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Clear filtersLe Bœuf sur le toit (literally "the ox on the roof"), Op. 58 is a 15-minute piece for small orchestra by the composer Darius Milhaud, written in 1919–20. Milhaud conceived the piece as incidental music for any one of the comic silent films of Charlie Chaplin, but it received its premiere as the music for a ballet staged by Jean Cocteau in February 1920.
The first act recreates the kind of dance class Bournonville attended at the Paris Conservatoire. In the second, Monsieur Dufour, a Conservatoire inspector, places a matrimonial advertisement but ends up marrying his housekeeper, Mademoiselle Bonjour. The students disguise themselves as attractive women to fool him, with divertissements woven into the action.
Scene 1 – A Bazaar in a Seaport Square; Slave girls are among the goods for sale. Corsairs (pirates) arrive with their leader, Conrad. Watching the scene from a balcony is a young woman, Medora, the ward of the bazaar owner, Lankendem. She fashions a coded message into a bouquet of flowers, which she throws to Conrad. Later, when Medora and Lankendem go to the square, she and Conrad exchange loving glances. At this point, Seyd Pasha, a rich buyer of slave girls, arrives in the square. Seeing Medora, he is smitten and asks to buy her. Lankendem initially refuses, but as Seyd Pasha raises his price Lankendem eventually relents. Seyd Pasha orders that Medora be delivered to his palace and leaves. Conrad promises Medora that he and his corsairs will rescue her. The corsairs begin to dance with the slave girls. At a signal from Conrad the corsairs all run off with the girls. For good measure, they also kidnap Lankendem. Scene 2 – The Corsair's Den; Medora asks Conrad to release the women slaves. To this he agrees. However, one of his men – Birbanto – objects and begins a fight. Conrad subdues him. Meanwhile, Lankendem tries to escape. The corsairs who are opposed to Conrad's release of the women convince Lankendem to stay long enough to give Conrad a flower sprayed with a sleeping potion. Later, at dinner, Medora dances for Conrad. Lankendem gives her the flower with the sleeping potion, asking that she give it to Conrad. She does this, and when he smells the flower he falls asleep. Corsairs surround Medora, threatening her. Defensively, she stabs Birbanto in the arm and faints into the arms of the corsairs, who take her away. Conrad awakens and sets out to recapture Medora. Scene 3 – Harem at the Palace of Seyd Pasha; The Sultana Zulina demands that the Odalisques (female concubines of the harem) respect her. For this, she is mocked by harem slave Gulnare and her friends. Seyd Pasha enters. Gulnare teases him flirtatiously in dance, and he gives her a handkerchief. She makes fun of him by passing the handkerchief around the group of women. Seyd Pasha is furious. His Keeper of the Harem attempts to distract and calm him with dancing performances by the girls. Lankendem arrives, leading Medora in delivery of her sale to Seyd Pasha. She begs Seyd Pasha for her freedom and also complains of mistreatment by Lankendem. Gulnare comforts her. Seyd Pasha offers Medora jewels, which she refuses. The Corsairs enter, disguised as robed members of a religious order. They act embarrassed at the sight of the concubines of the harem. Seyd Pasha orders the women of the harem to dance for the entertainment of his guests. Conrad, in his disguise, recognizes Medora. The corsairs throw off their disguises and threaten Seyd Pasha with daggers. The Corsairs begin pillaging the palace. Gulnare rushes in, pursued by Birbanto. Medora recognizes Birbanto as her kidnapper and informs Conrad. She demonstrates the identification by pointing out the wound she inflicted on Birbanto's arm. Medora prevents Conrad from killing Birbanto, who then runs away. Seyd Pasha's guards enter and attack the corsairs, capturing them including Conrad. Seyd Pasha sentences Conrad to death. Scene 4 – Seyd Pasha's Private Room at the Palace; Seyd Pasha proposes to Medora, who refuses him. As Conrad is led to his execution, Medora begs Seyd Pasha to pardon him. He agrees on the condition that she freely submit to him. He leaves the room as she considers the offer. Conrad is able to run to her; she informs him of the deal she must make to have him freed. Conrad objects and talks her out of the offer. They resolve to die together. At this point Gulnare, who is in love with Seyd Pasha, approaches the two and proposes a plan to secretly switch places with Medora in the wedding. Seyd Pasha returns to the room where after assurances from Medora he orders Conrad to be freed and the marriage ceremony to commence. Later, as the wedding procession approaches, the bride enters covered in a veil. Seyd Pasha places a ring on the bride's finger in marriage, and the odalisques dance. After the wedding, Seyd Pasha is alone with Medora. As she dances for him, she tells him that the pistol on his belt scares her and asks that he give it to her. He complies. She then asks for his dagger, and he hands that over also. She continues to dance to evade him. As he kneels before her and begs for her love, he hands her his handkerchief. Acting as if playfully joking, she ties his hands with the handkerchief. At this point Conrad enters the room. He and Medora threaten Seyd Pasha, warning him not to raise a cry of alarm. They escape. Gulnare rushes into the room and unties Seyd Pasha. She shows him the ring on her finger and reveals it was she whom he had married. Scene 5 – Corsair Ship at Sea; At first the sea is calm. Birbanto is in chains. On Medora's pleas, Conrad releases him. As a storm arises, Birbanto tries to sow dissatisfaction among the crew. Conrad throws him overboard. The ship runs aground. The sea calms. Conrad and Medora are seen climbing safely on to land together.
Pierrot has happened across Leda bathing in the river Eurotas. He falls in love with her, and returns at dawn the next day hoping to catch sight of her again. A little faun, seeing the boy's sadness, offers him wine, fruits, and flowers, and summons nymphs and dryads from the adjoining laurel grove. They dance round him while he plays on a pipe, but he remains inconsolable. When music is heard in the distance announcing the arrival of Leda, with her attendants, he drives away the nymphs, dryads, and faun, and conceals himself among the flowers. Leda prepares for her morning bath, expressing the hope that she will again meet the beautiful swan – Zeus in disguise – who often meets her at this spot. She and her women undress and plunge into the river; the swan appears, gliding towards Leda. The attendants raise their cloaks to hide from view the embrace with which the queen welcomes the bird; but Pierrot has seen all, and, furious with jealousy, he strikes the swan with his stick, inflicting a mortal wound, from which the bird soon dies, singing before he expires. Struck with remorse, Pierrot runs to hide himself in the laurel grove, but Leda wounds him with an arrow. She then orders her attendants to place the swan on a litter of branches and flowers; the funeral procession moves off, leaving Pierrot alone, weeping despairingly. The faun returns and advises him to impersonate the swan. He is white like his dead rival, and his wide sleeves resemble wings. If the moon goddess Selene would only bring on a momentary eclipse of the sun the deception could be easily carried out. The sky darkens; Leda and her women return, and are astonished when another swan comes gliding on the river towards the queen. Night comes on suddenly, but soon daylight returns, and in a final apotheosis there appear huge eggs, from which hatch three little Pierrots with swans' wings on their backs.
Le Diable amoureux (also known as Satanella or Love and Hell) is a ballet-pantomime in three acts and eight scenes, originally choreographed by Joseph Mazilier to the music of Napoléon Henri Reber and François Benoist. The libretto by Jules-Henri Vernoy de Saint-Georges is based on Jacques Cazotte's 1772 occult romance The Devil in Love. The work was first presented by the Ballet of the Royal Academy of Music (Paris Opera Ballet) in Paris on 23 September 1840, with Pauline Leroux (as Uriel), Mazilier (as Alvaro, for ballet his name is Frederic), and Louise Fitz-James (as Lilia).
Le Diable boiteux is a ballet in three acts by Jean Coralli, with music by Casimir Gide, which premiered on 1 June 1836 at the Paris Opera. The main roles were played by Fanny Elssler, Joseph Mazilier, Amélie Legallois, Pauline Leroux and Jean-Baptiste Barrez. Loosely inspired by the novel of the same name by Lesage, this ballet was the first great success of Coralli who had, until then, mainly re-edited the ballets of other authors. The cachucha performed by Fanny Elssler was a sensational success.
Le Diable à quatre is a ballet in two acts and three scenes (or in three acts), with choreography by Joseph Mazilier, music by Adolphe Adam, and libretto by Adolphe de Leuven, first presented by the Ballet of the Académie Royale de Musique on 11 August 1845, with Carlotta Grisi (as Mazourka) and Lucien Petipa (as Count Polinski).
The curtain rises on a warm evening in India, centuries in the past. In front of a rock temple, a pool is seen with a lotus on the surface of the water. Snakes, tortoises, and other animals rest near the pool. The temple walls are covered with masses of flowering plants. A crowd is waiting for a ceremony to begin. The Young Man is about to become a priest of the temple. The Young Girl runs in and kneels at his feet. She does not want him to desert her for the priesthood and dances before him. The priests are shocked and lead The Young Man away while The Young Girl is prepared for death. The gates are shut. The Young Girl tries to escape, but monsters rise from a place beneath a trap door. The Goddess rises from the lotus. The Blue God rises from the pool, and calms the monsters with his flute. The monsters are trapped by the masses of plants. The Blue God's work is done. The priests enter. They are surprised to see The Young Girl still alive and fall on their knees before her. The Young Man rejoins The Young Girl. The Goddess orders a golden staircase to descend from the heavens. The Blue God flies up the staircase and disappears into the clouds.
A three-act, four-scene ballet by Arthur Saint-Léon with music by Ludwig Minkus and Léo Delibes; Minkus adapted music from Saint-Léon's 1866 La Source.
The Magic Mirror (Le Miroir Magique) is a ballet-féerie in four acts and seven scenes, originally choreographed by Marius Petipa with music by Arseny Koreshchenko. The libretto is based on the 1812 fairy tale Snow White by the Brothers Grimm and the 1833 poem The Tale of the Dead Princess and the Seven Knights by Alexander Pushkin. The ballet was premièred on the at the Imperial Mariinsky Theatre in St. Petersburg, Russia.
Le Pavillon d'Armide is a ballet in one act and three scenes choreographed by Michel Fokine with music by Nikolai Tcherepnin to a libretto by Alexandre Benois. It was inspired by the novella Omphale by Théophile Gautier.
Le Poisson doré (The Golden Fish) (ru: Золотая рыбка; a.k.a. Zolotaia Ribka) is a "fantastic ballet" in 4 acts/6 scenes with prologue and epilogue. The choreography was by Arthur Saint-Léon, and the music by Ludwig Minkus.
ACT 1 Scene 1 - A forest glade. In the background is the cave of Pythia of Sardis The kings and people of Lydia come to this spot to question the oracle as to the future. At the rise of the curtain, peasants, shepherds and shepherdesses come to rest on the grass after their toil. Among them is a shepherd called Gyges, who plays on his pipe and induces the company to dance. Near him is his betrothed, Clytia, who looks at him tenderly. Gradually the light fades. The peasants look fearfully at the cave and take their departure. Night falls. Follows the hooting of owls and the whistling of bats. Pythia emerges from the cave amid clouds of smoke and, knowing that King Candaules is about to consult her, commands everyone to leave. King Candaules enters, escorted by his followers. Gyges, whom the king encountered in the forest, acts as his guide. He informs the King that if he wishes to consult the oracle, he must strike the shield that hangs beside Pythia's cave. Gyges and the King's attendants retire. Candaules strikes the shield and Pythia appears. He entreats her to cast his future. She tells him that he kidnapped the true king in his infancy, placed him in the forest at the mercy of wild beasts and seized the crown himself. Candaules, alarmed, protests that she is mistaken. Pythia offers to retract her words if he will submit to the judgement of Heaven. She raises her arms in readiness, but Candaules, afraid, implies his guilt. Then Pythia informs him that the true king lives and will seize his throne and power. Candaules swears to kill the king if he be alive. Pythia bids Candaules walk in fear of the gods. Owls appear carrying in their claws a roll of papyrus, which predicts that Candaules will die an unnatural death. Terrified, he flees into the forest. Gyges returns and is surprised no to find the King, but Pythia takes him by the hand, bids him put on the armour left by Candaules and foretells that he will soon be king. Gyges obeys her and, becoming conscious of his destiny, waves his sword and disappears into the forest. Scene 2 - King Candaules's camp on the borders of Libya and Misia. There are numerous tents with the King's abode in the centre. In the distance are mountains. Night There is considerable activity. Sentries are being changed, soldiers are furbishing armour and officers are passing in and out of the King's tent for their orders. The flap is thrown back and Candaules emerges. His Queen, Nisia, with the aid of her women, put on armour. She is attended by Amazons and, under her direction, warlike games are played; meanwhile, Candaules's warriors practise the testudo. The games end and silence reigns. Suddenly, a messenger gives a warning of a night attack. Candaules orders everyone to be on the alert and a warrior, Gyges, is placed at the entrance of the tent. In the half-darkness, troops can be seen creeping along the ground. The surprise the guards and gradually near the King's tent. Then the enemy leap to their feet and begin to destroy the tents. They are impressed by the splendour of the King's tent, which Gyges forbids them to enter. Nisia raises the flap and faces the enemy. Two of her assailants endeavour to capture the Queen, but Gyges cuts them down. Other soldiers attack Gyges, who is almost overcome when a party of Candaule's men come to the rescue, led by the King. Seeing his wife in Gyges's arms, Candaules takes the warrior for an enemy and rushes upon him with an upraised dagger, but Nisia explains that Gyges has saved her life. Candaules thanks Gyges warmly and announces that henceforth, he shall rank next to him. Everyone does homage to Gyges, who, however, cannot accustom himself to this high honour. ACT 2 An arena with a triumphal arch. In the background is a statue of Venus Victrix. On either side are tiers of seats with places of honour for the King and Queen and their suite Citizens of all rank, carrying laurel wreaths and flowers, are seen arriving to greet the King, whose approach is heralded by fanfares. The Lydian warriors enter through the arch, followed by captive chiefs in chains and captive soldiers of various nations. The rear of the procession is formed by the notables of Lydia, and a gold chariot drawn by slaves. In this chariot are King Candaules, Gyges and the principal ministers. Nisia follows on a magnificently accoutred elephant. She is surrounded by girls who rain down flowers. The triumphal procession stops at the centre of the arena. The nobles offer their King the keys of his capital, then the captives are paraded before him. Finally, Candaules, accompanied by Nisia, takes his seat and the festival begins. First, there is a dance by nymphs, bayadères and graces. Just before the dance ends, a Lydian representing a sunflower and surrounded by other dancers representing roses and forget-me-nots treads a measure. Nisia is entreated to take part and represent Venus. At first, she refuses, then consents. A new dance begins in which Nisia, cupids, nymphs and sylphs take part. Everyone does homage to the new Venus and Candaules, drunk with pride, declares his consort to be the true Venus. Nisia declines these compliments, but Candaules orders the statue of Venus to be removed from its pedestal and Nisia lifted in its place. Candaules and his courtiers acclaim her as a goddess. The warriors present arms and the women strew flowers at her feet. All at once, the sky grows dark and the priests and people look away in fear, while Candaules, in his arrogance, seems to defy the powers of Heaven. ACT 3 The Queen's bathing-place. Splendid tables are laid with gold dishes. In the background is a bathing-pool of pink and while marble, adorned with a fountain and surrounded with flowers Nisia is seen standing beneath a curtain and attended by female slaves. They dress her hair and remove her jewels. Others hold up a mirror in which she admires herself. To the music of harps, the slaves take up a series of attitudes and afterwards, Nisia dances. During the last group, a curtain falls and masks the bathing-pool. The Queen's ladies enter and prepare to receive her. Nisia arrives, splendidly attired and attended by many slaves. The arrival of Candaules is announced. He kneels before the Queen whom he has elevated to a goddess. He is surrounded by the women who attempt to fascinate him. Suddenly, Gyges runs in distraught, for he is the bearer of evil news. He is followed by the priests of Venus who demand an audience with the King. Candaules, alarmed, orders them to be admitted. The priests are afraid, for Venus has already given signs of her displeasure, since hunger, pestilence and other miseries have fallen on the land and are spreading throughout Lydia. The King asks the High Priest how the goddess can be appeased. He replies that the goddess insists that Nisia shall be punished by being forced the renounce her title of Queen. Nisia is terrified and the King refuses the demand. Then the Priest warns him to beware of the anger of the gods. The sky darkens, thunder rolls, lightning flashes and the tremor of an earthquake is felt. Candaules induces Nisia to renounce her title and she flings her gold circlet to the ground. The King falls on his knees and swears eternal love. The sky clears and the Priest returns thanks to Heaven, but Nisia looks contemptuously at Candaules and seeks consolation from her women. ACT 4 Scene 1 - The bedchamber of King Candaules The King is seen asleep on a couch. Nisia sits beside a table on which rests his crown. She gazes sadly on this symbol of earthly power, conscious of the gloomy future that lies before her. Then she looks at Candaules, the cause of her fall. In her anger, she menaces the sleeping King. At the same moment, a curtain parts and Pythia appears, bearing a golden cup. She tells Nisia that it contains poison and urges her to satisfy her revenge, for Gyges will marry her and she will again become a Queen. A vision of Gyges is seen at the far end of the room. Candaules awakes and Pythia disappears. Courtiers enter, including Gyges. All pass by Nisia without noticing her, save only Gyges who bows before her as usual. Nisia conceals her displeasure, but vows vengeance, Candaules, still in love with his wife, tries to calm her. He asks her to dance for him. She consents, but asks him to send everyone away, since she is a slave now and only he may see her dance. At Candaules's command, the courtiers retire. Nisia dances and soon captivates the amorous king. He tries to embrace her, but she eludes him. Meanwhile, Pythia watches behind a curtain and points to the poisoned cup. Nisia takes it and presents it to Candaules with averted eyes. The King drains the cup. He feels the effects of the poison and strikes a gong, but Pythia appears. As Candaules writhes in the throes of death, Gyges and his courtiers rush in. Gyges goes to help the King, but Pythia forces him to confess that Gyges is the rightful monarch. Gyges takes the King's crown and presents it to Nisia who, surprised, looks at Pythia, who reminds her of her prediction. Scene 2 - A hall in the palace of King Candaules. On the terrace is a table laid with gold dishes. The hall is lit with bronze scones A betrothal feast is in progress, for Gyges has become King of Lydia and is to wed Nisia. Courtiers and nobles are present. The priests enter to conduct the marriage ceremony. They bring a sacrificial table. Gyges, crowned, leads his bride towards the table, places a hand over the holy flame and takes a vow. Nisia does the same, but the flame expires and there is a clap of thunder. The people are astonished at this portent and the priests withdraw from the table. Gyges, enraptured with Nisia, ignores the warning, takes the Queen towards the gardens and commands the festival to begin. The proceedings open with the Dance of Diana, in which Endymion and a satyr take part. Slaves wait on the guests who are reclining at the tables and fill their cups with wine.
At night, Diana guards the sleeping Flora and her nymphs. The cold north wind Aquilon awakens them; Flora seeks help from Aurora, who promises Apollo's arrival. Apollo appears, falls for Flora, and summons Zephyr, Flora's beloved, with Cupid and the little Loves. Mercury brings Hebe and Ganymede, who offer nectar and announce the gods' gift of eternal youth. A procession and grand dance lead to an apotheosis on Olympus.
Music by Carl Maria von Weber, orchestrated by Hector Berlioz. The curtain rises on a girl's bedroom. The Young Girl comes into the room dressed in a white bonnet and ball gown. She has returned to her home after her first ball. She holds a rose as a souvenir of the evening. She drops into a chair and falls asleep. The rose falls from her fingers to the floor. The Spirit of the Rose is seen at the window. He steps to the floor and nears The Young Girl. Still asleep, she rises and dances with him. He leads her back to the chair, kisses her, then leaps through the window and into the night. The Young Girl awakes and rises. She picks up the rose she dropped and kisses it. The curtain falls.
Le Tombeau de Couperin is a ballet choreographed by George Balanchine to Ravel's eponymous suite. It features a cast of sixteen divided into two groups, dancing separately. The score, which references 18th-century dances, was first choreographed by the Ballets suédois in the 1920s. Balanchine's version of Le Tombeau de Couperin was made for the New York City Ballet's Ravel Festival, celebrating the composer's centenary, and premiered on May 29, 1975, at the New York State Theater.
Eight couples form two quadrilles that dance separately, with no principal roles. The ballet pairs these formal group dances with Ravel's orchestral tribute to François Couperin and French music; Balanchine described it as the dancers moving to Ravel's score.
The real Nightingale sings for the Chinese Emperor, who is pleased. A mechanical nightingale arrives and captivates the court, so the real bird flies away. When illness brings the Emperor near death, the Nightingale returns and persuades Death to spare him. The courtiers find the Emperor recovered, while the bird returns to nature.
Le Jeune Homme et la Mort is a ballet by Roland Petit, choreographed in 1946 to Bach's Passacaglia and Fugue in C Minor, BWV 582, with a one-act libretto by Jean Cocteau. It tells the story of a young man driven to suicide by his faithless lover. Sets were by Georges Wakhévitch and costumes variously reported as being by Karinska or Cocteau. Petit is purported to have created Le Jeune Homme et la Mort for his wife-to-be Zizi Jeanmaire, but it was danced by Jean Babilée and Nathalie Philippart at its 25 June 1946 premiere at the Théâtre des Champs-Élysées with costumes by Tom Keogh. In 1951, Petit staged the ballet at American Ballet Theatre. In 1966, he filmed the ballet in France with Rudolf Nureyev and Zizi Jeanmaire. Le Jeune Homme et la Mort was revived by Mikhail Baryshnikov at the American Ballet Theatre in 1975 and in the 1985 movie White Nights, in arrangements by Petit for Baryshnikov. It has been in the repertoire of the Paris Opera Ballet since 1990 and was danced at its premiere there by Kader Belarbi. It has also been danced by the Ballet National de Marseilles (1984), the Berlin Opera Ballet (1985), the Boston Ballet (1998), the Bolshoi Ballet (2009), the Mariinsky Ballet (late 1990s, revival 2012) and the English National Ballet (2018).
In Circassia, Farfalla, the Emir's daughter, serves the old fairy Hamza, who hopes to become young by receiving a prince's kiss. After Prince Djalma kisses Farfalla, Hamza transforms her into a butterfly. Djalma discovers her identity and brings her to the Emir's palace, where Hamza intercepts a kiss meant for Farfalla and becomes young. She later turns Farfalla back into a butterfly, but Farfalla's wings burn at a torch and she returns to human form. Hamza's sisters break her magic crutch and turn her into a statue, leaving Djalma and Farfalla free to marry.
Originally conceived as a celebration of Soviet industrialization, with scenes of speculators, sailors, and workers at a station, market, and factory. A factory scene centers on a romance between a sailor and a young woman worker. The scenario changed before the 1927 production, which included Russian-folklore scenes.
Le train bleu is a one-act ballet choreographed by Bronislava Nijinska to music by Darius Milhaud for Serge Diaghilev's Ballets Russes, based on a scenario by Jean Cocteau. The title was taken from the night train called Le Train Bleu, which transported wealthy passengers from Calais to the Mediterranean Sea. The ballet is set on the fashionable French Riviera and has a sporting theme, with swimmers, tennis players, and weight lifters. Henri Laurens supplied a Cubist beach scene and Coco Chanel outfitted the cast in sportswear. The curtain was painted after Deux femmes courant sur la plage, a 1922 work by Pablo Picasso. The ballet was first performed on 20 June 1924 at the Théâtre des Champs-Élysées in Paris, with Nijinska, who played a tennis player based on Suzanne Lenglen, Lydia Sokolova, Anton Dolin and Leon Woizikovsky in the leading roles. The orchestra was conducted by André Messager.
A ballet adaptation of Still's orchestral work about Harlem street life, structured around episodes titled The Crap Game, The Flirtation, The Fight, The Law, dances, a philosopher, a mission, a rent party, an orator, and a finale.
Les Animaux modèles, FP 111, is a ballet dating from 1940 to 1942 with music by Francis Poulenc. It was the third and final ballet that he composed and was staged at the Paris Opéra in 1942, with choreography by Serge Lifar, who also danced in the 1942 premiere. The themes of the ballet are drawn from the Fables of Jean de La Fontaine.
A three-act, five-scene ballet based on the Greek myth of Thetis and the circumstances of her marriage to the mortal Peleus, arranged by Jupiter.
Les Biches (The Hinds or The Does, or The Darlings) is a one-act ballet to music by Francis Poulenc, choreographed by Bronislava Nijinska and premiered by the Ballets Russes on 6 January 1924 at the Salle Garnier in Monte Carlo. Nijinska danced the central role of the Hostess. The ballet has no story, and depicts the random interactions of a group of mainly young people in a house party on a summer afternoon. The ballet was seen in Paris and London within a year of its premiere, and has been frequently revived there; it was not produced in New York until 1950. Nijinska directed revivals of the ballet for several companies in the four decades after its creation. Les Biches, with recreations of Marie Laurencin's original costumes and scenery, remains in the repertoire of the Paris Opera Ballet, the Royal Ballet and other companies. The music has been used for later ballets, although they have not followed Nijinska's in gaining a place in the regular repertoire. The music for the original ballet contains three choral numbers. Poulenc made the choral parts optional when he revised the score in 1939–1940, and the work is usually given with wholly orchestral accompaniment. The composer extracted a five-movement suite from the score, for concert performance. The suite has been recorded for LP and CD from the 1950s onwards.
Les Deux Pigeons is a ballet originally choreographed in two acts by Louis Mérante to music by André Messager. The libretto by Mérante and Henri de Régnier is based on the fable The Two Pigeons by Jean de La Fontaine. The work was first performed at the Paris Opéra on 18 October 1886. The premiere cast included Rosita Mauri as Gourouli and Marie Sanlaville as Pépio. Frederick Ashton later created a new ballet to Messager's music under the title The Two Pigeons.
A large-scale ballet of dance tableaux depicting a Chinese festival, including a character march, rows of dancers moving like waves, and a concluding contredanse. The spectacle ends with the dancers concealed as vases rise to form a china cabinet.
A ballet for nine men set to Handel's Concerti grossi, Op. 6, Nos. 9 and 2. It unfolds through three trios of contrasting moods, with ensemble sections before and after, and ends with a solo.
The story of the ballet is somewhat nonsensical: The new couple have a wedding breakfast on Bastille Day (July 14) at a table on one of the platforms of the famous tower. A guest makes a pompous speech. When a humpbacked photographer bids everyone to "watch the birdie," it appears that a telegraph office suddenly springs into existence on the platform. A lion comes in and eats one of the guests for breakfast and a strange figure called "a child of the future" appears and kills everybody. Nevertheless, the ballet concludes with the end of the wedding. When asked what the ballet was about, Cocteau replied: "Sunday vacuity; human beastliness, ready-made expressions, disassociation of ideas from flesh and bone, ferocity of childhood, the miraculous poetry of everyday life." On 29 July 1923, in a letter, Francis Poulenc described the work as "toujours de la merde... hormis l'Ouverture d'Auric" ("yet more shit... apart from Auric's Overture").
At a masked ball, a man and his companion meet another couple, who turn out to be his wife and her lover. After partners change repeatedly, the husband and wife end together, as do the lover and his mistress. The short ballet reflects the social and sexual manners of Ashton's world.
Les Millions d'Arlequin (English: Harlequin's Millions) (Russian: "Миллионы Арлекина", Milliony Arlekina) also known under the title Harlequinade (Russian: "Арлекинада", Arlekinada) is a ballet comique in two acts and two tableaux with libretto and choreography by Marius Petipa and music by Riccardo Drigo. Les Millions d'Arlequin was first presented by the Imperial Ballet at the Theatre of the Imperial Hermitage Museum in Saint Petersburg, Russia on. The ballet was given a second premiere with the same cast at the Imperial Mariinsky Theatre on. In the principal roles were Mathilde Kschessinskaya as Columbine, Georgy Kyaksht as Harlequin, Olga Preobrajenskaya as Pierrette, Sergei Lukianov as Pierrot, Enrico Cecchetti as Cassandre, Nikolai Aistov as Leandre, and Anna Urakova as the Good Fairy. The Sérénade from the first act of the ballet became a popular repertory piece that has been arranged for various instruments and recorded on numerous occasions.
Les Orientales is a choreographic divertissement by Michel Fokine. A production of Ballets Russes, it was premiered on June 25, 1910, at the Theatre National de l'Opera in Paris. The ballet consisted of a series of oriental-themed dances performed by soloists Vaslav Nijinsky (Danse Siamoise and Kobold), Tamara Karsavina (Assyrian Dance), Vera Fokina, Alexander Orlov (Saracens’ Dance), Catherine Gheltzer and Alexander Volinine (pas de deux). The dances were choreographed by Michel Fokine and Marius Petipa. The music was by Alexander Glazunov, Christian Sinding, Anton Arensky, and Edvard Grieg. Michel Fokine, who choreographed Vaslav Nijinsky's "Danse Siamoise", may have been “inspired by a Thai Classical troupe, the Nai But Mahin Dance Company, that Fokine had seen in St. Petersburg in 1900.” Léon Bakst started working on scenic design and costumes for Les Orientales in 1908. In 1909, Bakst made a name for himself as a scene-painter for Diaghilev with the Ballets Russes.He designed scenery and costumes for Cleopatra (1909), Scheherazade (1910), and Carnaval (1910). In 1910, Konstantin Korovin continued working on scenic design and costumes for Les Orientales in collaboration with Léon Bakst.
The ballet, in one act, depicts a Victorian skating party that takes place on a frozen pond on a winter's evening. A semicircle of arched trellises painted white separates the pond from the snowy woods behind. Suspended above are colourful Chinese lanterns, shedding light on the white canvas stage covering, simulating ice, and dimly illuminating the dark trees silhouetted against the starry night sky. The first skaters to enter are four couples dressed in matching brown jackets. They are soon joined by others: two girls wearing blue jackets and bonnets, two girls wearing red jackets and bonnets, a girl and boy dressed all in white, and a lone boy wearing blue. This happy group of young people dance together in various combinations, gliding and leaping and spinning across the ice until snow begins to fall and the single boy is finally left alone, whirling like a top in the middle of the pond.
Massine's first plotless ballet based on symphonic music, set to Tchaikovsky's Fifth Symphony.
Les Rendezvous is a plotless one-act ballet created in 1933, with choreography by Frederick Ashton to the music of Daniel Auber (the ballet music from his opera L'enfant prodigue) arranged by Constant Lambert and with designs by William Chappell. It was the first major ballet created by Ashton for the Vic-Wells company. It was first performed on Tuesday, 5 December 1933 by Vic-Wells Ballet at Sadler's Wells Theatre, with Alicia Markova and Stanislas Idzikowski in the lead roles; these were later taken by Margot Fonteyn and Robert Helpmann. The choreography was revised in 1934 and the work was performed every season up to 1945, then from 1959 to 1963, when it used the set by Sophie Fedorovitch for Act 1 of La Traviata. The ballet was designed to show off the brilliance and style of Markova and the elevation and technical skill of Idzikowsky. Order of numbers: An LP 'A Silver Jubilee Tribute to Sadler's Wells Ballet' included short extracts with the Royal Opera House Orchestra conducted by Robert Irving. In June 1988 the ballet was recorded by the English Concert Orchestra conducted by Richard Bonynge and issued in 1990 as part of a 'Ballet Gala' on a two-disc set by Decca.
A non-narrative ballet blanc: a poet or young man dances in moonlight among white-clad sylphs. The work is a romantic reverie built from Chopin piano pieces orchestrated for ballet.
Les noces (The Wedding, or Svadebka (Свадебка)), is a Russian-language ballet-cantata by Igor Stravinsky scored unusually for four vocal soloists, chorus, percussion and four pianos. Dedicating the work to impresario Sergei Diaghilev, the composer described it in French as "choreographed Russian scenes with singing and music" [sic], and it remains known by its French name of Les noces despite being Russian. Les noces was completed in 1917 but was then subjected to a series of changes of heart by Stravinsky regarding its scoring; he settled on the above forces only in 1923, in time for the premiere in Paris on 13 June that year under conductor Ernest Ansermet and danced by the Ballets Russes to choreography by Bronislava Nijinska. Several versions of the score have been performed over the years, substituting an orchestra for the percussion and pianos or using pianolas in accordance with a version Stravinsky abandoned.
Les petits riens (French for "The Little Nothings") is a ballet in one act and three tableaux by Jean-Georges Noverre, with music by Wolfgang Amadeus Mozart and other, unknown composers, first performed at the Academie Royale de Musique in Paris on 11 June 1778. The score consists of 20 numbers, of which Mozart composed the overture and nos. 9–12, 15, 16 and 18. The three tableaux are described in the Journal de Paris: The opera was a flop and closed after four performances. Although the ballet music was well-received, Mozart was not credited with it, and he was at the time little known in Paris. The score, catalogued as K. Anh. 10/299b, was thought lost, but it was rediscovered in the Paris Opera's archives in the late 19th century
Leyli and Majnun are separated by their families. Leyli is forced to marry another man, while Majnun withdraws to the wilderness and recites poetry for her among the animals. He dies there, and the lovers are reunited after death.
Liebeslieder Walzer is a two-part neoclassical ballet choreographed by George Balanchine to Johannes Brahms' Liebeslieder Waltzes, Op. 52 and Neue Liebeslieder, Op. 65, with original sets and lighting designed by David Hays, and costumes designed by Barbara Karinska. The ballet premiered on 12 November 1960 at the New York City Center, performed by the New York City Ballet.
A ballet choreographed to the third movement of Ryoji Ikeda's Opus 1 and Steve Reich's Triple Quartet.
Like Water for Chocolate follows the life of Tita De La Garza, a woman living during the Mexican Revolution, as she yearns for her one true love, Pedro Muzquiz. The ballet spans the length of 20 years, as Tita, Pedro, and the other members of the De La Garza Ranch are caught between tradition, the cycles of generations, war, and romance. The ballet opens inside the De la Garza Ranch kitchen, as a young Tita cooks with the family cook, Nacha. Nacha and Tita express their affection for each other while cooking, and Tita as well expresses her love and affection for her neighbor, Pedro. Tita and Pedro long for each other and Pedro proposes marriage to Tita. However, according to family tradition, the youngest daughter cannot marry in order to care for her mother as she ages. When Pedro and his father approach Tita's mother, Elena De la Garza, to ask for Tita's hand in marriage, Elena refuses, and redirects Pedro's proposal to Tita's older sister, Rosaura. Tita is devastated by this, and weeps into the batter she prepares to celebrate Pedro and Rosaura's wedding. Nacha tastes the cake that was baked with Tita's tears and is filled with grief over her lost love, and dies. The guests arrive to celebrate Rosaura and Pedro's wedding. Tita, still consumed with sadness over the marriage is reassured by Pedro that they will still be able to be together, as Pedro gives Tita a rose as a symbol of their love. The guests consume the cake filled with Tita's tears, and become violently ill. Nacha is also revealed to have passed. One year later, Rosaura and Pedro have had a baby boy, Roberto. However, Rosaura is struggling to feed him, and Doctor John Brown is called in as assistance. As the baby cries, Tita is left alone for a moment with the baby and Pedro, as they are both filled with love for each other. Mama Elena walks in on the two, interrupting the moment, and Mama Elena grows suspicious of both of them. Tita prepares a meal for the family using the rose that Pedro gave her at the wedding. After eating the meal, Gertrudis, Tita's sister, is filled with sensuality and romance, and tears off her clothes in an act of lust. She is spotted by a revolutionary soldier, who picks up Gertrudis as the two are wrapped up in sexual desire, and carries Gertrudis away. In the middle of the night, Tita and Pedro meet each other amidst the hanging sheets of laundry. As Tita and Pedro become swept up in each other, Mama Elena and Rosaura each prowl the home, suspicious of the two. As Tita and Pedro kiss, they are interrupted by a furious Mama Elena, who orders Pedro and Rosaura to leave the ranch. Tita is devastated that Pedro and Roberto are now gone. When Chencha brings news that Roberto has died, Tita and Mama Elena blame each other for the death of the baby. During the fight, Mama Elena beats Tita, causing Tita to have a breakdown. Dr. John Brown is brought in to care for Tita. Tita's health is improved by living with Dr. John and his son from his first wife. Dr. John proposes marriage to Tita. Tita and Dr. John are informed that Mama Elena has died. Tita, Dr. John, Pedro, Rosaura, and their young daughter, Esperanza, arrive at the ranch to mourn Mama Elena. The group gather around the table that Mama Elena's body was placed on, as Tita discovers through a diary left in a box by Mama Elena, that Mama Elena too once has a forbidden love. A young Mama Elena rises to reenact her love to José, a man who she loved dearly but was forbidden from marrying by her parents. Young Mama Elena was forced instead to marry another man, and in spite her efforts to escape before her marriage with José. Dr. John announces his engagement to Tita, as Pedro continues to declare his love to Tita when they are alone together. When Tita and Pedro once again become swept up in their love for each other, a ghost of Mama Elena appears, haunting their love. Suddenly, Gertrudis and soldiers from the revolutionary army arrive, along with the commander that Gertrudis has married, bringing a joyous surprise and celebration to the sisters. Celebrating the return of Gertrudis, a party is thrown outside, littered with bright campfires. Tita returns her engagement ring to Dr. John, wishing to be with Pedro, her true love. As Tita and Pedro join the group of happy dancers, they continue to be haunted by the ghost of Mama Elena, who follows and confronts them as they dance. Mama Elena's ghost reveals herself to Pedro, causing him to have a heart attack. As Pedro, being treated by Dr. John, improves, Rosaura's health fails. Dr. John and Tita work to care for both Pedro and Rosaura as John's son dances with Esperanza, raising Rosaura's jealousy and possessiveness over her daughter. Holding Esperanza back in the same way that Mama Elena held back Tita, Rosaura, grips her daughter until Rosaura suddenly dies. 20 years later, Tita, Pedro, and Dr. John return to celebrate the marriage of Dr. John's son to Esperanza, all celebrating that the oppressive tradition has been broken. After the wedding, Tita and Pedro are left alone, where they can finally consummate their love together. As they have sex, the house bursts into flames, fueled by the passion Tita and Pedro have for each other.
Liturgy is a ballet made by New York City Ballet resident choreographer Christopher Wheeldon to Fratres by Arvo Pärt. The premiere took place on May 31, 2003 at the New York State Theater, Lincoln Center, originated by Jock Soto and Wendy Whelan. Whelan described the piece as "a piece about union".
A 70-minute ballet adaptation of Vladimir Nabokov's novel, created by Davide Bombana with music by Dmitri Shostakovich, György Ligeti, Alfred Schnittke, and Salvatore Sciarrino.
A contemporary jukebox ballet inspired by Elton John's personal struggles. Its central character, Elton Fan, moves through struggles with fame, sexuality, and drug use as a group called the Demonics leads him toward darker aspects of fame and prejudice.
A modern dance solo choreographed by Martha Graham to music by Alexander Scriabin, originally one of five solo sections in the ballet Five Poems.
A two-act demi-caractère ballet choreographed by Filippo Taglioni to music by Adalbert Gyrowetz.
A ballet divertissement choreographed by Marius Petipa to music by Cesare Pugni; no narrative is described.
A ballet in five scenes with a concluding apotheosis, drawing on fairy-tale episodes including Sleeping Beauty, Beauty and the Beast, Tom Thumb, the Empress of the Pagodas, and the Fairy Garden. Ravel expanded the suite with a prelude, a spinning-wheel scene, and interludes.
The story begins with Khan Jhahangir coming back to the palace from the battle. One of many wives of the khan was pregnant before he left, and the khan was expecting a male heir. But the child was a girl, so the khan ordered the execution of the baby. Princess Gulyanag is raised as an unwanted child, away from the eyes of the khan until she reaches maturity. By then, she has a lover named Polad. But the khan sees the now 17 years old Gulyanag, and not realizing that she is his daughter, falls in love with her. Starting from here, the two versions of the play start to diverge, before connecting at the end. In the first version, upon learning of her loves, the khan separates Gulyanag from Polad by locking her in a tower. Polad find the tower eventually, but the khan is also there to marry Gulyanag. Polad and Khan Jhahangir battle and Polad wins. Polad climbs the stairs of the tower and Gulyanag hears the steps. She thinks that it is the Khan coming to get her instead of Polad and throws herself off the window of the tower to the sea, falling to her death. In the revised version, the Khan forces Gulyanag to marry him. But the princess refuses, and tells the khan she won't marry him until he builds her a tower, to gain time. This shows the smart leading female character, not shown in the previous Soviet version. When the tower is finished, the Khan locks her in the tower and starts preparations for the wedding. But Polad finds him in the palace and kills the khan before making his way to the tower. Gulyanag, knowing the Khan was preparing for the wedding, upon hearing the rushed footsteps, assumes the person is the Khan instead of her lover, coming to reunite with her. She, again, jumps off the window of the tower and to her death. Polad reaches the top of the tower with no trace of Gulyanag. Realizing his lover died, he mourns her.;
In three scenes, Mam'zelle Angot falls in love with a caricaturist who becomes enamored of an aristocrat. She engineers a carnival confrontation that exposes the aristocrat, then decides she loves the barber she was meant to marry.
The curtain rises to reveal a grand piano at the rear of a darkened stage. The only other set element is a joggling board, a long springy plank set on two upright supports with rocker feet. The musician enters first and sits at the piano, repeatedly striking a foreboding chord. The dancers come in, initially a couple executing an overhead lift, then a circle of dancers, leaping and landing dramatically to the pounding of the piano. A female ensemble member breaks away from the group to perform a bouncing dance on the joggling board. The audience then hears Graham's recorded voice, "Oh Louis, play me the Maple Leaf Rag!" As Joplin's music starts, the stage lights come up. Six couples dance joyfully around the board on which the lone female now reclines. The pianist briefly interrupts the rag to reprise the ominous beat as a somber white-gowned, chignoned figure crosses the stage in a series of swirling turns. As she exits, the ensemble returns to joyous movement. The ballet is approximately 15 minutes in length. Three Scott Joplin rags provide the work's structure: Maple Leaf Rag (1899) opens the dance, followed by the waltz Bethena (1905) and Elite Syncopations (1902); a reprise of Maple Leaf Rag concludes the dance. The work is brimming with parodies of Graham's signature moves and send-ups of her best-known dances. Her twirling white-clad surrogate crosses the stage intermittently, accompanied each time by ill-boding percussive piano. Graham also pokes fun at the overwrought sexuality of some her repertory. Just before darkness hides the remaining couple on stage, he tears off her skirt.
On her deathbed, Marguerite Gautier recalls her love for Armand. After his father reveals why she left him, Armand returns to her apartment, where she dies in his arms.
This synopsis is derived from programme notes and the synopsis provided on the DVD. The plot of the ballet revolves around a young crown prince, his distant mother, his desire for freedom and his love portrayed as a swan who has been cursed by an evil sorcerer von Rothbart. In the prologue, the Prince, as a child, is awakened by a nightmare of a swan. The Prince's mother enters to comfort him, but leaves after becoming nervous by the situation's intimacy. Scene 1 opens with the Prince being prepared for a day of official duties by chambermaids and valets. In Scene 2, arrayed in his full dress uniform, the Prince becomes bored by a boat christening, a ribbon cutting, and other official tasks. His mother prods him to keep up appearances, even as she devotes more attention to the soldiers than she does to him. During this scene, there is a transition from the child actor playing the young Prince to the identically-dressed adult dancer who portrays the grown Prince. This now-adult Prince is introduced to a girl called "the Girlfriend". Although the girl seems foisted on him by von Rothbart, the Private Secretary, the Prince prefers her to his duty-bound life. In Scene 3, the Queen, one of her admiring soldiers, the Private Secretary, the Prince, and the Girlfriend all appear in a theatre box, where they watch a ballet that is staged for the actual audience as well as for the characters. The ballet's backdrop (from a design for Castle Falkenstein by Christian Jank), ornate costumes, and acting parody the romantic ballets of which the original Swan Lake was an example. The Girlfriend's responses to the dance as well as her eventual dropping her purse from the royal box annoy the Queen and von Rothbart. Scene 4 finds the Prince drinking in his private chambers in front of a mirror, to his mother's shock. A nearly violent pas de deux ensues in which he pleads for her attention and love, while she rebukes him. The Prince then goes into the streets and into the Swank Bar, a 1970s-style disco, in Scenes Five and Six. Here is where the choreography veers from classical ballet, with jazz forms and modern dance dominating. The Prince gets into a fight with sailors at the bar, and he is thrown out into the street. In Scene Seven, he sees the Girlfriend being paid off by von Rothbart, and he is totally shattered to discover that the only person who appeared to love him is a fake. This increases his desperation and he vows to kill himself. While sitting in the street at the end of Scene Seven the Prince imagines a group of swans flying towards him but the vision disappears. It is the first flash of the Prince's descent into mental turmoil. Distraught and disappointed that he will never find affection, the Prince writes a suicide note and goes to throw himself into a lake at a public park inhabited by swans. He is saved by a vision in which he encounters the lead Swan, who had appeared to him in his dreams. Initially rejected by the lead Swan, the Prince is gradually accepted and taken into the Swan's arms. The prince and lead swan fall in love. The Prince is elated and abandons his plan to kill himself. This Act contains the most talked-about element of the ballet in which bare-chested, barefoot male dancers play the swans, and it contains a very sensual pas de deux between the lead Swan and the Prince. Scene 1 begins with princesses from various European nations and their escorts arriving at the palace gates for a grand ball. The Girlfriend sneaks in amongst them. Scene 2 takes place in a ballroom. It commences with the arrival of the Queen and the Prince and some formal dancing, but quickly degenerates into a debauched party of drinking and lascivious come-ons. Into this arrives the charismatic and sexually aggressive son of von Rothbart, the Stranger, in black leather trousers, who intensifies the sexual tension even further by flirting with every woman present, including the Queen. Each woman finds herself drawn to him and actively participates in the mutual, sometimes lewd, flirtation. Just as in the original Swan Lake, where customarily (although not always) one ballerina performs the roles of both the white swan (Odette) and the black swan (Odile), the same ballet dancer performs the white Swan and the black-clad young von Rothbart in this version. The Prince sees something of his beloved Swan in the son, and he is very attracted to his bravado and animal magnetism but shocked by his lewdness, especially towards his mother. During bump and grind group numbers and a sequence of national dances, it becomes clear that the Queen is powerfully attracted to von Rothbart's son. His father, the Private Secretary, looks on with an increasingly triumphant approval. The Prince also tries to approach young von Rothbart, only to be rebuffed. The Prince retreats into his mind and imagines dancing intimately with him, but the Prince's confusion interrupts the fantasy, and the son's movements turn from love to violence. The Prince imagines the Queen and young von Rothbart flaunting their growing physical affection for each other. They join with the other guests at the ball to laugh and ridicule him because of his growing distress. The Queen and young von Rothbart end their dancing with an embrace and passionate kissing. The Prince, in his fury, violently separates them and is rewarded by outrage from both and a slap from his mother. Overwhelmed by conflicted feelings, the Prince produces a pistol and threatens to shoot his mother. In an ensuing scuffle the Girlfriend tries to dissuade the Prince, while the Private Secretary draws a pistol and points it at the Prince. As shots ring out, the Girlfriend and the Prince fall to the ground, but only the Girlfriend has been hit. She lies unconscious and the Prince is dragged away, while the Queen throws herself into young von Rothbart's arms. He gives the pistol he had taken from the Prince to his father, the two of them laughing. The plot has evolved over the years since the debut. The most conspicuous change Bourne made was to remove the subplot of the von Rothbart conspiracy to put his son on the throne. The Private Secretary now becomes just a functionary (no longer a von Rothbart counterpart, nor villain) and the Stranger is no longer shown conspiring with him. The identity of the Stranger becomes even more vague and Bourne prefers to leave him and his relationship with the Prince up to the individual interpretation of the viewer. In the final act, the Prince, regarded as having lost his mind, is confined to an asylum in a room with a high barred window, and is treated by a doctor and a team of nurses wearing masks that resemble the Queen's face, in a scene reminiscent of his dressing at the beginning of the ballet. The Queen visits but, again, she is still unable to fully express love for her son. The Prince crawls into bed and appears to sleep. However, he begins writhing as he dreams of the troupe of swans emerging from under and behind, dancing around him. He wakes from his nightmare, checking under his bed and around his room for swans. His tortured expression and jerky movements convey the Prince in turmoil. His lead Swan then slowly emerges from within the Prince's bed. The Swan dances with the Prince and assures him of his continued affection. But, the rest of the swans turn on the lead Swan when he makes it clear that he values his relationship with the Prince more than he does them. They separate the two and begin attacking the Prince before the Swan leaps in to save him. The Swan embraces the Prince and envelops him in his wings. The swans' fury increases and their next attack dismembers the Swan, who then disappears. Heartbroken and despondent, the Prince wails in agony and collapses onto the bed. The Queen then finds her dead son's body and breaks down in tears. However, in death the Prince and the Swan are reunited, as shown by a tableau depicting the lead Swan tenderly holding the young Prince in his arms.
A crime story set in a 1960s Midwestern town: drifter Luca arrives at a garage and diner, where he and Lana plot to kill her husband Dino. Angelo is wrongly blamed, later escapes prison, and returns for revenge. The story loosely adapts James M. Cain’s novel The Postman Always Rings Twice.
Characters from Kenneth MacMillan's Mayerling, via The Ballet Bag Prologue: The cemetery at Heiligenkreuz before dawn Scene 1: The ballroom at the Hofburg Palace, Vienna A ball to celebrate the marriage of Crown Prince Rudolf of Austria-Hungary and Princess Stephanie of Belgium is in full swing. Rudolf flirts shamelessly with Stephanie's sister, Princess Louise, offending both his new bride and his parents, Emperor Franz Josef and Empress Elisabeth. Rudolf meets Countess Marie Larisch, a former mistress, and Baroness Vetsera. The Baroness introduces her 17-year-old daughter Mary Vetsera. Four Hungarian officers, friends of Rudolf, enter and forcefully argue the separatist cause of their country. Countess Larisch tries to rekindle her relationship with Rudolf. The pair are discovered by the Emperor, who demands that Rudolf return to his wife. Scene 2: The Empress’s apartments at the Hofburg Having retired from the ball, Empress Elisabeth is being attended by her ladies-in-waiting. Rudolf visits his mother, on his way to his new bride. He expresses his deep unhappiness at being pressured into marriage. Desperate for maternal affection he tries to embrace the Empress, only to be coldly rebuffed. Scene 3: Rudolf’s apartments at the Hofburg Princess Stephanie is getting ready for her wedding night. Rudolf enters and threatens Stephanie with a revolver before taking her forcibly. Scene 1: A notorious tavern Rudolf and Stephanie enter the tavern in disguise. They are accompanied by Rudolf's driver Bratfisch, who attempts to lighten Stephanie's spirits. Prostitutes compete for the men's attention and Stephanie flees the tavern in disgust. Rudolf turns his attention to his Hungarian friends and his regular mistress, the courtesan Mitzi Kaspar. The police burst in and Rudolf, Mitzi and the Hungarian officers hide. The police arrest several people before leaving. In a despairing mood, Rudolf proposes a suicide pact to Mitzi. The Prime Minister Count Taaffe enters the tavern, looking for Rudolf. Rudolf hides again but Mitzi tells the Count where he is hidden. The Count and Mitzi leave together. Scene 2: Outside the tavern Countess Larisch, ostensibly chaperoning Mary, presents the young girl to Rudolf as he leaves the tavern. Scene 3: The Vetsera house Countess Larisch calls on her friend Baroness Vetsera. She finds Mary absorbed by a portrait of Rudolf. Countess Larisch tells Mary's fortune using a pack of cards and informs her that her romantic dreams will come true. Mary gives the Countess a letter to deliver to Rudolf on her behalf. Scene 4: The Hofburg During the Emperor's birthday celebrations Count Taaffe confronts Rudolf over an incriminating political pamphlet on the Hungarian cause. Colonel 'Bay' Middleton hands the Count a joke cigar, to Rudolf's intense amusement. The Empress presents the Emperor with a portrait of his 'friend' Katherina Schratt. A firework display distracts everyone except the Empress and 'Bay.' Rudolf notices their amorous exchange and becomes bitterly resentful. Following a performance by Schratt and the pianist Alfred Grünfeld, Countess Larisch produces Mary's letter and teases Rudolf with it. Scene 5: Rudolf’s apartments at the Hofburg Mary and Rudolf meet in secret for the first time. Scene 1: A royal shoot in the countryside During a hunting expedition, Rudolf unaccountably shoots wildly. He kills a member of the court, narrowly missing his father. Scene 2: Rudolf’s apartments at the Hofburg The Empress discovers Countess Larisch and Rudolf alone together and angrily dismisses the Countess, unaware Mary is waiting outside. Mary enters after the Empress has left. Rudolf asks her to commit suicide with him. Scene 3: The hunting lodge at Mayerling Rudolf shares a drink with Count Hoyos and Prince Philipp of Coburg, attended by his valet Loschek. He asks them to leave, saying he is unwell. Bratfisch enters with Mary. Rudolf instructs Bratfisch to entertain him and Mary. Bratfisch, soon realizing he has lost their attention, leaves. In a mounting frenzy Rudolf has sex with Mary. He injects himself with morphine to calm his nerves and embraces Mary for the last time. He shoots her. Loschek, Hoyos and Philipp rush in, having heard the shot. Rudolf reassures them and instructs them to leave. Alone, he shoots himself. His friends rush in again, and collapse in despair when they find Rudolf's dead body. Epilogue: The cemetery at Heiligenkreuz before dawn
Medea, Op. 23, (1946) is a ballet suite by American composer Samuel Barber. It was commissioned by the Ditson Fund of Columbia University for Martha Graham and was premiered on 10 May 1946, at Columbia University's McMillin Theater, New York City. The ballet was originally called Serpent Heart, but the work was revised in 1947 and retitled Cave of the Heart. Costumes were designed by Edythe Gilfond and the set was created by Isamu Noguchi. The original cast list included Graham, Erick Hawkins, Yuriko, May O'Donnell, and other members of the Martha Graham Dance Company. Although loosely based on Euripides' play Medea, neither Barber nor Graham desired to use the legend literally in the ballet. Instead, these mythical figures served rather to project psychological states of jealousy and vengeance which are timeless. The choreography and music were conceived, as it were, on two time levels, the ancient mythical and the contemporary. Medea and Jason first appear as godlike, super-human figures of the Greek tragedy. As the tension and conflict between them increases, they step out of their legendary roles from time to time and become the modern man and woman, caught in the nets of jealousy and destructive love; and at the end resume their mythical quality. In both the dancing and music, archaic and contemporary idioms are used. Medea, in her final scene after the denouement, becomes once more the descendant of the sun. Beside Medea and Jason there are two other characters in the ballet, the Young Princess whom Jason marries out of ambition and for whom he betrays Medea, and an attendant who assumes the part of the onlooking chorus of the Greek tragedy, sympathizing, consoling and interpreting the actions of the major characters.
Mercure (Mercury, or The Adventures of Mercury) is a 1924 ballet with music by Erik Satie. The original décor and costumes were designed by Pablo Picasso and the choreography was by Léonide Massine, who also danced the title role. Subtitled "Plastic Poses in Three Tableaux", it was an important link between Picasso's Neoclassical and Surrealist phases and has been described as a "painter's ballet". Mercure was commissioned by the Soirées de Paris stage company and first performed at the Théâtre de la Cigale in Paris on June 15, 1924. The conductor was Roger Désormière.
Mercurial Manoeuvres is a ballet choreographed by Christopher Wheeldon to Shostakovich's Piano Concerto No. 1, with costumes designed by Carole Divet. The ballet premiered on April 28, 2000 at the New York State Theater. The first movement features a male soloist, two female demi-soloists, four male demi-soloists and a corps de ballet of twelve women. The second movement is a pas de deux. The entire cast then return to the stage for the final movement. In 2020, in response to the impacts of the coronavirus pandemic on the performing arts, the New York City Ballet will release a 2017 video recording of the pas de deux from Mercurial Manoeuvres, featuring Tiler Peck and Tyler Angle.
An abstract ballet in two parts set to Xenakis's orchestral works Metastaseis and Pithoprakta.
The front cloth shows a rainswept ship in a dry dock with vast cranes in the background. The first scene in the slum is set in the afternoon, with a pub 'The Shamrock' on the left and on the right a fish and chip shop 'Mac's'; tenements crowd in on either side. Urchins are playing, but they run off when scolded by a minister. Evening approaches, and the prostitute comes out, and young men follow her around. The minister and the prostitute meet; he turns away and she goes into a doorway with a young man. A girl enters, but goes off after seeing a group of drunks. Two lovers come on and dance; the prostitute emerges and tries to entice the man, but the re-appearance of the minister foils her. An old beggar and some children pass news around a gathering crowd; the minister faces the audience. Two men carry in the body of the suicide. The minister crosses her hands and the crowd feels the certainty of her death. A stranger enters, the crowd parts and he is left with the suicide's body. After he bends over the body, the girl rises, and she slowly warms to rebirth and starts dancing. The stranger is acclaimed, but the minister is disturbed, resentful of his loss of authority. The stranger blesses the crowd, and he leaves the scene with the revived girl. The minister sends a child to spy on the stranger, when the prostitute walks by. The minister follows her up some stairs as she glories in her success. The people return to the street in excitement at the miracle. The minister comes back down the stairs, and the two lovers say good-night. The urchin brings news back to the minister, and the stranger is sent to the prostitute's room on a supposed mercy errand. The minister poisons the thoughts of the people, predicting that the stranger will emerge from the prostitute's room. Although initially stirred, the crowd are silent when the stranger re-emerges; only the beggar is aware of the plot and retreats to a doorway. After the stranger has left, the prostitute appears in a more lyrical frame of mind, as if having visions. The minister next summons a gang of thugs, who loiter in dark alleys. As the stranger comes back, he offers no resistance; they jostle him, slash him with knives and kick him to the ground, where the silence is broken by the sound of a distant ship siren. The minister realises the horror of what he has done. The beggar goes to help the stranger, and he is joined by the prostitute and the suicide, before the two women leave the beggar alone with the stranger.
A contemporary ballet for 16 dancers inspired by the optical illusion of Fata Morgana, with electronic minimalist music following the work's changing states.
Miss Sally's Party is a 1940 ballet composition in eight-movements by American composer William Grant Still. A related libretto was written by Verna Arvey, wife of composer Still. The ballet was first performed on May 2, 1941, and is about nineteen minutes long.
Mlada is a ballet in 4 Acts/9 Scenes, with choreography by Marius Petipa, and music by Ludwig Minkus. The ballet was first presented by the Imperial Ballet on December 2/14 (Julian/Gregorian calendar dates), 1879 at the Imperial Bolshoi Kamenny Theatre in St. Petersburg, Russia. Principal dancers: Eugeniia Sokolova (as Mlada), Felix Kschessinsky (as Mstivoi, Prince Ratarskii), and Mariia Gorsjenkova (as Princess Voislava).
Moment Rustica was a Martha Graham ballet performed to the music of Francis Poulenc. It premiered on April 14, 1929, at the Booth Theatre in New York City. The performance marked the debut of Graham's concert ensemble, Martha Graham and Group, the predecessor of the Martha Graham Dance Company. The piece was choreographed for the entire ensemble. Members of the group included: Kitty Reese, Irene Emery, Ethel Rudy, Lillian Ray, Hortense Bunsick, Sylivia Wasserstrom, Mary Rivoire, Ruth White, Lillian Shapero, Virginia Briton, Sylvia Rosenstein, Evelyn Sabin, Betty Macdonald and Rosina Savelli. The program included a total of 13 works. Graham performed the solos Dance, Four Insincerities, Fragments, Adolescence (Prelude and Song) and Resurrection. Sabin, Macdonald and Savelli appeared in Danse Languide, Dance Piece, Spires and Ronde. The entire ensemble performed Heretic, Vision of the Apocalypse, Sketches from the People and Moment Rustica. Dance Magazines reviewer noted that Moment Rustica was in the "vein of grotesquerie and humor" and "remarkable more for what it implied than for what it actually represented." The critic interpreted the costumes as representative of a "peasant scene" and the choreography "notable for an economy of movement seldom paralleled in so vigorous and lusty a composition." Louis Horst's piano accompaniment was called "sympathetic and invaluable."
A two-part ballet structured around Satie's music: the earthier Monotones I uses the Gnossiennes for two women and one man, while the celestial Monotones II uses the Gymnopédies for two men and one woman.
Monumentum pro Gesualdo is a 1960 arrangement and recomposition by Igor Stravinsky of three madrigals by Carlo Gesualdo: Asciugate i begli occhi (Book 5, XIV) Ma tu, cagion di quella (Book 5, XVIII) Beltà poi che t'assenti (Book 6, II) It was composed to commemorate the 400th anniversary of Gesualdo's birth and was intended to complement Stravinsky's similar Tres Sacrae Cantiones. It was premiered on September 27, 1960, at the Venice Biennale, played by the Orchestra del Teatro la Fenice conducted by Stravinsky. The piece was later choreographed by the New York City Ballet (NYCB) co-founder and balletmaster George Balanchine. The premiere took place on Wednesday, November 16, 1960, at City Center of Music and Drama, New York, with scenery and lighting by David Hays (new lighting by Ronald Bates in 1974; current production's lighting by Mark Stanley). It was first performed in conjunction with Balanchine's choreographic interpretation of Movements for Piano and Orchestra in 1963 and was regularly performed in this pairing thereafter.
Jerome Robbins's ballet expands Ravel's five-piece Ma Mère l'Oye suite with a prelude, an opening scene, and four interludes connecting the original pieces.
Movements for Piano and Orchestra is a neoclassical ballet choreographed by George Balanchine to Stravinsky's score of the same name. The ballet premiered on April 9, 1963, at City Center of Music and Drama, performed by the New York City Ballet. Though the two lead roles were created for Diana Adams and Jacques d'Amboise, seventeen-year-old Suzanne Farrell danced the female lead at the premiere due to Adams' pregnancy. Starting in 1966, Movements and Monumentum pro Gesualdo (1960) are performed together.
Moves is a ballet choreographed by Jerome Robbins. The ballet was made for Robbins's troupe Ballet: USA's 1959 tour, with Aaron Copland brought in to write the music. However, he struggled with the score, and Robbins ultimately decided to have the ballet performed in silence instead. The ballet premiered at the Festival of Two Worlds held in Spoleto, Italy, on July 3, 1959. It has since been revived by other dance companies, including the New York City Ballet. Copland's score was later published as Dance Panels.
Mozartiana is a ballet choreographed by George Balanchine to Tchaikovsky's Orchestral Suite No. 4, Mozartiana. The current version of the ballet was made for New York City Ballet's Tchaikovsky Festival, and premiered on June 4, 1981, at the New York State Theater. It is considered Balanchine's last major work. Balanchine had previously choreographed to the same score in 1933, for his short-lived troupe Les Ballets 1933 in Paris, his first major ballet to music by Tchaikovsky. It had its American premiere the following year, and Balanchine made some changes to the choreography in 1935. This earlier version was performed by several troupes until 1956. This version's choreography and designs are completely different from the 1981 version.
A one-act ballet loosely based on the lives of the Brontë family, set to orchestral works by Arnold Schoenberg and Anton Webern.
A ballet of twenty-three scenes connecting ancient and modern myths, focused on contemporary rituals and founding myths that shape the collective imagination, with original orchestral music.
A jazz ballet choreographed by Jerome Robbins to Robert Prince's music of the same title.
In 17th-century Corfu, Count Ottavio refuses to take Namouna as a gambling stake, instead returning her freedom and the ship and money he has won. Namouna falls in love with him and later frees the other enslaved people on an island, helping Ottavio escape the pirate Adriani with her.
The ballet takes place in the 17th century. Act I, Scene 1 is set in a casino hall in Corfu, a starry night. Count Ottavio is gambling with Lord Adriani, who having lost money, stakes his ship, but then loses again. He gets one of his men to bring his slave Namouna, and offers her against everything he has lost. She pleads him not to do this but he refuses. Ottavio declines this stake, the game goes ahead and Adriani loses. Ottavio approaches Namouna and offers her the ship and money he won. She is grateful and kisses Ottavio's hand, gives him half a posy she has and leaves with Adriani's men, attended by Andriquès. All praise Ottavio for his chivalrous act, and as the ship moves off Adriani is overwhelmed by these events. Act 1. Scene II, is a square in Corfu with the ocean in the background to the right a palace, and on the left an inn with a terrace; dawn. Musicians are serenading Hélène, Ottavio's beloved. Count Ottavio pays them and woos Helene. Adriani enters and strikes the musicians with his sword, sparking a fight with Ottavio. A veiled woman comes in and dances in between them offering flowers as the square fills with people. The duel ceases and the musicians come back, complaining to Ottavio, who further pays them off. Festive dances take place, and Hélène returns to her balcony, but when a veiled woman (Namouna) dances before Ottavio who is attracted and joins here in dance, to the fury of Hélène. As the other dancers leave, Ottavio espies Hélène going out with a servant, and proffers her his arm. Adriani comes back declares his love for Namouna, who responds by declaring her love for Ottavio, who freed her from slavery. The raging Adriani summons bandits, planning to attack Ottavio again. Namouna overhears him and gives instructions to Andriquès. As Ottavio escorts Helene back home, he breathes the scent of the flowers which Namouna gave him. Trying to leave his way barred, but some mariners called on by Andriquès come to help him and the ruffians retire in disorder. When Ottavio thanks the sailors they courteously take his sword and invite him to board their ship. More general dances close the act. Act II. An island, belonging to a rich slave-dealer, Ali. The most attractive of the slaves, Iotis, reproaches her companions for their laziness as Ali arrives and is received with obeisances, apart from Iotis who refuses to bow, until she is forced to calm Ali's wrath. Dances are followed by the arrival of Ottavio, Namouna, and Andriquès. Ali, thinking of business, asks Ottavio to stay and refresh himself, and the Count follows the dealer as Namouna takes her veil away, revealing herself. She then orders that gold and jewels be brought, and buys all the slaves; her former companions remove their veils and dance then, at her request, leave. Ottavio realizes that Namouna brought him to the island out of affection and women return offering flowers to the happy pair. But Andriquès enters to announce the arrival of Adriani and his men. While Ottavio wants to fight them, Namouna leads him and the women off. Adriani posts guards as he is aware of a woman dancing followed by others. The bandits drop their weapons and join in the dance. Suddenly each bandit is threatened by two women, who have grabbed the discarded weapons. Namouna shows Adriani the success of the attack but Ottavio has been caught and Adriani refuses to free him. Namouna then orders her friends to serve the pirates with wine, and herself tends to Adriani. She repeatedly fills his cup until he becomes overcome. Namouna now frees Ottavio who throws money at the bandits, and Namouna, Andriquès and he run back to board their ship. Adriani realizes what has happened; he draws his pistol on Ottavio, but Andriquès stabs the chief with her dagger, and the pirates look on, horrified. Andriquès grabs the oars and the lovers' boat puts out to water with the lovers, while the women on shore wave farewell.
Act I (The Market). Teresina's mother, Veronica, who does not want her to marry poor Gennaro, introduces her to two other suitors. These are two older but rich men named Peppo and Giacomo. Teresina, much to her mother's distress, refuses them both and instead goes off to wait for Gennaro. When Gennaro arrives back at port, he and Teresina go to find Veronica and try to convince her that they should wed. Luckily for them, this task proves relatively easy once she sees how true the young couple's love is. Full of happiness Teresina and Gennaro sail off together. Meanwhile, a group of entertainers come and put on a show for the townsfolk. However, a violent storm begins and the festivities come to an abrupt end. When the storm ends, Gennaro is found, but Teresina is not. Thinking she has drowned, Veronica openly mourns for her daughter and blames Gennaro for her death. So stricken by this turn of events Gennaro becomes so agitated that he almost commits suicide, but stops when he sees a statue of the Madonna. Soon Fra Ambrosio, the local monk, appears and gives him a picture of the Madonna telling him to go and find Teresina. Act II (The Blue Grotto). Gennaro looks everywhere for Teresina and eventually finds her in the Blue Grotto, a magical place ruled by Golfo who has turned Teresina into a naiad (Fairy of the Sea). Because of the transformation, Teresina no longer remembers Gennaro. However, through faith, Teresina is changed back into a human and has her memory restored. Quickly, Gennaro and Teresina leave the Grotto to return to Naples. Act III (The Wedding). When Teresina and Gennaro return the townsfolk are suspicious because they had thought Teresina was dead. Peppo and Giacomo even try to convince everyone that Gennaro is in league with the devil. This rumor is soon disproved and the wedding reception begins.
A ballet choreographed by Edward Villella to music by Robert Prince, developed from an idea by William D. Roberts.
Night Journey is a Martha Graham ballet performed to music by William Schuman with costumes designed by Graham and a set by Isamu Noguchi. Commissioned by the Elizabeth Sprague Coolidge Foundation of the Library of Congress, the work premiered on May 3, 1947, at Cambridge High School in Boston, Massachusetts. Night Journey is the third of Graham's dances derived from Greek mythology, following Cave of the Heart and Errand into the Maze.
In a moonlit forest, the Queen of the Night presides over a gathering of stars and supernatural beings while watching for dawn. The Morning Star frees the Spirits of the Day, and Time ends their battle with the Deities of Darkness as daylight takes over. The Queen of the Day welcomes the Sun, and people from Russia's provinces gather in a celebration honoring the light and the Russian Empire.
The first Belarusian ballet staged at the National Opera and Ballet of Belarus, created to music by Mikhail Kroshner and based on a story by Źmitrok Biadula.
Nine Sinatra Songs is a ballet choreographed by Twyla Tharp to songs sung by Frank Sinatra. The ballet is danced by seven couples, portraying different stages of romantic relationships, with ballroom dancing incorporated into the choreography. The ballet was made for Twyla Tharp Dance, and premiered on October 14, 1982, at Queen Elizabeth Theatre, Vancouver, Canada.
A ballet by George Balanchine and Jacques d'Amboise to Igor Stravinsky's The Flood, with a text selected and arranged by Robert Craft from Genesis, hymns, and medieval mystery plays.
Nobilissima visione (The Noblest Vision) is a 50-minute ballet (or, more precisely, a "dance legend") in six scenes by Paul Hindemith, originally choreographed by Léonide Massine for the Ballet Russe de Monte Carlo. The libretto by Hindemith and Massine depicts episodes from the life of Saint Francis of Assisi. The work was completed in February 1938 and premiered at Theatre Royal, Drury Lane in London on 21 July 1938, with sets and costumes by Pavel Tchelitchew and under the baton of the composer. He led one performance of the new ballet at the Metropolitan Opera House in New York (for which the title was temporarily altered to Saint Francis) on 14 October of the same year. After the ballet premiere, Hindemith extracted a 20-minute orchestral suite (retaining the Nobilissima visione name) in three movements, using five of the original eleven movements: The first performance of the suite in Venice was at Teatro La Fenice on 13 September 1938 and has become a regularly programmed orchestral work. Though the ballet was originally scored for a small orchestra, the suite was for a full symphony orchestra from the outset. The suite does not attempt to follow the action of the ballet, instead Hindemith extracted only those portions of the score which he felt would be most effective in the concert hall. Hindemith himself conducted the Philharmonia Orchestra in a 21 November 1956 stereophonic recording of the suite, which was released by EMI.
Noctambules is a ballet created in 1956 by Kenneth MacMillan for the Sadler's Wells Ballet. The ballet was choreographed to Humphrey Searle's Noctambules, Op. 30 written for the ballet. The set and costumes were designed by Nicholas Georgiadis. The ballet premiered on 1 March 1956 at the Royal Opera House, Covent Garden, London.
Notre-Dame de Paris is a ballet by French choreographer Roland Petit. It was premiered by the Paris Opera Ballet in 1967. The ballet is based on Victor Hugo's 1831 novel The Hunchback of Notre-Dame. It was the first work Petit created for the Paris Opera Ballet, which he had left 20 years earlier. This ballet was very successful and continues to be performed to the present, including a series of performances at the Opéra national de Paris at the end of the 2013–2014 season, at the Opera Bastille and a production in 2013 at the Teatro alla Scala in Milan. Music : Maurice Jarre Libretto : after Victor Hugo Sets : René Allio Costumes : Yves Saint Laurent Original cast Esmeralda: Claire Motte Quasimodo: Roland Petit Frollo: Cyril Atanassoff Phoebus: Jean-Pierre Bonnefous
Novelette is a solo modern dance work choreographed by Martha Graham to an existing piece of music, Op. 99, No. 9 from Robert Schumann's Bunte Blätter, also known as Colored Leaves. The ninth movement from the piano solo, also titled Novelette, is a three-minute long piece in B-minor. The ballet premiered on April 18, 1926 at New York's 48 Street Theater in the first independent concert presented by Graham. The all-Graham program also featured the solos: Intermezzo, Maid with the Flaxen Hair, Clair de Lune, Desir, Deux Valses, Masques, From a Century Tapestry and A Study in Lacquer, and works for members of the newly-formed Martha Graham Concert Group: Tanze, Arabesque No. 1, The Marionette Show and Chorale, which also included Graham. In her autobiography Blood Memory, Graham wrote that everything she did that night "was influenced by Denishawn," but added the audience came because she was "such a curiosity - a woman who could do her own work."
A ballet based on the life of dancer Rudolf Nureyev, choreographed by Kirill Serebrennikov and Yuri Posokhov to a score by Ilya Demutsky.
Nénuphar (The Water Lily) is a ballet fantastique in one act, with choreography by Marius Petipa and music by Nikolaï Krotkov (1849–19..). First presented by the Imperial Ballet on November 11/23 (Julian/Gregorian calendar dates), 1890 at the Imperial Mariinsky Theatre in St. Petersburg, Russia. Principal dancers: Carlotta Brianza
Princess Honorata of the Ocean Kingdom falls in love with Prince Stone, brother of the hostile King Terra. After Honorata is kidnapped, Stone and the repentant Scala help her escape; Scala sacrifices herself to stop Terra's pursuit, and the lovers return home, where Scala's spirit blesses their union.
A ballet by Willam Christensen set to Stravinsky's Octet for Wind Instruments.
A ballet by Peter Martins to Mendelssohn's Octet in E-flat major.
Ode is a ballet-oratorio by Nicolas Nabokov, the first major musical work by the composer. It was created for Serge Diaghilev's Ballets Russes, with choreography by Léonide Massine, a scenario by Boris Kochno (based on verses of Mikhail Lomonosov Evening meditation on God's majesty on the occasion of the great northern lights), stage design by Pavel Tchelitchew, and light projections by Pierre Charbonnier. The ballet was premiered on June 6, 1928, in Paris, at the Sarah Bernhardt Theater. The orchestra was conducted by Roger Désormière. Apprentice (Poet and Glare of Light) – Serge Lifar Nature – Irina Bellin (Beliankina, niece of Igor Stravinsky) Participants in the Festival of Nature – Felia Doubrovska, Alice Nikitina, Alexandra Danilova, Léonide Massine, Nikolai Efimov, Konstantin Cherkas, Leon Woizikovsky.
A ballet choreographed by Lorca Massine to Igor Stravinsky's Ode: Elegiacal Chant in Three Parts.
A one-act ballet in thirteen parts about a pre-Columbian Mexican warrior, combining jazz, battle cries, and Central European expressionism.
Ogelala "Ballettmysterium" Op. 53 is a one act ballet in 13 parts, written by Czechoslovak composer Erwin Schulhoff in 1923. It premiered on November 21, 1925 in Dessau, in Saxony-Anhalt.
In ancient Japan, puppet-maker Okon Fuoko brings a female puppet, Umegava, to life, creating a tragic love triangle with his wife Yiai; the story ends with Okon's death.
The first act consists of three dynamic pictures: childhood, youth, and growing up. Olga is shown as a child, a girl, and a young woman. As a child she was almost taken prisoner; as a girl, she meets her future husband; as a young woman, she appears as a bride. It is her marriage, which forms the character of the future princess. The second act is a story about Olga's reign, the most important moment of which was a trip to Constantinople and the adoption of Orthodox Christianity. The climactic scene is the final apotheosis, in which Olga, Madonna-like on a cross-shaped icon, holds her little grandson Vladimir in her arms.
A ballet by Mauro Bigonzetti to Bruno Moretti's commissioned score, with costumes by Bigonzetti and Marc Happel.
Sergei, a Red Army soldier in the First World War returns to his village on the Dnieper and finds he is no longer in love with Natasha, his betrothed. Instead, he falls in love with Olga. Olga's parents intend for her to marry another man whom she does not love. Sergei and Olga's friends fight. Sergei falls, but the lovers are saved by the compassionate Natasha who helps the couple to escape the village. The ballet contains 12 numbers, lasting around 40 minutes: Prelude Scene 1: The Meeting Scene 1: Mime Scene Scene 1: Pas de deux Scene 1: Variation of the First Dancer Scene 2: Betrothal Scene 2: Bridegroom's Dance Scene 2: Bride's Dance Scene 2: Men's Dance Scene 2: The Quarrel Scene 2: Mime Scene Epilogue
Ondine bears a resemblance to The Little Mermaid. The story derives from Fouqué's novella Undine, the tale of a water-nymph who marries a mortal. Similar to other 19th century fairy tales, the plot is based on man (Palemon) encountering the supernatural (the water nymph Ondine), but the outcome is rather different from many of the 19th century classics: here, it is the man that dies, and the female character survives. Ondine makes her first entrance from a fountain, shivering in the cold air as we would in water, and dances with her shadow, which she has never seen before. She meets the hero, Palemon, and is astonished when she feels his heartbeat as she doesn't possess a heart. Palemon deserts Berta, whom he has been courting, and decides to marry Ondine. During a particularly strong storm while at sea, Ondine is lost overboard. Palemon survives the shipwreck created by the angry Ondines and, believing Ondine is lost, ends up marrying Berta. Ondine returns, however, and is heartbroken when she discovers Palemon's unfaithfulness. When she kisses him, he dies and she brings his body back into the sea with her forever. In the published score, as with the title of the ballet, Henze also retained the original spellings of the character names. The London ballet production was given as Ondine, but the score was titled Undine, and names the lead character as Undine. Henze also uses the original name Beatrice rather than Berta. Ondine (Undine) The title role is undoubtedly the main focus of the ballet. She is a gentle water sprite who the audience discovers dancing in a waterfall and then with her own shadow. Her love for Palemon is deep, which is what makes his unfaithfulness so devastating and dramatic. Palemon The male lead is bewitched by the feminine allure of Ondine. He has never seen a creature as lovely as her and decides to marry Ondine, forsaking his betrothed, Beatrice (Berta). Similar to the Prince in Swan Lake, Palemon is destroyed by breaking the trust of his intended. Berta (Beatrice) She is the perfect female contrast to Ondine. Ondine belongs to the sea, whereas Berta is definitely from the land. She is manipulative, possessive and highly demanding, while Ondine is gentle and loving. Tirrenio He is the uncle of Ondine and also Lord of the Mediterranean Sea. He tries to warn Ondine that what she intends to do with Palemon goes against what is expected of her. When she chooses not to listen to his advice, he creates the conditions for a shipwreck where she is returned to the sea. When Ondine once again finds Palemon and realises how he has betrayed her, Tirrenio exacts a terrible revenge with his fellow Undines by causing death and destruction for all Palemon's guests.
The ballet bore little resemblance to de la Motte Fouqué's Undine: The plot is no more like the romantic baron's story than it is like that of Robinson Crusoe, excepting so far as a water-nymph is the heroine. Therefore, the readers of Undine have to unlearn all they know, if they would avoid mystification while witnessing the marvels of the new ballet. Their only point in common appears to be the ill-fated love of a water sprite, Ondine, with for a mortal man who already has a mortal sweetheart. However, the ballet's divergence from the original novel "derive from intermediary works linking the book and the ballet, which Perrot used to enrich and enhance his theatrical conception". The greatest changes that Perrot made to the basic plot were the change of location from the darkly evocative Danube to the sunnier shores of Sicily, and the transformation of the aristocratic Sir Huldbrand into the humble fisherman Matteo, while Undine's rival Bertalda became the orphan Giannina. In many ways, Perrot's ballet is more similar to René-Charles Guilbert de Pixerécourt's play of the story, Ondine, ou la Nymphe des Eaux, which was first presented in Paris in 1830 while Perrot was also performing there.
Music by Pyotr Ilyich Tchaikovsky, arranged by Kurt-Heinz Stolze. Setting: 1820s, Russia Act 1 Madame Larina's garden In the garden, Madame Larina, her daughters Olga and Tatiana, and the nurse are finishing party dresses and discussing Tatiana's upcoming birthday celebrations. They think about the future, and the local girls play an old folk game: whoever looks into the mirror will see her beloved. Lensky, a young poet engaged to Olga, arrives with a friend from Saint Petersburg. He introduces Eugene Onegin, who has come to the country to see if it can offer him any distraction from city life. Tatiana falls in love with the handsome stranger, who seems so different from the country people she knows, while Onegin only sees a naive, romantic girl. Tatiana's bedroom That night, Tatiana dreams of Onegin, her first love. She writes him a passionate love letter, which she asks her nurse to deliver. Act 2 Tatiana's birthday The local gentry have all arrived to celebrate Tatiana's birthday. Onegin finds the company boring and is struggling to be polite. He is also annoyed by Tatiana's letter, which he thinks is just an outburst of adolescent love. He seeks Tatiana out and tears up her letter, telling her that he cannot love her. Prince Gremin, a distant relative of Tatiana who is in love with her, appears. Madame Larina hopes they will make a good match, but Tatiana hardly notices him as she is so distressed. Onegin decides to provoke Lensky by flirting with Olga, hoping it will relieve his boredom. Olga joins in with the joke, but Lensky takes it seriously and challenges Onegin to a duel. The duel Tatiana and Olga try to reason with Lensky but he insists the duel must go ahead. Onegin kills his friend. Act 3 St Petersburg Years later, Onegin returns to St. Petersburg after travelling the world. He goes to a ball at the palace of Prince Gremin. Onegin is surprised when he recognises the beautiful Princess Tatiana as the country girl he once turned away. He realises how much he lost through his previous actions. Tatiana's boudoir Onegin writes to Tatiana and reveals his love. He asks to see her but she does not wish to see him. She pleads with her husband not to leave her alone that evening. Onegin comes and declares his love for her. Tatiana feels Onegin's change of heart has come too late. And even if she still loves him she has now a new life with Prince Gremin and also after having killed Lensky she would never want Onegin again. She tears up his letter and orders him to leave her forever.
Opening Dance was a modern dance solo choreographed by Martha Graham to music by Norman Lloyd. It premiered on July 30, 1937, at the Bennington School of the Dance in Bennington, Vermont. The work was danced by Graham herself, as were all the pieces on the all-solo program. The performance preceded the foundation of the Martha Graham Dance Company. Other pieces on the program were: Lamentation, Frontier, Satyric Festival Song, Immediate Tragedy, Spectre 1914, Act of Piety, Imperial Gesture, Eksatsis and Harlequinade. As with much of Graham's early work, the choreography and other details of the piece are lost. Critic John Martin, writing for The New York Times, reported that the work "belongs in that most thankless category of the recital dancer, something to raise the curtain with."
Opus 19/The Dreamer is a ballet choreographed by Jerome Robbins to Sergei Prokofiev's Violin Concerto No. 1. The ballet premiered on June 14, 1979 at the New York State Theater, danced by the New York City Ballet.
Orpheus is a thirty-minute neoclassical ballet in three tableaux composed by Igor Stravinsky in collaboration with choreographer George Balanchine in Hollywood, California in 1947. The work was commissioned by the Ballet Society, which Balanchine founded together with Lincoln Kirstein and of which he was Artistic Director. Sets and costumes were created by Isamu Noguchi.
Orpheus Alive is a ballet composed in 2019 by Missy Mazzoli, choreographed by Robert Binet, and conceived by Binet in collaboration with the playwright Rosamund Small. It was commissioned by the National Ballet of Canada, which first performed it at the Four Seasons Centre in Toronto on November 15, 2019. The narrative Orpheus Alive is a re-imagining of the story of Orpheus and Eurydice, casting Orpheus as a woman and Eurydice as a man. Mazzoli subsequently arranged a 15-minute suite of music from the ballet titled Orpheus Undone, which was commissioned by the Chicago Symphony Orchestra and given its world premiere under the conductor Riccardo Muti on March 31, 2022.
Oscar Wilde is prosecuted under Britain's Criminal Law Amendment Act 1885 that criminalised all sex acts between men. Details of his life are under intense scrutiny in the courtroom. Wilde sits in his jail cell where he recalls better times on a family picnic with his wife Constance and their two boys. He reads them his fairy tale, The Nightingale and the Rose. We see the story unfold interspersed with scenes from Wilde's life in London's social circles and the beginnings of his relationship with Robbie Ross. Subjected to hard labour in prison, Wilde is malnourished and broken. He has tinnitus in one ear due to a fall. Alone and in despair Wilde recalls scenes from his story The Picture of Dorian Gray as well as his relationship with Bosie (Lord Alfred Douglas). Dorian makes a deal with the devil to keep his beauty intact while his portrait is gradually transforming to become more and more grotesque. Wilde and Douglas's relationship deepens leading Lord Queensberry (Douglas's father) to denounce Wilde and his eventual conviction. We see parallels with Dorian, whose life collapses to restore his portrait to its former beauty. On his release, Wilde is collected from prison by his friend Robbie Ross. Broken and with reputation destroyed he dies a few years later aged 46. His writing lives on and continues to be read and enjoyed today.
A three-act ballet by Lar Lubovitch based on Shakespeare's play, with an orchestral score by Elliot Goldenthal.
Other Dances is a ballet choreographed by Jerome Robbins to music by Frédéric Chopin. It was created on Natalia Makarova and Mikhail Baryshnikov, and premiered on May 9, 1976, at a gala benefitting the New York Public Library for the Performing Arts, held at Metropolitan Opera House. It was originally made as a pièce d'occasion, but after receiving critical acclaim, it was soon added to American Ballet Theatre and New York City Ballet's repertories.
A ballet about a peripheral dancer intruding on a group with a common center, disrupting its harmony and creating conflict; its three groupings reflect the concerto's three-part structure.
The Ozaï; ou l'insulaire depicts the noble savage and is partially inspired by the adventures of French explorer Louis Antoine de Bougainville. It tells the story of Ozaï, a Tahitian maiden who falls in love with Surville, a shipwrecked sailor. Surville, believing he will never return home, promises to marry Ozaï. However, both end up in France, where Ozaï learns that Surville cannot marry his former betrothed due to his promise to her. Heartbroken, Ozaï decides to relinquish Surville and returns to her South Seas home.
The story takes place in Spain during the presence of Napoleon's army. The heroine is the young Romani girl, Paquita. Unbeknownst to Paquita, she is really of noble birth, having been abducted by Romani people when she was an infant. She saves the life of a young French officer, Lucien d'Hervilly, who is the target of a Spanish governor who desires to have him killed by Iñigo, a Roma chief. By way of a medallion, she discovers that she is of noble birth, being in fact the cousin of Lucien. As such, she and the Officer are able to get married.
Parade is a ballet choreographed by Leonide Massine, with music by Erik Satie and a one-act scenario by Jean Cocteau. The ballet was composed in 1916–17 for Sergei Diaghilev's Ballets Russes. The ballet premiered on Friday, May 18, 1917, at the Théâtre du Châtelet in Paris, with costumes and sets designed by Pablo Picasso, choreography by Léonide Massine (who danced), and the orchestra conducted by Ernest Ansermet.
A ballet by Jacques d'Amboise made for New York City Ballet to Anton Webern's Six Pieces for Orchestra.
Grand Pas de Quatre is a ballet divertissement choreographed by Jules Perrot in 1845, on the suggestion of Benjamin Lumley, Director at Her Majesty's Theatre, to music composed by Cesare Pugni. On the night it premiered in London (12 July 1845), it caused a sensation with the critics and the public alike. The reason for this was that it brought together, on one stage, the four greatest ballerinas of the time – in order of appearance, Lucile Grahn, Carlotta Grisi, Fanny Cerrito, and Marie Taglioni. (The fifth great Romantic ballerina of the time, Fanny Elssler, had been invited to take part but declined to do so; she was replaced by the young Lucile Grahn who accepted without hesitation.) Pas de Quatre captured the essence of the Romantic style as the ballerinas danced with demure lightness, delicacy, and poise. The steps demand that each area of classical ballet technique is executed. These areas include adagio movements, petite allegro, grand allegro, fast footwork, graceful changes of position, and the elegant and fluid arm movements that have become a signature element of Pas de Quatre. Each ballerina has an individual variation, which are performed in succession between an opening and finale that are danced by all the ballerinas together. These variations were choreographed for the ballerina premiering in each role, and were designed to display the best features of each.
A comic ballet for dancers costumed as vegetables. A stage pas de deux for a fairytale prince and princess replaces the film episode in which a potato dances with a princess; Ashton's choreography uses vegetable-inspired movement and costumes.
Paz de la Jolla is a contemporary ballet choreographed by Justin Peck for the New York City Ballet. It is Peck's third choreographed piece, the 422nd ballet choreographed for the New York City Ballet, and its creation was featured in the documentary Ballet 422. The costumes were designed by Reid Bartelme and Harriet Jung with supervision from Marc Happel, with lighting by Mark Stanley The 20-minute piece features 18 dancers and premiered on January 13, 2013.
Persée et Andromède (Perseus and Andromeda) is a French ballet-pantomime created in 1810 by Pierre Gardel and performed at the Opéra de Paris.
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