cooper and I wore for the Pastorale Quartet in La Sonnambula. On these hats there were little bird’s nests, eggs, and birds that have rhinestone eyes. Looking at costumes and props from the audience, one wouldn't always be able to see all of the intricate details.

Original costume designs by Andre Lavasseu with additional designs by Christine Joly de Lotbiniere courtesy of Pacific Northwest Ballet.

Posted by Jessica Lawrence at 1:43 PM

Living in the Now

Posted by Elisabeth Holowchuk Tuesday, November 30, 2010

Elisabeth Holowchuk and Michael Cook in In Memory Of ... Photo by Carol Pratt.

This past week of performances has come and gone so quickly. We performed two programs over the course of five days, for a total of seven performances. On Program A, I had the honor of dancing In Memory Of ... choreographed by Jerome Robbins. This was the second Robbins ballet that I had been cast in during my career, and I was excited to experience more of his work.

Choreographed to Alban Berg's Violin Concerto, the ballet explores the themes of life and death that were contained in the music. Berg composed the music upon learning of the death of a close friend's daughter. He passed away himself before ever hearing the piece performed live.

The ballet is nearly thirty minutes long, and I spent the majority of that on stage. However, for me, it was as much of an emotional challenge as a physical one. As Farrell Ballet dancers, we are trained to live and dance in the "now." We don't save for later. Later doesn't matter. What matters is what is happening in the now. This is how we approach our morning classes and rehearsals each day. So each day, I went into rehearsal determined to really experience this ballet, which meant that daily I was facing the unknown- the end of my life, facing and learning to accept death and wondering what transformation the afterlife has in store.

Approaching each rehearsal as if it was a performance helped me to be comfortable experiencing the ballet and all the emotions that went with it, and to be more comfortable doing that in front of people. To allow yourself to be vulnerable is one thing. To do it in a room full of your colleagues watching is another.

Finally, getting on stage and working in costume and with live music helped to put all the pieces to the ballet in place. Holly Hynes' designs for the women's dresses- long and flowing in pastel colors- and hearing our solo violinist (and fellow Canadian!) Corey Cerovsek, along with the rest of the Kennedy Center Orchestra completed the experience.

The Suzanne Farrell Ballet in In Memory Of ... during a dress rehearsal. Photo by Matthew Renko.

Posted by Elisabeth Holowchuk at 11:36 AM

Deceptive Diversion

Posted by Andrew Shore Kaminski Monday, November 29, 2010

Kara Genevieve Cooper and Andrew Kaminski. Photo by Lauren Stewart.

This is a picture of Kara and I [sic]] in costume for the Pastorale divertissment from La Sonnambula. The foliage peeking out from the archway in the background reminded me of Fragonard's painting The Gardens of the Villa d'Este. Fragonard is one of my favorite artists, as I love French Rococo art and design. Rococo is typified by ornamentation and a fluid, elegant style; it is my opinion that Mr. Balanchine's choreography for this pas de quartre references some of these aspects in its intricate footwork, sweeping arabesques, and the politesse of the interactions between the two couples.

To calm my nerves and focus before we went onstage (it is a brief but deceptively difficult dance), I would imagine courtiers at Marie-Antoinette's Petit Trianon Theater in their rose-tinted enactments of rural subjects. These were not realistic depictions, but rather idealistic, prettified ones. These representations of the alluring aspects of a subject mirrors what I endeavored to represent onstage, by showing the inherent loveliness of the choreography rather than the challenges of its execution. Divertissments themselves act as diversions for the gathered spectators, which is very much in step with Rococo's decorative, unapologetic beauty; beauty for its own sake. I believe that charming diversions are an important part of enjoying life, and I am pleased to have participated in this one.

Posted by Andrew Shore Kaminski at 3:36 PM

A Note on Sonnambula

Posted by Violeta Angelova Monday, November 22, 2010

I had my debut as the Sleepwalker in La Sonnambula this past week. It was heaven to dance this role and I had great fun! Sonnambula means sleepwalker in Italian. The role is such that you dance your steps as if in the semi-conscious state in which somnambulists are when they rise up in their sleep and do all kinds of things. Some move furniture, some have chocolate I'm sure...

I don't do any of that on stage, but I do get to carry my partner, Michael. That gets me respect from the boys and has also been great fun. Almost as fun as having chocolate...

Violeta Angelova in a dress rehearsal for La Sonnambula. Photo by Ashley Baer.

Posted by Violeta Angelova at 12:02 PM

Expect the Unexpected

Posted by Administrator Friday, November 19, 2010

Not everything always happens exactly according to plan. Right before a dress rehearsal yesterday, an elevator malfunctioned leaving two of our principal dancers trapped inside. Luckily, the problem was promptly fixed so the men could get back to their hair and make-up, but they had just enough time to snap a few photos before their ordeal was over. We’re lucky to have dancers who know how to stay so calm and collected!

Michael Cook and Momchil Mladenov. Photos by each other.

Posted by Administrator at 1:20 PM

Deeper into La Source

Posted by Matthew Renko Wednesday, November 17, 2010

La Source is most certainly one of Balanchine’s most traditionally classical ballets, an extreme contrast to his neo-classical “black-and-white” ballets. Whereas a number of his more classical works had the emphasis of the Imperial Russian image (such as his Tschaikovsky Piano Concerto No. 2, Theme and Variations, and the Diamonds section from Jewels), La Source contains more of the French “flavor” of ballet. Though it may not be as grand as the Russian ballets or as dramatically romantic as others, it has its own subtle beauty. As Clive Barnes wrote for The New York Times at the ballet’s premiere: “It is almost axiomatic that any pas de deux in ballet has the characteristics of a love duet; but, whereas most of them represent love in the blaze of the sun, this Delibes pas de deux is rather love in the afternoon, a delicately autumnal love full of soft and fading falls”.

In a way, it does fit the stereotype of how ballet is viewed in American culture: tons of pretty girls on pointe twirling and fluttering about the stage wearing fluffy pink tutus. Classic image. But it’s so much more. The dancers aren’t being specific characters and aren’t being pretty just to be pretty. The music is the driving force and inspiration to create the beauty that the ballet represents, and with this music it’s very easy to do. After Tchaikovsky, Delibes is easily my favorite classical composer; his music is always so perfect for dance. You hear it and your body instantly wants to move, carrying you away on the winds of the stage (or studio).

I feel Balanchine must have somehow felt the same, because La Source was his third ballet created to Delibes’ music for his company, the New York City Ballet. In fact, there is quite a history leading to the format that La Source has today. Previous to the creation of La Source, Balanchine had choreographed a pas de deux to excerpts from Delibes’ Sylvia, ou la Nymphe de Diane in 1950 for Maria Tallchief and Nicholas Magallanes, properly naming it Sylvia Pas de Deux. In 1965, Balanchine incorporated this pas de deux into another ballet called Pas de Deux and Divertissements. In this, alongside the pas, Balanchine added the Allegro Vivace and Valse des Fleurs from the score of La Source [Naila] to make dances for a soloist and eight corps girls and a finale for the entire cast. A few years later, for an all new ballet, Balanchine used other excerpts from La Source to create a pas de deux. Being unconventional, the ballet consists of two variations each for the male and female that would precede the adjoining adagio instead of following it; no ending coda. The ballet premiered as Pas de Deux: La Source on November 23, 1968 at New York State Theater with costumes by Karinska and danced by Violette Verdy and John Prinz. A few months later, Balanchine reorganized the ballet so that the adagios preceded the solos, and he added the ensemble dances and finale from Pas de Deux and Divertissements to divide the two pas de deux. Voila, there’s the version performed today.

Matthew Renko and Kendra Mitchell onstage for a dress rehearsal of La Source. Photo by Ted Seymour.

I love La Source for how simply beautiful it is. No deep meaning and no complications. Just straight-forward classical dancing: delicate and soft. It’s a great showcase for all the dancers; all participants get a moment to shine. There are two adagios for me to display my partnership with a ballerina and two solos for me to display my technical skills. There’s so much dancing at once, it’s a smorgasbord. It’s definitely not easy, and I can’t believe the ballet was originally performed without the corps dances. I can only imagine how much more tiring it was for the principals! I am very happy Balanchine did add those dances, for other reasons than creating breathing time for the principals. The ensemble’s dance is filled with so much perk and energy. The dancing for the soloist rivals that of the most bravura choreography in male dancers’ repertoire, both in energy and physical capabilities. Ironically, it almost makes me jealous and I sincerely thought it was the highlight of the ballet when I first saw it.

Don’t get me wrong, I love the pas de deux. The first pas is a wonderful waltz and contains a sense of intimacy between the two dancers, whereas the second pas has more spirit and playfulness to it. A secret favorite little moment of mine is during the first pas de deux when the boy and girl quickly wrap one of their arms around each other and their other arm reaches over their heads to meet in an arc. For that quick little instant we catch each other’s eye, and with that there’s a sense of flirtatiousness and comfort. Also near the end of the second pas de deux, when the boy supports the girl in á la seconde and promenades the girl in his hands as he himself promenades around her. It’s the music at its climax and even though the action only lasts for twelve counts, it seems like a whole splendid moment of seamless movement. It just really strikes me that something so simple can cause as much drama and effect as the largest lift, but that’s part of my interest in Balanchine’s works: his ability to have created the unexpected and his amazing talent to make the smallest detail look even larger.

Performing La Source this season will be a very special occasion for me. It’ll be my first principal role in my professional career, and being one of my favorite Balanchine ballets and having enjoyed watching it so much in the past, I really couldn’t ask for a better ballet to make this debut.

Posted by Matthew Renko at 11:15 AM

Posted by Jessica Lawrence Monday, November 15, 2010

Most dancers use multiple pairs of pointe shoes at a time. We like to have shoes that are brand new, a little broken in, a little soft, and completely dead. "Dead" is a term we use for when toe shoes are past their point of wearing and are no longer hard enough to give the support that we need to dance. Also, depending on what ballets we are performing, we may need shoes that are different colors. In one of the programs we will be performing this upcoming week there are two ballets for which the girls need white pointe shoes.

Each dancer has their own way of differentiating between pairs. Some dancers use numbers, some names, some draw shapes. Fellow dancer Lauren Stewart gave me the idea of putting song names on my shoes. Right now I have songs by two different bands. There really is no rhyme or reason to how I choose a song name for a pair of shoes, it usually is just the first song that pops into my head. The only pair that I purposely named was my pair of white shoes; their name is "White Sky." I'm sure you can figure out why I chose that song for that pair.

personnel[edit]

artistic assistant[edit]

Kristen Gallagher (Artistic Assistant) has been the Artistic Assistant to The Suzanne Farrell Ballet since the fall of 2007 and has danced with The Suzanne Farrell Ballet since 1999. Born and raised in Reading, Pennsylvania, she danced with Richmond Ballet from 1989 until 2003, where she also served as Rehearsal Assistant. As a dancer, Ms. Gallagher was known for her versatility. Her most noted roles include Myrtha in Giselle, the Partisan in Kurt Joos' The Green Table, and a leading role in John Butler's Carmina Burana. Ms. Gallagher has also danced principal roles in 20th century classics such as George Balanchine's Serenade, Jose Limón's The Moors Pavane, Agnes de Mille's Rodeo, and Antony Tudor's Jardin aux Lilas to name a few. She performed soloist roles in Balanchine's Apollo, Divertimento No. 15, and Raymonda Variations with The Suzanne Farrell Ballet. She has staged ballets by choreographer Val Caniparoli for Aspen Ballet Company and Cincinnati Ballet. Ms. Gallagher has been a guest teacher all over the east coast and currently teaches in Richmond.

You have been with The Suzanne Farrell Ballet since its inception. How have you seen the company evolve over the past nine years? We started as a small group, and with the direction of Ms. Farrell, we have grown into a company that is now compared to the likes of big companies throughout the U.S. We have toured nationally and internationally and our repertoire has grown immensely, including Balanchine ballets exclusive to our company. A few years ago, Ms. Farrell started a unique project called The Balanchine Preservation Initiative. It brings back obscure Balanchine ballets that have not been seen for thirty or forty years. This has definitely been an exciting project for the company and our audiences.

How has your role changed within the company? After dancing with the company for 8 years, I now help Ms. Farrell teach and rehearse our repertoire as the company's Artistic Assistant. It was very flattering for Ms. Farrell to promote me to this position and I was very excited about the opportunity. Initially, I wasn't sure how the dancers were going to feel about taking direction from me but everyone was very supportive which helped make the transition seamless. Now that it has been a few years, I feel that this position is a perfect fit for me and I'm being utilized at my best.

What do you enjoy most about being Ms. Farrell's Artistic Assistant? I enjoy working closely with Ms. Farrell and the flexibility she gives me to carry out my job responsibilities. I love learning and sharing her experiences about all the wonderful ballets Balanchine created. I also love coming to work at the Kennedy Center because it is such a special place. In addition, I truly enjoy being able to work with the dancers who have been co-workers and close friends of mine for a long time.

What are the biggest challenges of your job? Each ballet that I help to teach offers its own unique challenges. That's what makes it fun. One example of a big challenge was putting together a section from Pas Classique Espagnol from Don Quixote (a Balanchine Preservation Initiative ballet) using a video with no sound and a boom box playing a synthesized version of the score. It was like a big puzzle that I had to piece together. I was able to figure out the steps and the phrasing before we got to the studio but there were some gaps that needed to be filled. When the conductor (Ron Matson) came into the rehearsal, we were able to look at the score together and he helped me fill in the blanks. It eventually all came together and watching the performance was like putting that last puzzle piece in place. I felt a great sense of accomplishment.

Is there a piece that you have particularly enjoyed teaching to the company? It is very difficult to pick a particular piece because there are so many factors that make dancing or teaching them enjoyable. Slaughter on Tenth Avenue was a lot of fun to teach because the music is so great, the dancing is lighthearted, and the dancers can really let their personalities show through. When dancing, you enjoy whatever ballet you are working on at the time. You live in the moment. The same has applied to teaching a ballet.

What is the biggest reward in your career? Each day of a dancer's life is filled with rewards big and small. From doing a perfectly placed pirouette in class, to accomplishing a difficult role, or taking that curtain call at the end of a performance. On a larger scale, one of the biggest rewards of my career was auditioning for Suzanne Farrell the very first year and being asked to join the company for the first tour in 1999. I look back and realize that moment really changed my life as a dancer immensely. That was the beginning of our almost ten year relationship. I felt like I took my technique to a new level and explored new things that I had never done before. But now, being asked to be her Artistic Assistant has been the greatest reward. I still can be very closely involved in something I love to do. And the best part is that this position has no age limit!

What do you like to do outside of The Suzanne Farrell Ballet? I enjoy traveling with my husband, especially to our favorite place, St. Barth's in the Caribbean, where we got married. Right now, our new favorite activity is enjoying our time with our first child, Salinne, who was born on March 12, 2009. [Suzanne Farrell Ballet 3]

contact[edit]

[Suzanne Farrell Ballet 4]

The Suzanne Farrell Ballet The John F. Kennedy Center for the Performing Arts 2700 F Street, NW Washington, DC 20566

Mailing Address The Suzanne Farrell Ballet c/o The Kennedy Center PO Box 101510 Arlington, VA 22210

Kennedy Center Box Office Tickets to Kennedy Center Performances Only Direct: 1-800-444-1324 or 202-467-4600 TTY: 202-416-8524 Group Sales: 202-416-8400

General Information, Bookings, Auditions Michael Ann Mullikin, General Manager 202-416-8044 mamullikin@kennedy-center.org

Press Amanda Hunter, Senior Press Representative 202-416-8441 aehunter@kennedy-center.org

Development Holly Oliver, Manager 202-416-8073 hkoliver@kennedy-center.org

Production Deirdre Kelly Lavrakas, Production Operations Manager 202-416-8761 dklavrakas@kennedy-center.org

Exploring Ballet with Suzanne Farrell Summer Intensive Training Program Vanessa Thomas, Manager 202-416-8841 vtthomas@kennedy-center.org

footnotes[edit]

  1. ^ Kennedy Center
  2. ^ Suzanne Farrell Ballet blog
  3. ^ Kristen Gallagher, Suzanne Farrell Ballet artistic assistant
  4. ^ Suzanne Farrell Ballet contact information

external links[edit]

Category:Operas by genre[edit]

ballet premieres[edit]

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Ballet companies in the United States[edit]

Washington Ballet repertoire[edit]

  • sortable table

Ballets by Geoffrey Toye[edit]

List of productions of The Nutcracker[edit]

  • Pages that link to List of productions of The Nutcracker
  • #REDIRECT [[List of productions of The Nutcracker#Snowflakes — Ivan Clustine/Anna Pavlova (1911)]] {{R to section}}
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  • #REDIRECT [[List of productions of The Nutcracker#Nutcracker! — Matthew Bourne (1992)]] {{R to section}}
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Works and Process[edit]

2009[edit]

Arvo Pärt, Sophie Calle, and Christopher Wheeldon Jan 11 and 12 Lauren Flanigan, Wendy Whelan, Albert Evans, and Sébastien Marcovici

New Yory City Ballet Emerging Choreographers Jan 18 and 19 Douglas Lee

Günter Blobel: Cell Evolution Jan 25 Günter Blobel

American Ballet Theatre Female Choreographers Feb 1 and 2 Voices and Visions: The Altria/ABT Women's Choreography Project

2008[edit]

Frederic Franklin Jan 13 and 14 American Ballet Theatre, Frederic Franklin, and Julie Kent

Ballet In Sneakers Jan 20 and 21 Ellen Bar and Sean Suozzi

Dead Man’s Cell Phone Jan 27 and 28 Playwrights Horizons, Sarah Ruhl, and Anne Bogart

Fred Sherry Plays Zorn Feb 3 and 4 Michael Nicolas, Charles Wuorinen, John Zorn, Fred Sherry, and Erik Friedlander

Flying To The Edge Of Space And Time Mar 2 Professor David Helfand, Columbia University

King Arthur—New Visions Mar 3 New York City Opera

Satyagraha Mar 25 Metropolitan Opera, Peter Gelb, and Philip Glass

The Kirov Ballet Mar 31 Kirov Ballet

Images From Wind Shadow Apr 3 Cloud Gate Dance Theater of Taiwan

Exploring Light Apr 6 and 7 Jennifer Tipton, Jackson Gay, and Dana Reitz

Poetry into Music with Dana Gioia Apr 27 Hudson Review, Dana Gioia, Milton Babbitt, Kirsten Childs, David Felder, Stephen Flaherty, John Harbison, Jimmy Roberts, and Sarah Rothenberg

Preserving the Classics May 4 and 5 American Ballet Theatre

Armitage Gone! Dance May 30 and 31 World Science Festival, Karole Armitage, Brian Greene, and Lukas Ligeti

Louise Bourgeois: Songs Remembered Jun 21 Francois Parisi

Iannis Xenakis: Oresteia Sept 8 George Steel, Luca Veggetti, Francoise Xenakis, and Sharon Kanach

A Two Part Affair: Ballet and Modern Meet Uptown Sept 21 and 22 Brian Reeder, Pam Tanowitz, Alan Feinberg, Robert Greskovic, and Hilian Lewis

Celebrating the Life of Antony Tudor Oct 5 and 6 ABT and Kevin McKenzie

Fred Sherry and Peter Serkin Oct 19 and 20 Peter Serkin and Fred Sherry

NY.2022 Oct 24 and 25 Dominique Gonzalez-Foerster, Ari Benjamin Meyers, and the Staten Island Richmond County Orchestra

Is Rebuilding Afghanistan Our Mission Impossible? Oct 26 Rory Stewart

Wuorinen at 70 Nov 2 and 3 James Levine, the Brentano String Quartet, Leon Williams, James Pugh, Sarah Rothenberg, and Sean Curran

Genes and Jazz Nov 16 and 17 Harold Varmus, and the Jacob Varmus Quintet

John Zorn: Shir Ha-Shirim Nov 23 and 24 John Zorn

Peter & The Wolf Dec 13, 14, 15, 16, 20, and 21 Isaac Mizrahi, the Juliard Ensemble,the Campana Brothers, and Jennifer Tipton

Free Holiday Concert Dec 21 and 22 Nico Muhly, George Steel, the Vox Vocal Ensemble, and the Graham Ashton rass Ensemble

2007[edit]

The Other Here Jan 21 and 22 Big Dance Theater, Annie-B Parson, and Paul Lazar

American Ballet Theatre—A Shakespeare Festival Jan 28 and 29 American Ballet Theatre

The Ice Project by Isaac Julien Feb 4 and 5 Isaac Julien, Russell Maliphant, and RoseLee Goldberg

Blind Lemon Blues Feb 11 and 12 Alan Govenar and Akin Babatunde

Seán Curran—New Choreography Feb 25 and 26 Seán Curran and Company and Amelia Piano Trio

How We Might Have Gone to Mars in 1965 Mar 4 and 5 Freeman Dyson

La donna del lago—New Visions Mar 12 New York City Opera

Luca Veggetti & The Cincinnati Ballet Mar 25 and 26 Luca Veggetti and The Cincinnati Ballet

American Ballet Theater—The Sleeping Beauty Apr 15 and 16 American Ballet Theater, Kevin McKenzie, and Gelsey Kirkland

Slow Dancing Apr 22 and 23 Wendy Whelan and David Michalek

Is China's Ascent Unstoppable? Apr 29 Lord Patten

Tristan und Isolde May 1 Bill Viola and Gerard Mortier

Romulus May 20 and 21 American Opera Project and The Washington Square Ensemble

Pilobolus & Inbal Pinto Jun 18 Pilobolus, Robby Barnett, Inbal Pinto, and Avshalom Pollack

Boston Ballet Sept 16 and 17 Nigel Redden, Jorma Elo, Mikko Nissinen, and Helen Pickett

Signature Theatre Company—Iphigenia 2.0 Sept 23 and 24 Charles Mee, Tina Landau, and James Houghton

New Ballet Sept 27, 28, 29, and 30 Miller Theatre, Luca Veggetti, Amanda Miller, and Alison Chase

West Side Story at 50: The Mind and Music of Leonard Bernstein Sept 30 and Oct 1 Dr. Richard Kogan

ABT—Season Preview Oct 7 and 8 American Ballet Theatre and Kevin McKenzie

Morphoses/The Wheeldon Company Oct 14 and 15 Christopher Wheeldon and Lourdes Lopez

Vanessa—New Visions Oct 29 New York City Opera

Paul Taylor Dance Company—In-Depth Nov 9, 10, and 11 Paul Taylor

Batsheva Dance—Gaga Revealed Nov 12 Batsheva Dance Company and Ohad Naharin

Jo Kondo & Robert Wilson Nov 18 and 19 Group for Contemporary Music, Jo Kondo, Robert Wilson, and Charles Wuorinen

Shen Wei Dance Arts Dec 2 and 3 Shen Wei and Nigel Redden

Dada, Jazz, and the Avant-Garde Dec 9 and 10 Sarah Rothenberg and Matt Witkovsky

Peter & The Wolf Dec 15–17 Juilliard Ensemble, Andrew Scott Ross, Isaac Mizrahi, and George Manahan

Holiday Concert Dec 16 and 17 Graham Ashton Brass Ensemble, George Steel, and Vox Vocal Ensemble

2006[edit]

Remembering Lucia Feb 5 and 6 American Ballet Theatre, Alex Ewing, Cynthia Gregory, and John Meehan

Einstein and the Atom Bomb, Revisited Feb 26 and 27 Dr. Alan J. Friedman

Lysistrata—New Visions Mar 13 New York City Opera

Music of the New Generation Mar 19 and 20 The Group for Contemporary Music

Tour de Force! Mar 26 and 27 American Ballet Theatre Studio Company, Armitage Gone!, and Ensemble Alternance

Cinderella at American Ballet Theatre May 14 and 15 James Kudelka and Kevin McKenzie

New York City Ballet & The Diamond Project May 21 and 22 Jean-Pierre Bonnefoux, Jorma Elo, and Peter Martins

New Ballet Choreographers Sept 13, 15, and 16 Miller Theater at Columbia University Edwaard Liang, Tom Gold, Brian Reeder, Albert Evans, Maria Kowroski, Wendy Whalen, Ashley Bouder, Craig Hall, and ABT Studio Company

In re Jackson Sept 24 and 25 John Zorn, Fred Sherry, and Charles Wuorinen

El Ballet de Monterrey Oct 22 Ballet de Monterrey, Robert Hill, Tony Bechara, and Yolanda Santos

Paul Taylor—A Closer Look Oct 29 and 30 Paul Taylor Dance Company and Paul Taylor

James Tate—Words & Music Nov 5 and 6 James Tate, Sarah Rothenberg, Eve Beglarian, George Flynn, Fred Ho, Arthur Kreiger, and Charles Wuorinen

Dance Theatre of Harlem Nov 12 and 13 Dance Theatre of Harlem, Arthur Mitchell, Robert Garland, Endalyn Taylor, and Keith Saunders

American Ballet Theatre—From the School to the Stage Nov 19 and 20 Franco De Vita, Kirk Peterson, ABT Studio Company, and JKO School Students

Beyond Flamenco: Finding Spain in Music Nov 28 and 29 Antonio Muñoz-Molina, Pedro Carboné, Angel Gil Ordóñez, Joe Horowitz, Perspectives Ensemble, and Collegiate Chorale

Don Juan in Prague—An Insider’s Look Dec 3 and 4 David Chambers, Matthew Suttor, Iva Bittová, and Agon Orchestra of Prague

Family Holiday Benefit: The Nutcracker Dec 11 Tom Gold

Holiday Concert Dec 16 and 17 Vox Vocal Ensemble, Conductor George Steel, and Graham Ashton Brass Ensemble

2005[edit]

American Ballet Theatre and The Art of Partnering Jan 16 and 17 American Ballet Theatre and Kevin McKenzie

Balanchine Continued . . . at Miami City Ballet Jan 23 and 24 Robert Gottlieb, Miami City Ballet, and Edward Villella

Prometheus Feb 6 and 7 The Cygnus Ensemble, Derek Lee Ragin, and The New York Baroque Dance Company

Candide–New Visions Feb 21 Nimet Habachy and New York City Opera

American Ballet Theatre and Michel Fokine Feb 27 and 28 American Ballet Theatre and Frederic Franklin

Orlando–New Visions Mar 7 Nimet Habachy and New York City Opera

Balanchine Continued . . . at North Carolina Dance Theatre Mar 13 and 14 Jean-Pierre Bonnefoux, Patricia McBride, and North Carolina Dance Theatre

Daniel Buren: Couleurs Superposées: Acte VII, 60 minutes Mar 25 Daniel Buren and RoseLee Goldberg

The Pearl Fishers–New Visions Mar 28 Nimet Habachy and New York City Opera

American Ballet Theatre and Sylvia Apr 3 and 4 American Ballet Theatre and Christopher Newton

Charles Wuorinen in Song and Dance Apr 17 and 18 Pam Tanowitz Dance, Leon Williams, and Charles Wuorinen

Is Evolution Predictable? Apr 24 Richard Dawkins

Songs for the Poets May 2 Zheng Cao, Lisa Delan, David Garner, Gordon Getty, Matt Haimovitz, Dawn Harms, Jake Heggie, Kristin Pankonin, Frederica von Stade, and Eugenia Zuckerman

Balanchine Continued . . . at Pacific Northwest Ballet May 8 and 9 Patricia Barker, Pacific Northwest Ballet, Francia Russell, and Kent Stowell

Celebrating Milton Babbitt May 23 Alan Feinberg, Thomas Meglioranza, Lucy Shelton, and Fred Sherry

New Dances and Choreographers Sept 11 and 12 Benjamin Millepied and Moving Theater

Danspace Project at the Guggenheim Sept 18 and 19 Carrie Ahern, Gina Gibney, Yasuko Yokoshi, Douglas Dunn, and Laurie Uprichard

Ariane et Barbe—Bleue–New Visions Sept 26 New York City Opera

Watching Ligeti Move–Three Ballets by Christopher Wheeldon Sept 28, 30, and Oct. 1 New York City Ballet, San Francisco Ballet, FLUX Quartet, Cameron Grant, and Michael McGraw

Paul Muldoon: Words and Music Oct 2 and 3 Darius de Haas and Paul Muldoon

Paul Taylor–Celebrating 50 Years Oct 9 and 10 Paul Taylor Dance Company

The Mines of Sulphur–New Visions Oct 17 New York City Opera

On Memory and Music Oct 23 and 24 Scott Small and Gilles Vonsattel

Gelsomina Oct 30 and 31 Billy Zane, Elena Anaya, and Aeysha Walsh

Darkling Nov 13 and 14 American Opera Projects

American Ballet Theatre and Seán Curran Nov 20 and 21 American Ballet Theatre and John Meehan

The Nutcracker Sweet Dec 5 New York City Ballet

Faces of Russia Dec 11 and 12 Dmitri Pokrovsky Ensemble

Holiday Concert Dec 16 and 17 Vox Vocal Ensemble, Conductor George Steel

2004[edit]

Raymonda Jan 18 and 19 American Ballet Theatre

Balanchine: The Early Years Jan 25 and 26 New York City Ballet, Todd Bolender, Peter Martins, and Nancy Reynolds

Small Tragedy Feb 1 and 2 Playwrights Horizons, Craig Lucas, Wallace Shawn, and Mark Wing-Davey

Bachianas Brasileiras Feb 8 and 9 Lyric Chamber Music Society of New York, Serena Benedetti, and Roberto Minczuk

Chamber Works of Menachem Zur Feb 16 The Group for Contemporary Music, Charles Wuorinen, and Menachem Zur

Coppélia Feb 22 and 23 American Ballet Theatre and Frederic Franklin

Volpone Feb 29 and Mar 1 Wolf Trap Foundation for the Performing Arts, Mark Campbell, and John Musto

Balanchine: The Middle Years Mar 7 and 8 American Ballet Theatre, New York City Ballet, Melissa Hayden, and Maria Tallchief

Mourning Becomes Electra Mar 15 New York City Opera and Nimet Habachy

Ermione Mar 29 New York City Opera

Balanchine: The Late Years Apr 18 and 19 New York City Ballet, Jean-Pierre Bonnefous, Peter Martins, Kay Mazzo, and Karin von Aroldingen

Frederick Ashton: A Celebration Apr 25 and 26 American Ballet Theatre and Georgina Parkinson

Three Classical Heroines May 6 Michelle DeYoung, Jonathan Scheffer, and Francesca Zambello

Trisha Brown: New Works Jun 6 and 7 Trisha Brown Dance Company

Paul Auster: Poetry and Music Sept 12 and 13 Paul Auster and the Group for Contemporary Music

Plan B Sept 18 and 19 Big Dance Theater, Paul Lazar, and Annie-B Parson

Dialogues of the Carmelites–New Visions Sept 27 New York City Opera

American Ballet Theatre and Christopher Wheeldon Oct 3 and 4 American Ballet Theatre and Christopher Wheeldon

Young Concert Artists Oct 24 and 25 Mason Bates, Kenji Bunch, the Claremont Trio, the Extension Ensemble, Hsing-Ay Hsu, Daniel Kellogg, Kevin Puts, and Fred Sherry

Bioethics and the Mind in the New Genetic Age Nov 7 and 8 Robert Klitzman

Balanchine Continued . . . Nov 14 and 15 Ib Andersen, Ballet Arizona, and Lourdes López

Two Gentlemen of Verona Nov 21 and 22 John Guare and Galt McDermot

The Nutcracker Sweet: A Family Holiday Benefit at the Guggenheim Museum Dec 6 New York City Ballet

Holiday Concert Dec 18 and 19 George Steel and the Vox Vocal Ensemble

2003[edit]

Dance as Ever Jan 26 and 27 Peter Boal and Leigh Witchel

My Life with Albertine Feb 2 and 3 Playwright's Horizon Ricky Ian Gordon and Richard Nelson

Dancers & Competitions Feb 9 and 10 American Ballet Theatre

A Little Night Music Feb 24 New York City Opera, Scott Ellis, Phillip Gainsley, Stephen Sondheim, and Susan Stroman

Tiffany Mills Company Mar 2 and 3 The Tiffany Mills Company, Trisha Brown, Tiffany Mills, Ela Troyano, and John Zorn

An Evening with Tan Dun Mar 6 CAMI Hall Columbia Artists Management and Tan Dun

The Ensemble Alternance Mar 9 and 10 The Ensemble Alternance, Philippe Manoury, Jean-Luc Menet, and Philippe Schoeller

Marc-André Dalbavie Mar 15 and 16 Lionheart, Marc-André Dalbavie, and Jean-Paul Fouchécourt

Little Women Mar 17 New York City Opera, Mark Adamo, and John Corigliano

Matthew Barney & Jonathan Bepler Mar 30 and 31 Matthew Barney and Jonathan Bepler

Look Again: American Ballet Theatre's Corps de Ballet Apr 6 and 7 American Ballet Theatre and Susan Jones

A Rose by Any Other Name . . . Apr 27 and 28 American Ballet Theatre and Gillaume Graffin

Compañía de la Danza Narciso Medina May 4 and 5 Cuban Artists Fund and Narciso Medina

Shen Wei Dance Arts May 11 and 12 Shen Wei Dance Arts

Richard Festinger & Denis Johnson May 18 and 19 The Group for Contemporary Music, Richard Festinger, Denis Johnson, and Amy Burton

William Christie–An Interpreter's Methods Jun 12 Les Arts Florissants and William Christie

Two Takes on the Orphan of Zhao Jun 29 and 30 Lincoln Center Festival, David Greenspan, Stephin Merritt, Nigel Redden, and Chen Shi-Zheng

Lucia di Lammermoor Sept 8 New York City Opera and Nimet Habachy

Bright Lights Big City Sept 14 and 15 Paul Scott Goodman and Jay McInerney

La Finta Giardiniera Sept 22 New York City Opera and Himet Habachy

Antony Tudor Ballets Sept 28 and 29 American Ballet Theatre

Stanley Kunitz: A Celebration Oct 19 and 20 Stanley Kunitz, Andy Bey, and The Group for Contemporary Music

Ned Rorem: 80th Birthday Celebration Oct 24 The New York Festival of Song

Balanchine's Lost Choreography Nov 16 and 17 Frederic Franklin, Maria Tallchief, Nikolaj Hübbe, and Nancy Reynolds

Alladeen Nov 23 and 24 The Builders Association, motiroti, and Marianne Weems

Professor Murray Gell-Mann: The Regular and the Random Dec 7 and 8 Murray Gell-Mann

The Further Adventures of Monkey Dec 14 and 15 Fred Ho and Rebecca Lazier

Choral Music for the Holidays Dec 20 and 21 Vox Vocal Ensemble and George Steel

2002[edit]

American Ballet Theatre–Latin Stars Feb 3 and 4 José Manuel Carreño, Marcelo Gomes, and Paloma Herrera

Batsheva Dance Company Feb 11 and 12 Batsheva Dance Company and Ohad Naharin

The Carolina Ballet Feb 24 and 25 Andrea Marcovicci, Glenn Mehrbach, Robert Weiss, and Lynne Taylor-Corbett

Synch or Swim Mar 3 and 4 Andrew Asnes and John Selya

Agrippina Mar 18 New York City Opera John Conklin, Cori Ellison, Lillian Groag, Brenda Harris, and David Walker

The Glass Blowers Apr 1 New York City Opera Christopher Alden, June LeBell, and Jonathan Sheffer

Poetry Speaks Apr 15 Billy Collins, Galway Kinnell, Elise Paschen, and Sonia Sánchez

American Ballet Theatre–The Theater of Dance Apr 21 and 22 Victor Barbee, Guillaume Graffin, Julie Kent, and Georgina Parkinson

Ricky Ian Gordon Apr 28 and 29 Ricky Ian Gordon, Audra McDonald, Richard Nelson, and Ted Sperling

Young America May 5 The Juilliard Theater Juilliard Theater Symphony and New York Concert Singers, Judith Clurman Delan, Gordon Getty and Efrain Guigui, Charles Ketcham, and Ralph Wells

The Estate Project for Artists with AIDS May 5 and 6 The Estate Project for Artists with AIDS, John Corigliano, Joseph Dalton, Anthony de Mare, and Fred Hersch

Celebrating Les Murray Jun 2 and 3 The Group for Contemporary Music, Jason Eckhardt, Ricky Ian Gordon, Jo Kondo, Les Murray, Wayne Peterson, and Charles Wuorinen

The Diamond Project Jun 23 and 24 György Ligeti, Jock Soto, Christopher Wheeldon, and Wendy Whelan

Ta'ziyeh Jun 30 and Jul. 1 Lincoln Center Festival Mohammad Ghaffari

Dead Man Walking Sept 9 New York City Opera, David Del Tredici, Leonard Foglia, Jake Heggie, and Terrence McNally

Three Tales Oct 6 and 7 Beryl Korot and Steve Reich

The Haroun Songbook Oct 13 and 14 The Group for Contemporary Music, New York City Opera, James Fenton, Salman Rushdie, and Charles Wuorinen

Les Larmes du Couteau Oct 27 and 28 Henry Street Chamber Opera and Neal Goren

Charles L. Mee & Tony Kushner Nov 3 and 4 New York Theater Workshop, Tony Kushner, Charles Mee, and James C. Nicola

A Celebration of Derek Walcott Nov 10 and 11 Milton Babbitt, Jason Robert Brown, Tania León/Bernard Rands, Derek Walcott, and Charles Wuorinen

A Richard Rodgers Tribute Nov 24 and 25 American Ballet Theatre, Lar Lubovitch, and Brian MacDevitt

Velocity Dec 8 and 9 Scott Ardizzone, Mark Lonergan, John Socas, and Brian Torrell

Choral Music for the Holidays Dec 20 and 21 Vox Vocal Ensemble and George Steel

2001[edit]

American Ballet Theatre & Mark Morris Jan 21 and 22 American Ballet Theatre, Isaac Mizrahi, and Mark Morris

John Hollander/Milton Babbitt and Alice Fulton/Anthony Cornicello Feb 3 and 4 The Group for Contemporary Music, Milton Babbitt, Anthony Cornicello, Alice Fulton, John Hollander, and Lucy Shelton

Vertigo Dance Company Feb 11 and 12 92nd Street Y, Harkness Dance Project, Adi Sha'al, and Noa Wertheim

Rigoletto La Boheme Feb 26 New York City Opera

Pierre Boulez as Composer Mar 5 Ensemble Sospeso, Alice Tully Hall, and Pierre Boulez

Acis and Galatea Mar 12 New York City Opera

Pam Tanowitz/Open 24 Hours Dance Company Mar 18 and 19 Tom Gold, Dan Siegler, and Pam Tanowitz

The Ballad of Baby Doe Mar 25 and 26 New York City Opera, Colin Graham, and George Manahan

William Styron Apr 5 Cooper Union

About Staging a Major Revival Apr 8 Jude Kelly, Stephen Sondheim, and Matthew Warchus

American Ballet Theatre–The Pied Piper Apr 22 and 23 American Ballet Theatre, John Corigliano, and David Parsons

The Universe of Philippe Decouflé Apr 29 Patrick Bensard and Philippe Decouflé

Celebrating John Ashbery May 13 and 14 The Group for Contemporary Music, John Ashbery, Ricky Ian Gordon, Lee Hyla, Peter Lieberson, Charles Wuorinen, and John Zorn

The Brave New Word Jun 3 and 4 Loss Pequeño Glazier, Michael Joyce, Andruid Kern, Jennifer Ley, Stuart Moulthrop, Janet Murray, Anna Rabinowitz, Stephanie Strickland, Noah Wardrip-Fruin, and Eric Zimmerman

Prometheus Jun 28 Robert Wilson

Shunkin Sept 9 Glenn Branca, Cynthia Hopkins, Paul Lazar, Annie-B Parsons, and Junichiro Tanizaki

The Capulets and the Montagues and The Mikado Sept 10 New York City Opera and Jonathan Miller

Ensemble Alternance Sept 23 and 24 Ensemble Alternance, Simon Holt, Philippe Manoury, Bruno Mantovani, and Philippe Schoeller

Blood on the Floor Sept 28 and 29 The Miller Theatre at Columbia University Absolute Ensemble, Bruce Arnold, Peter Epstein, Peter Erskine, Kristjan Järvi, and Mark-Anthony Turnage

American Ballet Theatre—Stanton Welch Oct 7 and 8 Stanton Welch

Richard Wilbur–Poetry and Theater Part 1 - Guggenheim Museum Theater and Translations Part 2 - The Miller Theatre at Columbia University Oct 14 and 15 Anthony Hecht, John Hollander, Karl Kirchwey, and J. D. McClatchy

The Return of Ulysses and Lilith Oct 22 The Colony Club New York City Opera

Homebody/Kabul Oct 28 and 29 New York Theater Workshop, Declan Donnellan, Tony Kushner, and Nick Ormerod

Brazil! Dance, Music & Spirit Nov 4 and 5

American Ballet Theatre–Toward the Stars Nov 11 and 12 American Ballet Theatre

From the Amazon River to Philip Glass Nov 19 and 20 The Uakti Ensemble, Philip Glass, and Heitor Villa-Lobos

Sir Richard Rodney Bennett Dec 2 and 3 Aureole Trio Richard Rodney Bennett, Mary Cleere Haran, and Fred Sherry

The Music of Colonial Brazil Dec 16 and 17 The Vox Vocal Ensemble, Gotham City Baroque Orchestra, and George Steel 

=== 2000 ===

Eric Moe & Augusta Read Thomas Jan 30 and 31 Christine Brandes, J. Karla Lemon, Eric Moe, and Augusta Read Thomas

A Dancer's Home: Why American Ballet Theatre Feb 6 and 7 American Ballet Theatre, Peter Gallagher, Paloma Herrera, Julie Kent, Kevin McKenzie, and Martine van Hammel

Donald Byrd/The Group Feb 13 and 14 Donald Byrd

Avila/Weeks Dance Company Feb 27 and 28 Homer Avila, Celia Ipiotis, and Edisa Weeks

Oliver Knussen and Julian Anderson Mar 3 and 4 Julian Anderson, Oliver Knussen, and Lucy Shelton

The Mother of Us All & La Clemenza di Tito Mar 6 New York City Opera and Lauren Flanigan

Ride Down Mt. Morgan Mar 13 Jude Kelly and Patrick Stewart

A French Playwright in NY Mar 20 Jean-Marie Besset

New York City Opera/Platée Mar 26 and 27 New York City Opera, Amy Burton, Jean-Paul Fouchécourt, Isaac Mizrahi, and Mark Morris

Strings and Strings Apr 4 The Emerson String Quartet and Brian Greene

Twyla Tharp & American Ballet Theatre Apr 9 and 11 American Ballet Theatre and Twyla Tharp

Mounting a New "Swan Lake" Apr 16 and 17 Elizabeth Kaye and Kevin McKenzie

1900: Music at the Crossroads May 22 John Beeson, Jane Bunnell, Amy Burton, George Cordes, Cori Ellison, Vivien Greene, Paul Kellogg, and Robert Rosenblum

Prometheus Jun 25 and 26 Robert Wilson

Philip Glass Sept 11 Music at the Anthology, Philip Glass, Kusumita Pederson, and The Very Rev. James Parks Morton

What Price Confidence Sept 18 Elysium and Gregorij H. von Lëitis

Rinaldo/The Love for Three Oranges Oct 2 New York City Opera

Cleveland Orchestra Chamber Ensemble Oct 7 and 8 Cleveland Orchestra and Marc-André Dalbavie

From Petipa to Balanchine Oct 15 and 16 New York City Ballet Suki Schorer

American Ballet Theatre & Christian Holder Oct 22 and 23 American Ballet Theatre, Christian Holder, Susan Jaffe, Kevin McKenzie, and Ethan Stiefel

The Gogmagogs Gobbledygook Oct 29 and 30 The Gogmagogs and Lucy Bailey

Marrying the Hangman Nov 5 and 6 Psappha Ensemble, Ronald Caltabiano, and Phyllis Bryn Julson

Xtravaganza Dec 10 and 11 The Builders Association and Marianne Weems

1999[edit]

Charles Wuorinen Feb 12 and 13 The Group for Contemporary Music, Oliver Knussen, and Charles Wuorinen

Lizzie Borden Feb 21 and 22 New York City Opera, Jack Beeson, Kenward Elmslie, and Rhoda Levine

Picasso Dances Mar 14 and 15 American Ballet Theatre Studio Company, Julliard Dance Division, Jason Robert Brown, George Faison, Graham Lustig, and Desmond Richardson

Bernard Rands Apr 18 and 19 Bernard Rands

Strings and Strings May 2 The Emerson String Quartet and Brian Green

Parsons Dance Company May 9 Robert Battle, Ben Harkarvy, John Mackey, and David Parsons

What Next? May 16 Elliott Carter and Paul Griffiths

Merce Cunningham May 23 and 24 Cunningham Dance Company and Merce Cunningham

The Peony Pavilion Jun 15 and 16 Lincoln Center Festival, Nigel Redden, and Chen Shi-Zeng

Vers La Flamme Sept 12 Martha Clarke, Christopher O'Riley, and Harlow Robinson

Jason Robert Brown Sept 26 and 27 Jason Robert Brown

Fernando Bujones–In Celebration Oct 3 and 4 School of American Ballet and Fernando Bujones

The Abduction from the Seraglio and Falstaff Oct 11 New York City Opera

"Theater" in American Ballet Theatre Oct 15 and 16 American Ballet Theatre, Susan Jaffe, Kevin McKenzie, Georgina Parkinson, Ethan Stiefel, and Wendy Wasserstein

Eos Orchestra Oct 17 and 18 Eos Orchestra, Jonathan Sheffer, and Angelina Réaux

A Celebration of Italo Calvino at Cooper Union Oct 22 Cooper Arts, Giovanna Calvino, Umberto Eco, Carlos Fuentes, Salman Rushdie, Wallace Shawn, and Maria Tucci

Central Park Nov 1 New York City Opera

Once Upon a Time in Chinese America . . . A Martial Arts Ballet Dec 12 and 13 The Afro-Asian Music Ensemble and Fred Ho

1998[edit]

Flamenco Natyam and the Passion of La Conja and Rajika Puri Jan 13 and 14 La Conja, Pedro Cortes, and Rajika Puri

Evidence of Things Not Seen Jan 18 Ned Rorem, Michael Barrett, and Steven Blier

Symphony 1997 (Heaven, Earth, Mankind) Mar 11 Tan Dun and Yo-Yo Ma

Emmeline & Paul Bunyan Mar 29 and 30 New York City Opera, J. D. McClatchy, Bridget Paolucci, Tobias Picker, and Stewart Robertson

The Poetry of James Fenton May 17 and 18 James Fenton, Dominic Muldowney, Robert Silvers, and Charles Wuorinen

Do Shakespeare's Tragedies Still Work? May 28 Bill Buford, Anthony Lane, Simon Schama, and Wendy Smith

Jazz Train May 31 and Jun 1 Geri Allen, Donald Byrd, Vernon Reid, and Max Roach

Charles Wuorinen: A Birthday Celebration Jun 7 Susan Narucki, Christopher Oldfather, Ursula Oppens, and Fred Sherry

Salammbô Jun 15 and 17 Emily Golden, Stephen O'Mara, and Francesca Zambello

Tosca & Partenope Aug 31 New York City Opera and Bridget Paolucci

The Emperor of Atlantis Sept 2 and 3 Elysium, Michael Lahr, Gregorij von Lëitis, and George Steel

Terra Prenyada–International Festival of Puppet Theater Sept 8 Joan Baixas and Paca Rodrigue

The Fable of the Fox–International Festival of Puppet Theater Sept 12 and 13 Los Titiriteros de Binéfar

Orfeo Ed Euridice and Hansel & Gretel Sept 28 New York City Opera and Martha Clarke

Hindenburg Oct 12 and 13 Brooklyn Academy of Music, Beryl Korot, and Steve Reich

New Music Series–Piano Concerto No. 2 Oct 18 Milton Babbitt and Robert Taub

The Bald Soprano Oct 25 UBU Repertory Theater and Françoise Kourilsky

Of Mice and Men & Madama Butterfly Oct 26 New York City Opera and Carlisle Floyd

Kafka Fragments Nov 8 and 9 Phyllis Bryn-Julson, Janos Demeny, and Gyorgy Kurtag/Melanie Melançon

El Mozote Dec 6 and 7 Pascal Rioult Dance Theater, Core Ensemble, Carlos Sanchez Gutierrez, Francis Mason, Michael Parola, Pascal Rioult, and Susana Tubert

Ensemble Fa Dec 8 Dominique My

The French Public and Music Dec 15 Gerard Mortier and Dawn Upshaw

1997[edit]

Scelsi and Friends Feb 27 Anthony Burr, Mark Dresser, Heinz-Klaus Metzger, Aki Takahashi, and Frances-Marie Uitti

The Politics of Music: Orff, Weill, and Brecht-New Visions Mar 16 Donald Byrd, Paul Kellogg, New York City Opera, Anne Bogart, Michael Kater, Kim Kowalke, and John Rockwell

Bach's St. Matthew Passion Mar 27 Brooklyn Academy of Music, Jonathan Miller, and Charlie Rose

The Visit Apr 13 and 14 New York City Opera, Joanne Akalaitis, John Conklin, and Paul Kellogg

New Work Apr 22 New York City Ballet, Peter Martins, and Angelin Preljocaj

Robert Wilson's Theater Apr 20 Salzburg Festival, Gerard Mortier, and Robert Wilson

Ashoka's Dream May 12 and 13 Santa Fe Opera, Lorraine Hunt, Peter Lieberson, Douglas Penick, Kurt Ollmann, and Stephen Wadsworth

Macbeth & l'Italiana in Algeri Sept 7 and 8 John Conklin, Leon Major, and George Manahan

Iphigenie en Tauride & Xerxes Sept 28 and 29 Cori Ellison, Jane Glover, Christine Goerke, and Andrew Schroeder

Marco Polo Oct 26 and 27 Martha Clarke and Tan Dun

Rake's Progress Nov 3 Jonathan Miller and Joseph W. Polisi

Journey Beyond the West: The New Adventures of Monkey Nov 26 Fred Ho

Opera in Western Civilization: Past, Future, History, and Politics Dec 14 and 15 Dr. Gerard Mortier and Dawn Upshaw 

=== 1996 ===

The Beast and The Harlem Nutcracker Jan 14 and 15 The Donald Byrd Group and Florence Gould Hall

Orlando by Handel Feb 8 Brooklyn Academy of Music, Les Arts Florissants, and William Christie

Reliquary for Igor Stravinsky Feb 19 New York City Ballet, Peter Martins, Mark Rosenthal, Alice Tully Hall, and Charles Wuorinen

Translating Abstraction into Music? Parallels to Abstract Painting in 20th Century Music Mar 13 American Symphony Orchestra, Bard Festival Chamber Players, and Leon Botstein

The Dreyfus Affair Mar 17 and 18 New York City Opera, Paul Kellogg, George Whyte, and The New York Society for Ethical Culture

Black Water Apr 21 and 22 American Music Theater Festival, John Duffy, Joyce Carol Oates, and Florence Gould Hall

Le Parc May 6 and 7 Le Ballet de L'Opéra Nationale de Paris, Isabelle Guerin/Laurent Hilaire, The Sylvia and Danny Kaye Playhouse, Brigitte Lefevre, and Angelin Preljocaj

International Festival of Puppetry Sept 8, 9, and 19 Henson Foundation, Amoros & Augustin, Teatro Tinglado, Theater LakuPaka, and Ki-Yi Mbock Theatre

The Beatification of Area Boy Sept 21 and 22 West Yorkshire Playhouse, Jude Kelly, and Wole Soyinka

Journey Beyond the West: The New Adventures of Monkey Oct 29 and 30 The Monkey Orchestra and Fred Ho

Dancing in the Streets: Insights Into Onsite Dec 2 Elise Bernhardt, Martha Bowers, Tai Dang, Stephan Koplowitz, Annie Lanzillotto, Sham Mosher, and Tamar Rogoff

Degenerate Art Dec 16, 17, and 18 Thingsezisee'm Dance Theater and David Grenke

1995[edit]

Modern Painters Mar 4 and 5 Santa Fe Opera, Manuela Hoelterhoff, David Lang, Florence Gould Hall, and Francesca Zambello

Harvey Milk Mar 19 and 20 New York City Opera, Christopher Alden, Christopher Keene, The Auditorium at The Equitable Center, Michael Korie, and Stewart Wallace

Chorovaya Akademia Apr 9 Lincoln Center, Alexander Sedov, and Alice Tully Hall

Merchant and Ivory Apr 13 James Ivory, Ismail Merchant, and David Sterritt

Big Dance Theater Oct 7 and 8 Dance Theater Workshop, Richard Einhorn, Annie-B Parson, and Clark Studio Theatre

Hommage to the Swedish Ballet 1920–1925 Oct 9 and 10 Murray Louis Dance Company, Murray Louis, and John Jay College Theater

Principia Nov 9 Les Grands Ballets Canadiens, Kevin O'Day, and The Sylvia and Danny Kaye Playhouse

1994[edit]

The Double Bass Mar 7 and 8 Jon Deak, Brian Meister, Patrick Süskind, and Marymount Manhattan Theater

Poet X Poet Apr 6 The Poetry Society of America, Robert Hass, Czeslaw Milosz, Robert Pinsky, and The National Arts Club

Sonatas and Interludes May 9 and 16 Guggenheim Museum SoHo John Cage, Cameron Grant, Jock Soto, Richard Tanner, and Margaret Tracey

Dondoro Sept 6 International Festival of Puppetry, Henson Foundation, Cheryl Henson, and Hoichi Okamoto

The Avant-gardes Sept 16 and 18 Guggenheim Museum SoHo Susan Sontag, Min Tanaka, and Cecil Taylor

Gaudeamus Oct 29 and 30 Maly Drama Theatre of St. Petersburg, Lev Dodin, Tony Randall, Michail Stronin, and Clark Studio Theatre

1993[edit]

Osiris and pas de deux Apr 20 and 21 John Kelly, Robert LaFosse, Melissa Podcasy, Keith Pruitt, The Auditorium at The Equitable Center, Larry Spivack, and Heather Watts

Les Grands Ballets Canadiens May 15 and 16 James Kudelka, Francis Mason, and John Jay College Theater

The Midnight Angel Jun 21 and 22 Glimmerglass Opera, Peter Beagle, Elaine Bonazzi, Linda Brovsky, Marymount Manhattan Theater, David Carlson, and Patrick Smith

The Cave Oct 5, 6, 8, and 9 Brooklyn Academy of Music, Whitney Museum of American Art, Beryl Korot, Steve Reich, and David Ross

Ring Around the Rosie Nov 15 and 16 Parsons Dance Company, Music-Theater Group, The Sylvia and Danny Kaye Playhouse, Lyn Austin, Powers Boothe, Mark Campbell, David Parsons, Richard Peaslee, and Patrick J. Smith

Plump Jack Dec 6 and 7 Gordon Getty, Charles Kaufman, Paul Sperry, and The Clark Studio Theatre

1992[edit]

The Craft of Poetry: W. S. Merwin Apr 6 The Poetry Society of America, Galway Kinnell, W. S. Merwin, and St. Jean Baptiste Roman Catholic Church

Osiris and pas de deux Apr 25 and 26 Robert LaFosse, John Kelly, Larry Spivack, Jock Soto, Kevin O'Day, Melissa Podcasy, Keith Pruitt, and Heather Watts

Pinokio Sept 8 and 14 International Festival of Puppetry, Henson Foundation, Theatre DRAK, and Josef Krofta

Kecho Sept 14 International Festival of Puppetry, Henson Foundation, and Jusaburo Tsujimura

Doktor Faust Sept 20 and 21 New York City Opera, Ronald Chase, Frank Corsaro, Marymount Manhattan Theater, and Christopher Keene

McTeague Dec 14 and 15 Chicago Lyric Opera, William Bolcom, William Hoffman, Marymount Manhattan Theater, and Arnold Weinstein 

=== 1991 ===

Avalance and Jeux Jan 24 and 25 Desrosiers Dance Theatre, Robert Desrosiers, Marymount Manhattan Theater, Anthony Micocci, and Myles Warren

Heian Mar 26 and 27 Saeko Ichinohe and Company, Colorado Quartet, The Auditorium at The Equitable Center, John Gruen, Saeko Ichinohe, and Behzad Ranjbaran

The Ghosts of Versailles Sept 15 and 16 Metropolitan Opera, Julliard School, John Corigliano, William Hoffman, and Dr. Joseph Polisi

The Mother of Three Sons Oct 13 and 14 New York City Opera, Ann T. Greene, Leroy Jenkins, The Auditorium at The Equitable Center, Bill T. Jones, and Christopher Keene

Griot New York Nov 4 and 5 Garth Fagan Dance, The Julliard School Dance Division, The Julliard Theatre, Garth Fagan, and Dr. Joseph Polisi

1990[edit]

Soundshape Jan 21 and 22 Tan Dun, Ragnar Naess, and Tim Page

Brace Up! Mar 24, 25, and 26 The Wooster Group, Elizabeth LeCompte, John Lurie, The Performing Garage, Lawrence "Butch" Morris, and Peter Sellars

New York Notes Apr 19 and 20 The Group for Contemporary Music, Benoit B. Mandelbrot, Joan Peyser, and Charles Wuorinen

Moses und Aron Sept 11 and 12 New York City Opera, Achim Freyer, Christopher Keene, The New York Society for Ethical Culture, and Hans Neugebauer

Polygraph Oct 18 and 19 Le Théâtre Repére, Brooklyn Academy of Music, The New York Society for Ethical Culture, and Robert Lepage

1989[edit]

An Evening of Contemplation of an Ancient Chinese Poetess Apr. 7 and 8 Chiang Ching and Anna Kisselgoff

Bum's Rush Apr. 20 and 21 Twyla Tharp and Shelley Washington

The Investigation of the Murder in El Salvador Apr. 30 and May 1 Charles L. Mee, Jr.

Voices from Sandover May 23 and 24 James Merrill and Bruce Saylor

The Group for Contemporary Music Oct. 12 and 13 Milton Babbitt and Charles Wuorinen

Eh, Qu'est-ce Que Ca Mi Fait A Moi!? (HEY, WHAT'S ALL THIS TO ME?) Oct. 27 and 28 Compagnie Maguy Marin, Maguy Marin, and Denis Mariotte

New Music from the Pacific Rim Nov. 17 The Abel-Steinberg-Winant Trio, Paul Dresher, Lou Harrison, Daniel Lentz, and Somei Satoh

Opposites Attract Nov. 17 Paul Dresher, Ned Rothenberg, and Annalyn Swan

1988[edit]

Rasputin Mar. 13 and 14 Frank Corsaro and Jay Reise

Five Apr. 24 and 25 Jean-Pierre Bonnefoux, Maria Calegari, Jock Soto, and Charles Wuorinen

American Composers Orchestra Oct. 7 and 8 The Gregg Smith Singers, The Morgan University Singers, Betty Allen, Dennis Russell Davies, and Stephen Sondheim

Interior with Seven Figures Dec. 2 and 3 Susan Marshall and Bessie Schonberg 

=== 1987 ===

Dances by David Parsons Jan. 10 and 11 David Parsons

The Armitage Ballet Apr. 15 and 16 Karole Armitage and David Salle

New Work at the New York City Ballet Apr. 26 John Gruen, Peter Martins with Jock Soto, and Heather Watts

The Man who Mistook His Wife for a Hat Oct. 5 and 7 Michael Morris and Dr. Oliver Sacks

The Mahabharata Oct. 8 Peter Brook and Jean-Claude Carriere

The Four Sections and Electric Counterpoint Nov. 1 and 2 Pat Metheny, Kent Nagano, and Steve Reich 

=== 1986 ===

Libuse Feb. 13

Mito Apr. 27 and 28 Sandro Chia and Carla Fracci

X (The Life and Times of Malcolm X) May 3 and 4 Anthony Davis and Christopher Keene

Nixon in China Nov. 2 and 3 John Adams and Peter Sellars

The Elizabethan Phrasing of the Late Albert Ayler Nov. 9 and 10 Karole Armitage and David Salle 

=== 1985 ===

String Trio and the Magic Art Feb. 3 and 4 Jean-Pierre Bonnefoux, Patricia McBride, and Charles Wuorinen

Gazebo Dances and Altered States Apr. 27 and 28 John Corigliano, Gail Kachaturian, and Jacquelin T. Robertson

Casanova Jun. 2 and 3 Dominick Argento and Christopher Keene

Impact and Transformer Oct. 4 and 5 Anthony Davis, Laura Dean, and Steve Reich

Dracula Oct. 19 and 20 Margie Gillis and James Kudelka

1984[edit]

Akhnaten May 6 and 7 Philip Glass and Christopher Keene

The Desert Music Sept. 22 and 23 Steve Reich and Michael Tilson Thomas

Mariinsky Ballet[edit]

#REDIRECT [[Mariinsky Ballet#Dancers]] {{R to section}} {{R to list entry}} #REDIRECT [[Mariinsky Ballet#Principals]] {{R to section}} {{R to list entry}} #REDIRECT [[Mariinsky Ballet#1st Soloists]] {{R to section}} {{R to list entry}} #REDIRECT [[Mariinsky Ballet#2nd Soloists]] {{R to section}} {{R to list entry}} #REDIRECT [[Mariinsky Ballet#Principal Character Artists]] {{R to section}} {{R to list entry}} #REDIRECT [[Mariinsky Ballet#Coryphees]] {{R to section}} {{R to list entry}} #REDIRECT [[Mariinsky Ballet#Corps de Ballet]] {{R to section}} {{R to list entry}}

Royal Ballet[edit]

Category:1990s ballet premieres[edit]

{{DISPLAYTITLE}}[edit]

pages that link to {{WP Ballet}}[edit]

{{WikiProject Ballet|class=category}}[edit]

create[edit]

Vaganova Academy of Russian Ballet[edit]

Artem Ovcharenko[edit]

Pages that link to {{Cat use dmy dates}} and {{Cat use mdy dates}}[edit]

Telstra Ballet Dancer Awards[edit]

winners[edit]

2011[edit]

2010[edit]

2009[edit]

2008[edit]

2007[edit]

2006[edit]

2005[edit]

2004[edit]

nominees[edit]

2011[edit]

2010[edit]

2009[edit]

2008[edit]

2007[edit]

2006[edit]

2005[edit]

2004[edit]

Nominees bis[edit]

http://www.australianballet.com.au/.../telstra_ballet_dancer_award_twitter Telstra Ballet Dancer Award 2010; Telstra Ballet Dancer Award nominee 2010 and 2008; Lissa Black scholarship 2009; Silver Medal, Asia Pacific International ... The Australian Ballet: Telstra Ballet Dancer Award Twitter

http://www.australianballet.com.au/about_us/.../telstra_ballet_dancer_award The Australian Ballet: 2011 Telstra Ballet Dancer Award

http://www.australianballet.com.au/about_us/corporate.../annual_report File Format: PDF As a Telstra Ballet Dancer Award nominee, what extra challenges will the 2007 bring? I'm going to take every day as it comes and try not to get caught up in the ... [PDF] Annual Report 2010

http://www.australianballet.com.au/about_us/corporate.../annual_report File Format: PDF As a Telstra Ballet Dancer Award nominee, what extra challenges will the 2007 bring? I'm going to take every day as it comes and try not to get caught up in the ... [PDF] Annual Report 2010

http://www.australianballet.com.au/about_us/dancers/.../andrew_killian Sep 29, 2011 – It's not surprising that three of the dancers promoted – Brett, Chengwu and Karen – are current nominees for the Telstra Ballet Dancer Award. ... The Australian Ballet: Andrew Killian

http://www.australianballet.com.au/about_us/dancers/.../andrew_killian Sep 29, 2011 – It's not surprising that three of the dancers promoted – Brett, Chengwu and Karen – are current nominees for the Telstra Ballet Dancer Award. ... The Australian Ballet: Andrew Killian

http://www.australianballet.com.au/about_us/dancers/.../andrew_wright In a first for The Australian Ballet, our six 2010 Telstra Ballet Dancer Award nominees are now on Twitter. Amy Harris, Miwako Kuboto, Natasha Kusen, Dana ... The Australian Ballet: Andrew Wright

http://www.australianballet.com.au/about_us/dancers/.../brett_chynoweth Telstra Ballet Dancer Award nominee 2011. What you may not know... "I am left- handed, I want to learn another language, and I don't like cheese unless it's ... The Australian Ballet: Brett Chynoweth

http://www.australianballet.com.au/about_us/dancers/.../chengwu_guo Telstra Ballet Dancer Award nominee 2009. You may not know ... Juliet's mum is Indonesian, and comes from a large family of dancers, actors, musicians, poets ... The Australian Ballet: Chengwu Guo

http://www.australianballet.com.au/about_us/dancers/.../daniel_gaudiello 2011 Telstra Ballet Dancer Award Nominations announced. 2010 Green Room Award nominees announced. The Australian Ballet nominated in four categories ... The Australian Ballet: Daniel Gaudiello

http://www.australianballet.com.au/about_us/dancers/.../daniel_gaudiello How does it feel to be a Telstra Ballet Dancer Award nominee? It is an honour to be nominated for the award this year. The past winners of the award are all ...The Australian Ballet: Daniel Gaudiello

http://www.australianballet.com.au/about_us/dancers/.../daniel_gaudiello How does it feel to be a Telstra Ballet Dancer Award nominee? It is an honour to be nominated for the award this year. The past winners of the award are all ... The Australian Ballet: Daniel Gaudiello

http://www.australianballet.com.au/about_us/dancers/.../karen_nanasca Telstra Ballet Dancer Award nominee 2008; Anne Woolliams Award for Excellence in Dance 2001; Geoffrey Rothwell scholarship; James & Pamela Mills ... The Australian Ballet: Karen Nanasca

http://www.australianballet.com.au/about_us/dancers/.../karen_nanasca Feb 17, 2010 – The 2010 Telstra Ballet Dancer Award nominees are Amy. Harris (Ballarat, Victoria), Ty King-Wall (Waihi, New Zealand), ... The Australian Ballet: Karen Nanasca

http://www.australianballet.com.au/about_us/dancers/.../karen_nanasca Feb 17, 2010 – The 2010 Telstra Ballet Dancer Award nominees are Amy. Harris (Ballarat, Victoria), Ty King-Wall (Waihi, New Zealand), ... The Australian Ballet: Karen Nanasca

http://www.australianballet.com.au/about_us/dancers/.../leanne_stojmenov The Australian Ballet's Artistic Director David McAllister has announced the nominees for the 2010 Telstra Ballet Dancer Award. Amy Harris (Ballarat, Victoria ), ... The Australian Ballet: Leanne Stojmenov

http://www.australianballet.com.au/about_us/dancers/.../luke_marchant Telstra Ballet Dancer Award Nominee 2011; Maurice Sullivan Memorial Scholarship 2011/12. You may not know... "On the weekend or my days off, I love to get ... The Australian Ballet: Luke Marchant

http://www.australianballet.com.au/about_us/dancers/.../miwako_kubota Telstra Ballet Dancer Award nominee 2011, 2009, 2007; Friends of The Australian Ballet Scholarship. You may not know ... Robyn is interested in the horse ... The Australian Ballet: Miwako Kubota

http://www.australianballet.com.au/about_us/dancers/.../robyn_hendricks Telstra Ballet Dancer Award nominee 2009, 2007 and 2005. You may not know .. . "Although for now my passion is in the arts, in the future I would love to open a ... The Australian Ballet: Robyn Hendricks

http://www.australianballet.com.au/about_us/dancers/...bio/juliet_burnett He joined The Australian Ballet in 2009. Awards. Telstra Ballet Dancer Award nominee 2011. What you may not know... "I've been an enthusiastic skier since the ... The Australian Ballet: Juliet Burnett

http://www.australianballet.com.au/about_us/dancers/...bio/reiko_hombo ... Kylián's Forgotten Land, Stepping Stones and Petite Mort 2005. Awards. Telstra Ballet Dancer Award nominee 2011, 2007; Lionel Phillips Scholarship 2003 ... The Australian Ballet: Reiko Hombo

http://www.australianballet.com.au/about_us/dancers/...bio/rudy_hawkes Telstra Ballet Dancer Award nominee 2010. Guest appearances. The Dancers Company tour 2006. You may not know ... Miwako loves knitting, crochet, puzzles , ... The Australian Ballet: Rudy Hawkes

http://www.australianballet.com.au/about_us/dancers/...bio/ty_king_wall Green Room Award 'year's work' nomination 2009; Benois de la Danse Best Male ... Murphy's Swan Lake 2009; Telstra Ballet Dancer Award nominee 2006 and ... The Australian Ballet: Ty King-Wall

http://www.australianballet.com.au/about_us/dancers/dancer.../adam_bull The 2011 Telstra Ballet Dancer Award nominees were announced in Melbourne on Tuesday 15 February in front of The Australian Ballet's entire company and ... The Australian Ballet: Adam Bull

http://www.australianballet.com.au/about_us/dancers/dancer.../laura_tong The Dancers Company tour 2008. Awards. Telstra Ballet Dancer Award nominee 2011. You may not know... Chengwu likes to watch Japanese anime in his ... The Australian Ballet: Laura Tong

http://www.australianballet.com.au/media Andrew has toured with The Australian Ballet to New Zealand, Japan, China, the UK and France. Andrew was nominated for the Telstra Ballet Dancer Award in ... The Australian Ballet: Media

http://www.australianballet.com.au/media Andrew has toured with The Australian Ballet to New Zealand, Japan, China, the UK and France. Andrew was nominated for the Telstra Ballet Dancer Award in ... The Australian Ballet: Media

http://www.australianballet.com.au/news_and.../brownlow_of_the_ballet ... The Wife in Jerome Robbins' The Concert 2008; Waltz in Les Sylphides 2009, 2006. Awards. Telstra Ballet Dancer Award nominee 2009. You may not know . ... The Australian Ballet: Brownlow of the Ballet

http://www.australianballet.com.au/news_and.../eight_dancers_elevated The Telstra Ballet Dancer Award is the highest accolade of its kind available to an ... The other nominees for 2010 were Miwako Kubota, Natasha Kusen and ... The Australian Ballet: Eight dancers elevated

http://www.australianballet.com.au/news_and.../eight_dancers_elevated The Telstra Ballet Dancer Award is the highest accolade of its kind available to an ... The other nominees for 2010 were Miwako Kubota, Natasha Kusen and ... The Australian Ballet: Eight dancers elevated

http://www.australianballet.com.au/news_and_reviews A virtuoso challenge, a chessboard battle, a lyrical tour de force. 2011 Telstra Ballet Dancer Award. Get up close and personal with the 2011 TBDA nominees ... The Australian Ballet: News & reviews

http://www.australianballet.com.au/news_and_reviews/news/it's_a_tie The Australian Ballet: It's a tie

http://www.australianballet.com.au/news_and_reviews/news/it's_a_tie The Australian Ballet: It's a tie

http://www.australianballet.com.au/res/pdfs/2010TBDANominees.pdf File Format: PDF 2011 Telstra Ballet Dancer Award nominations announced. British Liaisons: sharp, smart and seductive. Three diverse works showcase best of British talent ... [PDF] Press Release - The Australian Ballet

http://www.australianballet.com.au/res/pdfs/2010TBDANominees.pdf File Format: PDF 2011 Telstra Ballet Dancer Award nominations announced. British Liaisons: sharp, smart and seductive. Three diverse works showcase best of British talent ... [PDF] Press Release - The Australian Ballet

http://www.australianballet.com.au/watch_listen/video Telstra Ballet Dancer Award nominee 2008; The Friends of The Australian Ballet Scholarship 2005; Caroline Poon Scholarship 2004. You may not know . ... The Australian Ballet: Video

http://www.australianballet.com.au/whats_on/event_detail?perfid=2609 People's Day is your opportunity to see this important part of a dancer's daily life, plus a chance to meet the Telstra Ballet Dancer Award nominees. Sydney ... The Australian Ballet: Event Detail

http://www.australianballet.com.au/whats_on/event_detail?perfid=2609 People's Day is your opportunity to see this important part of a dancer's daily life, plus a chance to meet the Telstra Ballet Dancer Award nominees. Sydney ... The Australian Ballet: Event Detail

http://www.australianballet.com.au/whats_on/event_detail?perfid=2610 all Telstra Ballet Dancer Award nominees became our first official Tweeters, paving the way for a dedicated Australian Ballet Twitter account that was coincided ... The Australian Ballet: Event Detail

http://www.australianballet.com.au/whats_on/event_detail?perfid=2610 all Telstra Ballet Dancer Award nominees became our first official Tweeters, paving the way for a dedicated Australian Ballet Twitter account that was coincided ... The Australian Ballet: Event Detail

Telstra Ballet Dancer Award recipients bis[edit]

http://www.australianballet.com.au/ Awards. Joint winner of the Telstra Ballet Dancer Award 2010; Khitercs Scholarship 2008; James and Pamela Mills Scholarship 2004; Graeme Murphy Award for ... The Australian Ballet

http://www.australianballet.com.au/.../TheDancersCompany2010MediaRele... File Format: PDF Telstra Ballet Dancer Award ... France and Ballet de l'Opéra National de Paris after winning the Gold Medal at the Paris International Ballet Competition in 1998 . ... [PDF] Press Release - The Australian Ballet

http://www.australianballet.com.au/about_us/.../telstra_ballet_dancer_award The Australian Ballet: 2011 Telstra Ballet Dancer Award

http://www.australianballet.com.au/about_us/corporate.../annual_report File Format: PDF Telstra Ballet Dancer Award ... Telstra Ballet Dancer Award nominee 2008; Anne Woolliams Award for Excellence in Dance 2001; Geoffrey Rothwell scholarship ... [PDF] Annual Report 2010

http://www.australianballet.com.au/about_us/dancers/.../andrew_wright Your partner Lana Jones was the Telstra Ballet Dancer Award winner in 2005 – did she have any advice on the months ahead? Not really. Just "be yourself ... The Australian Ballet: Andrew Wright

http://www.australianballet.com.au/about_us/dancers/.../chengwu_guo Feb 17, 2010 – Previous winners of the Telstra Ballet Dancer Award: 2009 Stephanie Williams. 2008 Kevin Jackson. 2007 Daniel Gaudiello ... The Australian Ballet: Chengwu Guo

http://www.australianballet.com.au/about_us/dancers/.../dana_stephensen Ty King-Wall and Dana Stephensen are the joint winners of the 2010 Telstra Ballet Dancer Award (TBDA). This is the first time in the award's eight-year history ... The Australian Ballet: Dana Stephensen

http://www.australianballet.com.au/about_us/dancers/.../daniel_gaudiello 2011 Telstra Ballet Dancer Award winner revealed more». Sign up for our enews. Submit. Site map | Privacy | Terms & conditions. © 2010 The Australian Ballet ... The Australian Ballet: Daniel Gaudiello

http://www.australianballet.com.au/about_us/dancers/.../daniel_gaudiello Telstra Ballet Dancer Award ... This resulted in Karen winning the New Zealand National Ballet Award in 2004, followed by a placing in the semi-finals of the Prix ... The Australian Ballet: Daniel Gaudiello

http://www.australianballet.com.au/about_us/dancers/.../karen_nanasca Telstra Ballet Dancer Award ... In 2006 Chen became a prize winner at the prestigious Prix de Lausanne Competition in Switzerland, receiving a full scholarship ... The Australian Ballet: Karen Nanasca

http://www.australianballet.com.au/about_us/dancers/.../karen_nanasca \Prix Benois de la Danse winners! In Sydney, we saw the ... most popular dancers, winning the People's ..... all Telstra Ballet Dancer Award nominees became ... The Australian Ballet: Karen Nanasca

http://www.australianballet.com.au/about_us/dancers/.../kevin_jackson Sep 29, 2011 – ... Chengwu and Karen – are current nominees for the Telstra Ballet Dancer Award. The winner of the Award will be announced on the opening ... The Australian Ballet: Kevin Jackson

http://www.australianballet.com.au/about_us/dancers/.../sharni_spencer 2010's Telstra Ballet Dancer Award nominee. Dana Stephensen will perform alongside. 2007's Telstra Ballet Dancer Award winner. Daniel Gaudiello at shows ... The Australian Ballet: Sharni Spencer

http://www.australianballet.com.au/about_us/dancers/.../yosvani_ramos Telstra Ballet Dancer Award ... The Australian RAD Bursary in 2005; Winner of classical championships of The Phoenix Eisteddfod and The Royal South Street ... The Australian Ballet: Yosvani Ramos

http://www.australianballet.com.au/about_us/dancers/...bio/lucinda_dunn The Australian Ballet: Lucinda Dunn

http://www.australianballet.com.au/about_us/dancers/dancer.../eloise_fryer Telstra Ballet Dancer Award · Artistic staff · Behind the scenes · History · Corporate information · Employment. Printer-friendly Bookmark and Share. Lucinda ... The Australian Ballet: Eloise Fryer

http://www.australianballet.com.au/education/about...male.../ty_king_wall 2011 Telstra Ballet Dancer Award winner revealed more» · Site map | Privacy | Terms & conditions. © 2010 The Australian Ballet Designed by Lynch. The Australian Ballet: Ty King-Wall

http://www.australianballet.com.au/home/email_sign_up May 3, 2011 – Amber, 28, has matured into one of the company's most admired ballerinas since winning the Telstra Ballet Dancer Award and People's Choice ... The Australian Ballet: Email sign-up

http://www.australianballet.com.au/news_and.../brownlow_of_the_ballet Awards. Telstra Ballet Dancer Award Winner 2008; The Australian Ballet Society Scholarship; Khitercs Foundation 2007. Choreographic works. Enter Closer for ... The Australian Ballet: Brownlow of the Ballet

http://www.australianballet.com.au/news_and.../eight_dancers_elevated Telstra Ballet Dancer Award ... Murphy's The Silver Rose 2010; Telstra Ballet Dancer Award Winner 2007; Freda Irving Scholarship 2006; BJ Sutton Scholarship ... The Australian Ballet: Eight dancers elevated

http://www.australianballet.com.au/news_and.../half_year_highlights How does it feel to be a Telstra Ballet Dancer Award nominee? It is an honour to be nominated for the award this year. The past winners of the award are all ... The Australian Ballet: Half-year highlights

http://www.australianballet.com.au/news_and.../new_principal_artists Now in its eighth year, the Telstra Ballet Dancer Award is the highest accolade ... the ranks of previous winners who have gone on to lead The Australian Ballet. ... The Australian Ballet: New principal artists

http://www.australianballet.com.au/news_and.../telstra_ballet_dancer_awar... In a historic first last year, the Telstra Ballet Dancer Award was a tie. Ty King-Wall and Dana Stephensen were joint TBDA winners, and Telstra doubled their ... The Australian Ballet: The winner takes it all!

http://www.australianballet.com.au/news_and_reviews/news/it's_a_tie The 2011 Telstra Ballet Dancer Award winner revealed read more. Chengwu Guo has been crowned the 2011 winner of the Telstra Ballet Dancer Award in front ... The Australian Ballet: It's a tie

http://www.australianballet.com.au/res/pdfs/2010TBDANominees.pdf File Format: PDF Ty was a joint winner of the 2010 Telstra Ballet Dancer Award with Coryphée Dana Stephensen. What was your first brush with ballet as a kid? I went along to a ... [PDF] Press Release - The Australian Ballet

http://www.australianballet.com.au/res/pdfs/TDCMediaKit2010.pdf File Format: PDF 2010's Telstra Ballet Dancer Award nominee. Dana Stephensen will perform alongside 2007's. Telstra Ballet Dancer Award winner Daniel. Gaudiello at shows ... [PDF] the dancers coMpany 2010 tour

Jacquelyn Reyes, Alexandra Ansanelli, etc.[edit]

Category:1946 ballet premieres[edit]

#REDIRECT [[]] {{R to alternative name}}[edit]

{{WPR|Ballet}}

Mariinsky Ballet[edit]

Ballet News[edit]

pages that link to {{Ballet News}}[edit]

pages that link to {{Cupcakes & Conversation}}[edit]

Avi Scher[edit]

{{Cat main}} {{R to short title}} {{WPRed|Ballet}}[edit]

2012 Le Tricorne and Les Presages and Gaite Parisienne[edit]

English National Ballet Swan Lake[edit]

Things You Don't Know About... SWAN LAKE English National Ballet celebrates its 60th anniversary year with a Royal Albert Hall production of Swan Lake featuring up to 70 swans. Ballet writer Cheryl Angear explains its magic The story of Swan Lake is based on German folklore Princess Odette has been turned into a swan by the evil Rothbart and she can only become human again if a man swears true love for her. In ballet, as in life, things don't always go according to plan, and the prince who does so is soon tricked into falling in love with Odile, Rothbart's daughter, who is disguised as Odette. In most productions, the same dancer takes both roles. The ballet was first performed in Moscow in 1877 But it wasn't well received. Its composer, Tchaikovsky, died before it could be restaged successfully in 1895 in St Petersburg, with changes to the previously unpopular choreography and music. The first British full version came in 1934, when ballerina Alicia Markova, who went on to co-found English National Ballet, danced Odette/Odile.

edit and view tabs ? ? ?[edit]

Anneli Alhanko[edit]

footnotes[edit]

  1. ^ Sugar Plum moments with Martha Leebolt, Premier Dancer with Northern Ballet Ballet NEWS, May 22, 2011
  2. ^ Cupcakes & Conversation, Ballet NEWS, May 11, 2010
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