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Clear filtersPetite Mort is a contemporary ballet choreographed by Jiří Kylián to music by Wolfgang Amadeus Mozart. The ballet is danced by a cast of twelve, alternating between duets and group sequences. The ballet was created for the Salzburg Festival, in commemoration of the bicentenary of Mozart's death. It premiered on 23 August 1991, at the Großes Festspielhaus.
At the 1830 Shrovetide Fair in St. Petersburg, a Magician brings three puppets to life. Petrushka loves the Ballerina, who prefers the Moor. The Moor kills Petrushka after he challenges him, but the puppet's ghost returns to frighten the Magician. The four tableaux move from the fair to the puppets' rooms and back to the fair at evening.
Piano Pieces is a ballet choreographed by Jerome Robbins to music by Pyotr Ilyich Tchaikovsky. The ballet was made for New York City Ballet's Tchaikovsky Festival, and premiered on June 11, 1981, at the New York State Theater.
Todd Bolender's ballet is set to Igor Stravinsky's 1919 piano composition Piano-Rag-Music.
Peter Martins's ballet is set to Igor Stravinsky's 1919 piano composition Piano-Rag-Music.
Pictures at an Exhibition is a ballet choreographed by Alexei Ratmansky to Mussorgsky's eponymous score. The ballet premiered on October 2, 2014, at the David H. Koch Theater, danced by the New York City Ballet.
In a small country town around 1900, Hagar fears she will share her elder sister's lonely fate while the man she loves favors her flirtatious younger sister. In desperation, Hagar offers herself to another man, who abandons her; shunned and distraught, she is ultimately reunited in dance with the man she loves. Some source versions make Hagar pregnant before the happy ending.
Music by Arthur Sullivan, arranged by Charles Mackerras. H.M.S. Hot Cross Bun has arrived in Portsmouth, and the sailors, who are on shore leave, meet some pretty town's girls whom they like. Pineapple Poll then arrives with a basket of flowers. The sailors buy the flowers from Pineapple Poll to give to their girlfriends, some doing so reluctantly. Jasper, the 'pot boy' at the local inn, serves drinks to some of the sailors. Jasper is very interested in Pineapple Poll, but she haughtily rejects his proffered love. Captain Belaye of H.M.S. Hot Cross Bun then arrives, and the sailors are horrified when their girlfriends swoon at the sight of the Captain. The sailors attempt to stop the girls, without success. Pineapple Poll also tries to capture the Captain's attention, but she does not have Jasper's restraining hand to stop her. When Captain Belaye is finally left alone, a girl (Blanche) arrives with her aunt (Mrs. Dimple). It is love at first sight for both the Captain and Blanche. Mrs. Dimple is initially opposed to the Captain's interest in her niece, but she finally relents. When Captain Belaye returns to the port, the town's girls and Pineapple Poll once again try to capture his interest. Captain Belaye manages to escape from the girls with much difficulty, and the girls are then left sighing after the Captain, while the members of his crew vent their anger against him. It is nightfall, and some 'sailors' go up the gangplank to board the ship. Pineapple Poll arrives on the wharf with some naval clothes in which she then dresses herself (off-stage), following which Pineapple Poll also then goes up the gangplank to the ship. Jasper arrives at the wharf and is devastated to find Pineapple Poll's clothes. He mistakenly assumes that Pineapple Poll has drowned. Despondently, he gathers up Pineapple Poll's clothing and leaves. The following morning, on board H.M.S. Hot Cross Bun, Captain Belaye is taking his 'crew' through drill. Although his 'crew' is dressed in the usual ship's uniforms, they are far smaller in build than usual – however, the Captain does not seem to realise that there is a disparity in their heights. The uniform which Pineapple Poll is wearing is not a uniform which a sailor would wear on board H.M.S. Hot Cross Bun, and she continually exercises en pointe, but the Captain appears oblivious to anything unusual about her as well. Captain Belaye also does not notice that his 'sailors' are looking up adoringly at him. When the cannon is fired, he is surprised at the reaction of the 'sailors', including Pineapple Poll (who faints at the sound). A church bell then tolls in the distance, and the Captain leaves the ship. A short while later, the Captain returns to the ship with Blanche (who is dressed as a bride) and Mrs. Dimple. The 'crew' all faint with shock. Pineapple Poll is the first to recover and to demonstrate to Captain Belaye that she is female. Then the other 'sailors' demonstrate that they, too, are female. Blanche is horrified, as is her aunt, at the ship's crew all being girls, and the Captain looks stunned. The ship's genuine crew then arrive, as does Jasper. The sailors are very annoyed with their girlfriends, and the girls have to coax and cajole the sailors to take them back. Jasper has a tougher time with Pineapple Poll, who is still hankering after the Captain. Belaye, who has now been promoted to the rank of Admiral, returns to the deck with his bride, Blanche, and Blanche's Aunt, Mrs. Dimple. Pineapple Poll swoons at the sight of the Admiral, much to Jasper's distress. Mrs. Dimple calls to Jasper and then gives him the Admiral's former Captain's attire. Jasper puts on the Captain's hat and coat – and becomes the new Captain of H.M.S. Hot Cross Bun as a result (even though Jasper has never been a sailor), and Pineapple Poll's affections and interest are immediately transferred from the Admiral to Jasper. The sailors of H.M.S. Hot Cross Bun are most displeased that the 'pot boy' has suddenly been elevated to be their Captain, and they openly show their disdain for him. All of the girls then return to the ship's deck, wearing their own clothes, and are welcomed back by their delighted boyfriends. The girls swoon at the sight of Jasper in his new Captain's uniform, but this time the sailors are able to keep their girlfriends in check, and all ends happily.
A comic ballet adaptation of Gilbert and Sullivan's opera, with dancers acting out the story while opera singers seated as an onstage audience sing excerpts from Sullivan's score. The singers sometimes use new lyrics and interact with the dancers in character.
A ballet for the New York City Ballet Chamber Ensemble, choreographed by Benjamin Millepied to music commissioned from David Lang. The original production premiered in Jackson Hole before the work's New York City Ballet premiere in October.
A ballet by Matthew Bourne with music by Terry Davies, adapting Joseph Losey's film The Servant, itself based on Robin Maugham's novel of the same title.
Plymouth Town is a ballet composed by Benjamin Britten in 1931. A typical performance lasts about 25 minutes. It was written between the 12 and 28 August and completed on 22 November 1931, shortly after Britten's first year as a student at the Royal College of Music. Britten's score is based on the sea shanty "A Roving". The folklorist Violet Alford devised the plot of the ballet. The plot of the ballet concerns a sailor led astray by a 'bad girl' who was a "mistress of her trade" as described in "A Roving"; she robs the sailor after the two embark on a pub crawl. The plot was later echoed in Britten's opera Albert Herring. Plymouth Town was never performed in Britten's lifetime. He sent the score without success to the Camargo Society, a prominent promoter of British ballet. John Bridcut describes the piece as a "fascinating harbinger of the mature Britten" with "moments of wit and poignancy, all delivered with an angular energy". It was first performed at the Royal College of Music, London on 25 January 2004, conducted by Britten specialist, Michael Rosewell. The sole recording of Plymouth Town was made by the BBC Symphony Orchestra in 2005. The ballet was staged for the first time on 1 July 2013 by Chethams's School of Music under conductor Jeremy Pike with dancers from The Hammond Dance School with choreography by Jane Elliot at the Opera Theatre of the Royal Northern College of Music in Manchester.
Polyphonia is a one-act ballet choreographed by Christopher Wheeldon to music by György Ligeti, costumes designed by Holly Hynes, and was created for the New York City Ballet. It premiered on January 4, 2001 at the New York State Theater. It is regarded as Wheeldon's breakthrough, and won the Laurence Olivier Award for Best New Dance Production in 2003.
Praeludium, also called Praeludium (No. 1), was a modern dance solo choreographed by Martha Graham to music by Paul Nordoff. The piece was sometimes subtitled Dance of Greeting. It premiered on February 10, 1935, at the Guild Theatre in New York City. Graham created the original costumes. Edythe Gilfond redesigned them in 1938. In the same year Graham made Praeludium, she choreographed another solo, Formal Dance, to music by David Diamond. It was renamed Praeludium (No. 2). Little else is known about the ballet, although a San Francisco critic described the work's theme, "Miss Graham definitely projected the American tempo and architectural spatial patterns that belong essentially to the American scene." She added that the dance "most completely accomplished her oft-stated aim," no doubt referring to Graham's goal of creating a "uniquely American" dance form."
Primitive Mysteries is a modern dance work choreographed by Martha Graham to music by Louis Horst. Graham also designed the original costumes. The piece premiered on February 2, 1931 at the Craig Theatre in New York City. From the first performance, critics hailed the ballet as a masterpiece and acknowledged Graham's rising role as a major force in American dance.
In a two-act legend-based ballet, Goguryeo's Prince Hodong meets and marries Princess Nakrang after a failed attack on her kingdom. He later asks her to destroy the warning drum Jammyungo so Goguryeo can conquer Nakrang. Torn between her husband and her father, she destroys it; her father, King Choiree, then kills her.
Lorca Massine's ballet for New York City Ballet is set to Claude Debussy's eponymous 1887 music.
Based on the biblical parable, the ballet follows the prodigal son as he leaves home, is seduced by a siren and robbed, then returns remorsefully to his forgiving father.
Psyché (originally titled Psiché) is a French ballet-pantomime created in 1790 by Pierre Gardel and performed at the Théâtre de l'Académie Royale de Musique (known as Paris Opéra).
Pulcinella is taken from a manuscript from Naples, dating from 1700, containing a number of comedies portraying the traditional character of the popular Neapolitan stage. This libretto was derived from Quatre Polichinelles semblables ("Four similar Pulcinellas"). The one-act ballet features Pulcinella, his girlfriend Pimpinella, his friends Furbo, Prudenza and Rosetta, and Florindo and Cloviello. The story starts with Florindo and Cloviello serenading Prudenza and Rosetta. The two women are unimpressed and reply by showering the suitors with water. Prudenza's father, a doctor, appears and chases them away. A new episode begins with Rosetta, when her father appears. Rosetta dances for Pulcinella and they kiss. But Pimpinella sees this and interrupts them. Florindo and Cloviello arrive and, jealous of Pulcinella, they beat him up. Pulcinella appears to be stabbed, but this is a ruse to gain Pimpinella's forgiveness of him. Furbo, disguised as a magician, comes and appears to resurrect Pulcinella in front of everybody. Pimpinella forgives Pulcinella, and Prudenza and Rosetta succumb to Florindo's and Cloviello's wooing. The ballet ends with the marriages of the three couples.
Pulcinella Variations is a one-act ballet by Justin Peck, set to Igor Stravinsky's Pulcinella Suite, with costumes designed by Tsumori Chisato. The ballet premiered on September 28, 2017, danced by the New York City Ballet, at the David H. Koch Theater. The choreography of Pulcinella Variations is more classical than other Peck's works, and the costumes were inspired by commedia dell’arte, which was also Stravinsky's inspiration when he wrote the music.
Punch and the Judy is a comic ballet about marital discord choreographed by Martha Graham to music by Robert McBride. Arch Lauterer designed the set, Charlotte Trowbridge, the costumes. Edward Gordon Craig provided text for the narrated portions. The piece premiered on August 10, 1941, at the Bennington College Theatre in Bennington, Vermont.
A four-act ballet in six scenes choreographed by Marius Petipa, with music by Prince Nikita Trubestkoi.
Pâquerette is a ballet in three acts, with choreography by Arthur Saint-Léon and music by François Benoist. The ballet was first presented by the Ballet of the Académie Royale de Musique on January 15, 1851, in Paris, France, with Fanny Cerrito as Pâquerette and Arthur Saint-Léon as François.
Sean Bovim's two-act rock ballet pays tribute to Freddie Mercury through dance interpretations of Queen songs, including stories behind the band's classics.
RAkU is a 37-minute ballet choreographed by Yuri Possokhov that was commissioned by San Francisco Ballet (Possokhov's 13th work for the company) and set to original music composed by Shinji Eshima. The première took place on Thursday, 3 February 2011 at the War Memorial Opera House, San Francisco.
Radio and Juliet is an hour long ballet setup in 2005 for the Slovenian company Ballet Maribor in Slovenia. It was directed by Romanian dancer and choreographer Edward Clug. The ballet is a rendition of William Shakespeare's Romeo and Juliet set to the music of Radiohead, from their albums OK Computer and Kid A. Since 2005 Radio and Juliet has guested in the Netherlands, Italy, Singapore, Korea, Israel, Canada, United States, Russia, Ukraine, Brazil, Serbia and Croatia. It has also been set on the companies of Bucharest National Theater and Kyiv National Opera. On 15 September 2012, the 100th performance was celebrated on the old stage of the Maribor Opera house. The ballet premiered in the United States in 2008 at the Pittsburgh International Festival of Firsts at the Byham Theater. The last performance has been in Limassol in February 2026, the next is in Dortmund in May 2026. Noted for the ballet's choreography and simplicity, Radio and Juliet represents a modernized interpretation of Shakespeare. As stated by Edward Clug, "You could call this quite a twisted version... My intention was not to retell the story but offer the audience an experience from a different perspective."
Set in the Italian village of San Michele on Lake Como, Italy during the 18th century, Raffaella is the story of a girl born to dance, welcomed at birth by a mysterious holy man and a transcendent prince. She meets friends and guides, she encounters trials: threat of death to her younger sister, the scorn of jealous rivals, and threats from other agents of deception".
George Balanchine's ballet is set to Igor Stravinsky's 1918 Ragtime for Eleven Instruments.
George Balanchine's ballet is set to Igor Stravinsky's 1918 Ragtime for Eleven Instruments.
Scene 1: Raymonda's feast At the castle of Doris, preparations are under way for the celebrations of the young countess Raymonda's name day. Countess Sybille, her aunt, chides those who are present, including Raymonda's two friends Henrietta and Clémence, and the two troubadours Béranger and Bernard, for their idleness and their passion for dancing, telling them of the legendary White Lady, the protector of the castle, who warns the Doris household every time one of its members is in danger and casts punishment on those who do not fulfil their duties. The young people laugh at the countess's superstitions and continue to celebrate. The seneschal of the Doris castle announces the arrival of a messenger, sent by Raymonda's fiancé, the noble crusader knight, Jean de Brienne, bearing a letter for his beloved. Raymonda rejoices when she reads that King Andrew II of Hungary, for whom Jean de Brienne has fought, is returning home in triumph and Jean de Brienne will arrive at the Doris castle the next day for their wedding. Suddenly, the celebrations are interrupted when the seneschal announces the arrival of an uninvited Saracen knight, Abderakhman and his entourage, who have stopped at the castle seeking shelter for the night. Captivated by Raymonda's beauty, Abderakhman falls in love with her at once and resolves to do anything to win her. The party lasts late into the night and, left alone and exhausted by the day, Raymonda lies down on a couch and falls asleep. As she sleeps, she begins to dream that the White Lady appears illuminated by the moonlight and, with an imperious gesture, orders Raymonda to follow her. Scene 2: The Visions The White Lady, without making a sound, advances along the terrace. Raymonda follows her in a state of unconsciousness. At a signal from the White Lady, the garden is wrapped in mist. A moment later, the mist vanishes and Jean de Brienne appears. Overjoyed, Raymonda runs into his arms and they are surrounded by glory, knights and celestial maidens. The garden is illuminated by a fantastic light and Raymonda expresses her joy to the White Lady, who interrupts her enthusiasm with a vision of what awaits her. Raymonda wants to return to her fiancé, but instead, she finds Abderakhman, who has taken Jean de Brienne's place. Abderakhman declares his passionate love for her, but Raymonda, though confused and upset, is quick to reject him. Imps and elves appear from everywhere surrounding Raymonda, who begs the White Lady to save her and Abderakhman tries to take Raymonda by force. Raymonda cries out and falls to the ground in a faint. The frightful vision disappears along with the White Lady. The Courtyard of the Castle The feast in honour of Jean de Brienne's arrival is taking place. Raymonda welcomes her guests, but cannot hide her uneasiness caused by Jean de Brienne's delay. Abderakhman approaches her repeatedly and reveals his passion for her, but remembering the warnings of the White Lady, Raymonda rejects him with contempt. Abderakhman becomes even more insistent and realises the only way to possess Raymonda is by force. He calls his slaves to dance for her, after which he summons his cup bearers and they pour a potion into everyone's cup, causing all the guests to become drunk. Seizing his chance, Abderakhman grabs Raymonda in an attempt to abduct her, but luckily Jean de Brienne arrives just in time, accompanied by King Andrew II and his knights. Jean de Brienne saves Raymonda from the hands of the Saracens and tries to seize Abderakhman. The King commands the two rivals to put an end to the matter in a duel, during which the White Lady appears on the castle tower. Abderakhman is dazed and dies, slain by Jean de Brienne's sword. Raymonda joyfully embraces her fiancé and the two reaffirm their love as the King joins their hands. The Wedding Raymonda and Jean de Brienne are finally married and King Andrew II of Hungary gives the newly wedded couple his blessing. In his honour, everyone at court is dressed in Hungarian fashion and perform a range of Hungarian-style dances, ending in an Apotheosis where everyone comes together in a knightly tournament.
Raymonda Variations, formerly titled Valses et Variations, is a ballet choreographed by George Balanchine to excepts from Alexander Glazunov's score for the 1898 ballet Raymonda. Instead of following the plot of the 1898 ballet, the Balanchine ballet is plotless. It premiered on December 7, 1961, at the City Center of Music and Drama. Raymonda Variations was made for the New York City Ballet, with the two lead roles originated by Patricia Wilde and Jacques d'Amboise.
Place: Yelinzhai ("Stronghold of the coconut woods"), Hainan Island, China Time: The Ten-Year Civil War (1927-1937) Main Characters: Hong Changqing (洪常青), Commissar of the Red Detachment of Women, disguised as a merchant Wu Qinghua (吳清華) - daughter of a peasant and servant girl of NanBatian, later a soldier, and finally the Commissar Lian Zhang (连长), literally the Company Commander Xiao Pang (小庞)," Little Pang the Messenger NanBatian (南霸天) - lit "the Tyrant of the South", a despotic landlord Ou Guangsi (Lao Si) (老四) - NanBatian's Lackey In his dungeon, Nanbatian, the despotic landlord, has imprisoned his tenants who are unable to pay their exorbitant rents. Wu Qinghua, daughter of a poor peasant, is chained to a column. Lao Si comes with the order of Nanbatian to sell Wu. Lao Si releases Wu from the chain. While Lao Si is in an unguarded moment, Wu kicks him, and he loses his balance and falls. Wu manages to escape while two other inmates hold Lao Si to the ground. Major numbers: Pas de deux of two inmates Immediately after the prologue. Night has fallen in the coconut forest and Wu Qinghua is desperately running away from Lao Si and his lackeys. She is soon recaptured. Nanbatian and his entourage arrive. The Tyrant whips Wu until she loses consciousness. A thunderstorm approaches, so Nanbatian and his followers leave and Wu is left for dead. Hong Changqing, the Commissar, and Xiao Pang, the Messenger, who are on a reconnaissance mission in disguise, pass by. They save Wu and point her the way to the camp of the Red Army. Major numbers: Dance of Lao Si and his lackeys Wu Qinghua's Solo No. 1 Wu Qinghua's fight with Lao Si Wu Qinghua's fight with Nanbatian Group dance of slaves Wu Qinghua's Solo No. 2 Pas de trois of Hong Changqing, Wu Qinghua and Xiao Pang In the camp of the Red Army beside the Wanquan River, a newly formed Detachment of Women is being trained. Wu Qinghua arrives to meet Hong Changqing and Xiao Pang, who introduce her to others. In a solo dance, Wu tells the Red Army soldiers the enormity of Nanbatian's crimes. She then ceremoniously receives a rifle and is accepted as a member of the Women's Detachment. With determination, they plan to liberate the peasants and slave girls under the oppression of Nanbatian. Major numbers: Group dance of the Detachment members Rifle drill of the Detachment members Hong Changqing's bayonet dance Group bayonet dance of the Detachment members A young women soldier's solo Five-inch dagger dance of the Red Guards Group dance of all Wu Qinghua's solo In the luxurious manor of Nanbatian, an extravagant birthday celebration for the Tyrant is going on in the garden before his house. Mountains of gifts are brought in; visitors are arriving, Li girls are driven in with whips at their backs to dance for the guests. Hong Changqing, disguised as a wealthy merchant from Southeast Asia, arrives on the scene, calm and dignified, to congratulate Nanbatian on his birthday. Meanwhile, the members of the Women's Detachment have secretly gathered around the manor of the Tyrant. It has been agreed that Hong is to fire his gun at midnight as signal for the Detachment to break in to wipe out the Tyrant and his gang in one fell swoop. At night, all people recede into the houses. Nanbatian comes out to see some of his guests off. Overcome by deep personal hatred, Wu Qinghua shoots Nanbatian, prematurely issuing the battle signal. Nanbatian is merely wounded and escapes from a secret tunnel with a few of his lackeys. Nanbatian's prisons are opened, and the prisoners are liberated. Hong leads them in opening the granary of the Tyrant and distributing the grain. Wu is reprimanded for her blunder, and her gun is removed from her. Major numbers: Group dance of slaves Li Girls' dance Broadsword dance of Nanbatian's lackeys Xiao Pang's solo Pas de deux of Wu Qinghua and her comrade-in-arm Opening the granary and distributing grain Back in the camp of the Red Army. Hong Changqing, the Commissar, is giving a lecture to the soldiers in the early morning. Wu Qinghua comes to grips with her mistake. Hong and the Company Commander are pleased to see Wu's progress. The Company Commander returns the gun to her, and together they practice marksmanship and grenade throwing. The local people visit the Red Army and present them with doulis and lichees. Suddenly, the sound of cannons is heard and Xiao Pang, the Messenger, arrives on horseback with the information that Nanbatian has assembled a large number of troops, and they are on their way to attack the base of the Red Army. The members of the Detachment immediately bid goodbye to their dear ones and set out to the battle field. Major numbers: Hong Changqing's solo Group dance of the soldiers Wu Qinghua's solo Pas de deux of Wu Qinghua and Company Commander No. 1 Dance of five female soldiers and the head cook Douli Dance Pas de deux of Wu Qinghua and Company Commander No. 2 Dance of Hong Changqing and male soldiers Group dance of all On the battlefield at a mountain pass. In order to annihilate the enemy's effective power, the main force of the Red Army strategically shifts to the rear of the enemy, and the Company Commander leads most of the members of the Detachment in moving away with the main force. Hong Changqing and a small group of Red Army soldiers and Red Guards form a covering force to divert the enemy. After a series of fierce fights, the goal is achieved. As they prepare to withdraw, the enemy starts yet another attack. Hong gives his portfolio to Wu Qinghua and orders her and other members to retreat while he and only two other soldiers stay behind to fend off the enemy. Hong's two comrades-in-arms are killed and he himself is captured. Major numbers: Dance of Wu Qinghua and other soldiers Wu Qinghua's fight with an enemy Fight between two soldiers and two enemies Red flag dance Dance of Hong Changqing and two comrades-in-arm Dance of Hong Changqing and two enemies The main force of the Red Army is pressing forward with the momentum of an avalanche. Their group dance. A memorable moment in the entr'acte is the precisely synchronized grand jete of the Red Army soldiers crossing the stage in a seemingly endless line, vividly suggesting they are as fast as an arrow flying in the air. Major numbers: Group dance of the Red Army soldiers Sequence of synchronized grand jeté In the lair of the Tyrant, Nanbatian and his lackeys are panic-stricken knowing that their end is approaching. The Tyrant runs out all his means to force Hong Changqing to surrender, but the Commissar vehemently denounces the enemy. Nanbatian threatens Hong with death, but the hero remains steadfast. At the end, Hong is burnt in a horrid fire under the giant banyan tree amidst a chorus of the Internationale, and he dies a martyr's death. The main force of the Red Army has won their battle with the enemy. They storm the hideout of the Tyrant and kill him and his lackeys. The Red Army emancipates Nanbatian's prisoners and Yelinzhai is liberated. Wu Qinghua and the Company Commander look everywhere for Hong and find the truth. They all kneel in front of the place where Hong has died to pay their respects to the hero. The Red Army Battalion Commander announces that Wu will succeed Hong as the Commissar of the Women's Detachment. Wu takes over Hong's portfolio, and she and her comrades-in-arm will continue their revolutionary cause. Major numbers: Dance of Nanbatian and Lao Si Hong Changqing's solo Hong Changqing dying a martyr's death Red Army's assault on Nanbatian's lair Celebration of liberation Pas de deux of Wu Qinghua and Company Commander Mourning the martyr Group dance and the tableau vivant at the end
A Dadaist 'ballet obscène' by Francis Picabia with music by Erik Satie, presented with René Clair's nonsensical film Entr'acte during the intermission. The article gives no narrative plot.
Dedicated to John Cranko, the ballet portrays the Stuttgart company coming to terms with his death. Mourners enter to the Introitus; a central figure is lifted like an offering, dances two pas de deux, and comforts a young woman before the cast leaves in light during In Paradisum. Choreographic images draw on William Blake's illustrations.
Made in memory of Martin Luther King Jr., the ballet places a lone woman among a corps in long white robes carrying three-branched candelabra. At the end, a figure in purple representing King is raised aloft.
Jerome Robbins created this ballet for New York City Ballet's Stravinsky Festival, set to Igor Stravinsky's 1966 Requiem Canticles.
Resurrection is a modern dance solo created by Martha Graham to music by Tibor Harsányi. The piece premiered on March 3, 1929, at the Booth Theatre in New York City. On June 2, 1930, Graham performed another work, Unbalanced, that also used Harsányi's music. Unbalanced does not appear in most Graham chronologies, so it is speculated the two pieces were the same. To confuse things further, a dance critic of the time wrote that Resurrection had previously been titled The Avenger. Two other new works appeared on the afternoon's program, Adolescence with music by Paul Hindemith, and Danza with a score by Darius Milhaud. The New York Times dance critic wrote the work was "composed with complete originality and in faultless form. It builds relentlessly on a striking movement theme to an inevitably foreshadowed climax." The dance's connection to the title was, however, unclear to the reviewer, "it is not spelled out in letters that those who run may read." The critic for The New York Herald Tribune was even more mystified, "Of the three new numbers offered, Resurrection to music by Harsanvi (sic) was the least definite and effective, a bizarre interpretation in expressionistic vein."
Revolt, initially called Danse, was a modern dance solo choreographed by Martha Graham to music by Arthur Honegger. It premiered with the original title on October 16, 1927, at the Little Theatre in New York City. By February 1928 it appeared in programs as Revolt. Other works at the premiere were Choral; Adagio (from second Suite); Scherzo, Op. 16 No.2; Tanzstück; Deux Valses; Five Poems; Tanagra; Esquisse Antique; Lucrezia; Alt-Wein; La Cancion; Ronde; Two Poems of the East and Baal Shem. Graham performed with her small company of dancers: Evelyn Sabin, Betty MacDonald and Rosina Savelli. The New York Herald Tribunes reviewer wrote of the debut, "Many of the numbers were new, several of them were really beautiful, most of them were interesting, and one or two significant, for example Honneger's Danse. Although it did not advocate a particular party line, Revolt was Graham's first piece of social commentary. Biographer and longtime friend Agnes de Mille said, "She was speaking for the individual, for the outraged spirit, for her own spirit, in fact...She would not accept formulae." Dance Magazines critic noted, "To Honegger's mad music she was significant as a typical product of modern industry - a down trodden, agonized soul, trying in vain to free itself from the tremendous power that is crushing it to earth. This was done most effectively." The reviewer added the work "was the highlight of the whole program."
Rhapsody is a one-act ballet choreographed by Frederick Ashton to Rachmaninoff's Rhapsody on a Theme of Paganini. The ballet was made for both Queen Elizabeth the Queen Mother's 80th birthday, and Mikhail Baryshnikov's guest appearance with the Royal Ballet. It premiered on 4 August 1980, at the Royal Opera House, with the two principal roles danced by Baryshnikov and Lesley Collier. The ballet is dedicated to the Queen Mother.
A symphonic ballet commissioned by the Cabrillo Festival of Contemporary Music, first performed in Santa Cruz in 2016.
Peter Martins's ballet is set to Charles Wuorinen's eponymous commissioned score. It is one of three Wuorinen works for New York City Ballet that refer to scenes in Dante's Divine Comedy.
A series of dances for four couples, the ballet draws on Robert Schumann's life, particularly his reunion with Clara Wieck after a 16-month estrangement in the year he composed the score.
Paul Vasterling's full-length ballet is in two acts and uses Korngold's early chamber music, Theme and Variations, Op. 42, and movements from his symphony and violin concerto. The suite Much Ado About Nothing is used extensively and concludes the ballet; no music from Korngold's Robin Hood film score is used.
A ballet choreographed to Tchaikovsky’s Variations on a Rococo Theme for cello and orchestra.
An American cowgirl seeks the affection of a ranch’s Head Wrangler, who is drawn to the Rancher’s Daughter. After feeling excluded and going unpaired at the ranch dance, she is approached by the Champion Roper, and the ballet ends with their kiss.
Rodeo: Four Dance Episodes (also stylized as Rōdē,ō: Four Dance Episodes) is a one-act ballet choreographed by Justin Peck to "Four Dance Episodes" from Copland's Rodeo. The ballet premiered on February 4, 2015, at the David H. Koch Theater, danced by the New York City Ballet.
Romeo + Juliet is a ballet by New York City Ballet balletmaster-in-chief Peter Martins to Sergei Prokofiev's Romeo and Juliet (1934–1940). The premiere took place on Tuesday, 1 May 2007 at the New York State Theater, Lincoln Center.
A dramatic ballet based on Shakespeare’s tragedy. The movement sequence includes the street awakening, the lovers’ balcony scene and love dance, the public festivities and duels, Juliet’s bedroom and farewell, and the deaths of Mercutio, Tybalt, and Juliet. Prokofiev’s original ending was happy; the score was substantially revised for the 1940 Soviet production.
Romeo and Juliet is ballet created by John Cranko to Sergei Prokofiev's eponymous score for the Stuttgart Ballet in 1962 and first seen in America in 1969. The Joffrey Ballet presented the first American production of Cranko's choreography in its 1984–1985 season, including performances in New York City at the New York State Theater and in Washington, D.C. at the Kennedy Center.
Kenneth MacMillan’s ballet to Prokofiev’s Romeo and Juliet, structured around the characters and their pas de deux. Its set and costume design emphasizes Juliet’s vulnerability against the society surrounding her.
Rudolf Nureyev’s production of Prokofiev’s Romeo and Juliet, created for London Festival Ballet to mark the Queen’s Silver Jubilee and premiered with Patricia Ruanne as Juliet and Nureyev as Romeo.
A staged ballet setting of the balcony scene from Romeo and Juliet, choreographed to Prokofiev’s score.
A three-act adaptation that sets the lovers’ story across three Italian political eras: Fascist Italy in the 1930s, political terrorism in the 1950s, and social unrest in the 1990s. It uses contrasting movement styles for the upper-class Capulets and lower-class Montagues and a multimedia video backdrop.
The ballet is recast as a contemporary political statement set in three Italian political eras of the 20th century. Act I is set in Italy in the 1930s, during the reign of Benito Mussolini and the emergence of Fascism. (1935 was the year in which Prokofiev composed the original score.) Act II takes place in the 1950s, amid the rise of the Red Brigades and political terrorism.
Roxana, the Beauty of Montenegro (Roksana, krasa Chernogorii, also known as Roxana) is a fantastic ballet in four acts, with choreography by Marius Petipa and music by Ludwig Minkus. Libretto by Sergei Khudekov and Marius Petipa. The ballet was first presented by the Imperial Ballet on January 29/February 11 (Julian/Gregorian calendar dates), 1878 at the Imperial Bolshoi Kamenny Theatre in St. Petersburg, Russia, with Eugeniia Sokolova as Roxana, shortly after Montenegro was liberated by the Russian army from the Ottoman Empire. The ballet historian Konstantin Skalkovsky gives an account in his study of late 19th century ballet in St. Petersburg of how Minkus' "Grand Marche" from the third act of this ballet "was the favorite piece of Tsar Alexander II, who in general did not love music. Several units of our troops (the Russian Army) stormed the Plevna to the music of this march."
Russian Seasons is a ballet choreographed by Alexei Ratmansky to Leonid Desyatnikov's music of the same name, with costumes designed by Galina Solovyeva. The ballet premiered on June 8, 2006 at the New York State Theater, performed by the New York City Ballet. Russian Seasons is performed by six couples and has twelve sections, and is about Ratmansky's Russian roots. Russian Seasons had also been revived by the Bolshoi Ballet and the National Ballet of Canada. In 2020, in response to the impacts of the coronavirus pandemic on the performing arts, the New York City Ballet will release a 2018 video recording of an excerpt from the ninth section, featuring Abi Stafford, Sara Mearns and Amar Ramasar, and a 2017 footage of the tenth section with Taylor Stanley in his role debut.
Sahdji is a 1930 ballet composition in two-movements by American composer William Grant Still. The ballet was first performed in 1931 under the direction of Howard Hanson at the Eastman School of Music. The work is about twenty minutes long.
Salem Shore is a solo modern dance work choreographed by Martha Graham to original music by Paul Nordoff. The piece premiered on December 26, 1943 at the 46th Street Theater in New York City. The ballet featured costumes by Edythe Gilfond and a set by Arch Lauterer. Program notes accompanying the first performance described the dance as "a ballad of a woman's longing for her beloved's return from the sea."
A ballet adaptation of Oscar Wilde’s play, created by Mikhail Fokine in St Petersburg in 1908 with music by Alexander Glazunov.
Salutation was a modern dance solo choreographed by Martha Graham to music by Lehman Engel. It premiered on April 7, 1936, at Philharmonic Auditorium in Los Angeles, California. Subtitled Dance of Greeting, the work was performed by the choreographer. Graham performed ten other pieces on the all-solo program: Lamentation, Frontier, Satyric Festival Song, Building Motif from Horizons, Imperial Gesture, Sarabande, Act of Piety, Ekstasie, Frenetic Rhythm (No.3) and Harlequinade. Salutation-Dance of Greeting did not remain in the Martha Graham Dance Company repertory. The choreography and other details of the piece are lost. Graham also created other dances with the same name, including a 1930 work set to music by Arthur Honegger (originally called Prelude to a Dance) and a 1932 piece with music by Carlos Chávez (originally called Prelude).
Sandpaper Ballet is a ballet choreographed by Mark Morris to music by Leroy Anderson. It was created for the San Francisco Ballet, and premiered on April 27, 1999, at the War Memorial Opera House.
A ballet choreographed to Claude Debussy’s Sarabande (1901) and Danse (1890).
A ballet choreographed to Claude Debussy’s Sarabande (1901) and Danse (1890).
Scherza was a modern dance solo choreographed by Martha Graham to music by Robert Schumann. It premiered on December 10, 1927, at a special performance for the Cornell Dramatic Club. The program was billed as the Adolph Bolm Dance Recital. In addition to Graham and Bohm, the performance featured Ruth Page, Vera Mirova, Bernice Holmes and Marcia Preble. Graham appeared in two solo works, Scherza and Tanagra. As with many of her early pieces, the choreography and other details of the ballet are lost. It is known, though, that her approach to making dances during this time frame was Delsartean. In rejection of her teachers' Denishawn (Ruth St. Denis and Ted Shawn) forms, Graham initially drew on earlier dance concepts. These "pure objective Delsarte vignettes, depictions of moods and emotions" were "not quite camouflaged by their foreign titles and modern music." The mostly late-1920s works include Fragilité, Lugubre, Scherza and Four Insincerities.
Scherzo à la Russe is a ballet choreographed by George Balanchine to Stravinsky's music of the same name. The ballet was created for New York City Ballet's Stravinsky Festival, a tribute to the composer after his death, and premiered on June 21, 1972, at the New York State Theater, with the two lead roles originated by Karin von Aroldingen and Kay Mazzo.
Children celebrating their confirmation visit a Viennese cake shop where sweets come to life. After one boy overeats and falls ill, he dreams of Princess Pralinée’s party, amorous liqueurs, dancing confections, and a cake riot calmed by beer.
Scotch Symphony is a ballet choreographed by George Balanchine to Mendelssohn's Symphony No. 3, "Scottish". The ballet is inspired by Scotland, and evokes the style of the romantic ballet era, particularly La Sylphide, which is set in Scotland. Scotch Symphony was made for the New York City Ballet, and premiered on November 11, 1952, at the City Center of Music and Drama.
Scènes de ballet is a one-act ballet choreographed by Frederick Ashton, who created it during 1947–1948 to Igor Stravinsky's eponymous music from 1944. The first performance was given by the Sadler's Wells Ballet, at the Royal Opera House, London.
A ballet for 64 School of American Ballet students staged in a Russian ballet studio bisected by a real barre and an imaginary mirror. Some dancers appear as themselves and others as their reflections. It is set to Stravinsky’s 1944 score.
Anton Dolin choreographed Scènes de ballet to Igor Stravinsky’s score for the 1944 Broadway revue The Seven Lively Arts.
Serenade is a ballet by George Balanchine to Tchaikovsky's 1880 Serenade for Strings in C, Op. 48. Serenade is credited as being George Balanchine's first full-length ballet in America. Using the students of his newly formed School of American Ballet, Balanchine choreographed this ballet for an American audience that had not been widely exposed to ballet before. Students of the School of American Ballet gave the first performance on Sunday, 10 June 1934 on the Felix M. Warburg estate in White Plains, N.Y., where Mozartiana had been danced the previous day. It was then presented by the Producing Company of the School of American Ballet on 6 December at the Avery Memorial Theatre of the Wadsworth Atheneum with sets by the painter William Littlefield. Balanchine presented the ballet as his response to the generous sponsorships he received during his immigration to America. The official premiere took place on 1 March 1935 with the American Ballet at the Adelphi Theatre, New York, conducted by Sandor Harmati. NYCB principal dancer Philip Neal chose to include Serenade in his farewell performance on Sunday, 13 June 2010. The blue tutus used in Serenade inspired the naming of the Balanchine crater on the planet Mercury.
A storm catches Bahram Shah during a hunt. While looking for a shelter in ruins of an old castle, he meets a hermit, who shows him images of seven beauties from different countries. It seems to Bahram that the beauties come to life and perform amazing dances for him. At daybreak the beauties disappear. Bahram leaves the palace and goes home. On the road he sees a stately youngster Manzar and his sister Aysha competing in a bow. Bahram calls Manzar to compete. Then they exchange gifts according to custom. Bahram gives Manzar a belt, and he gives him a sword. After Manzar goes away, Bahram makes Aysha a declaration of love. Aysha also confesses to the hunter. And when servants and a vizier come for lost Bahram, Aysha and Manzar know that this young hunter is none other than the Shah. Vizier informs him about the Khazars' invasion. Bahram gives authority to the vizier and takes the field. But the vizier, who has a plan about seizure of power, charges two of his closes to disguise themselves in Khazars' costume, to catch up and kill the Shah. A gloomy demonstration is observed on the square and population begs for mercy. Captivated girls follow the defaulters. Fierce servants of the Shah pounce on goods on stores, plunder and demolish everything which fall into their hands, after which the population runs away. At that time the vizier enjoys the power, descends to the underground treasury where he wears splendid clothes. He dreams of the day when he will be Shah. At that time a killer comes and says that they couldn't attempt on the Shah's life. Then the sound of a horn are heard. Returning to the capital Bahram, who knows about the conspiracy, wants a reprisal. But he can't leave the palace because of the vizier's guards. Then Manzar calls armed craftsmen for help. At that time, a solemn demonstration led by the vizier goes out from the palace. He gives Bahram symbols of power. Manzar knows about the vizier's perfidy, but the vizier kills close before the Shah's eyes, to show his loyalty to the Shah and that allegedly he was the organizer of the conspiracy. Guards disarm the population, tie up craftsmen and Manzar and imprison them. Knowing about Manzar's and the craftsmen's imprisonment, Aysha runs to the palace and begs the Shah, who feasts at that time, to set them free. The Shah releases only Manzar in memory of their former friendship. Disturbed by Bahram's act that didn't punish the vizier and release the craftsmen, Manzar drops the belt, presented by the Shah, on the ground. This act outrages the Shah and he orders Manzar's execution. But he runs away. The vizier wants to distract the Shah. He shows him silk textile, on which seven beauties are portrayed. Shah remembers that night spent in ruins of the palace and seven beauties seem to him again. The Shah forgets about vital problems, what the vizier tries to obtain to seize the power. He goes to a village with his guards where Manzar takes cover. Knowing that peasants don't want to give up Manzar, the vizier orders to trample down the peasants' crops. The peasants appeal to the Shah. But the Shah thinks only about Aysha, whom he cannot forget. But Aysha refuses Bahram's love, who dooms the population to starvation. Bahram orders the vizier to burn the village. Suddenly seven young peasants and craftsmen appear while the vizier looks at the fire. They commit revenge and the vizier dies. Bahram wants to forget Aysha. That is why he returns to the palace, seeking oblivion in seven beauties. But then a thunderclap is heard and the walls of the palace are parted. Seven messengers of the population appear and give the Shah a crook and cloak showing him that he has to abdicate and leave the country. Suddenly Aysha appears, saying the Shah that she loves not him, but a hunter and is ready to go with him if he abdicates. Wrathful Bahram strikes the girl with a fatal blow of the sword. The population bids farewell to Aysha and drive Bahram away.
Sol León and Paul Lightfoot’s ballet combines dance and film, drawing on the imagery of silent cinema and music by Philip Glass.
A ballet for Ballet Rambert, created largely for dancers Sally Gilmour and Margaret Scott, set to Benjamin Britten’s Simple Symphony.
A hoofer falls in love with a dance-hall girl, who is shot by her jealous boyfriend. The hoofer shoots the boyfriend. In the musical’s framing device, gangsters in the audience try to kill the lead dancer, who evades them by continuing to dance until police arrive and arrest them.
Jorma Elo’s ballet for New York City Ballet’s Diamond Project, set to selected movements from works by Biber and Vivaldi, including Vivaldi concertos from Opp. 3, 4, 8, and 57.
Cathy Marston’s one-act ballet adaptation of Edith Wharton’s Ethan Frome, created for San Francisco Ballet and premiered in 2018.
A ballet using elements of Russian folklore, set to music from Rimsky-Korsakov's The Snow Maiden.
A one-act ballet with a principal character called The Girl, set to two sets of Malcolm Arnold’s English Dances and two new dances, a sarabande and a polka.
A ballet choreographed to eleven Domenico Scarlatti sonatas composed between 1728 and 1757.
Sonatine is a ballet choreographed by George Balanchine to Ravel's eponymous music. The ballet was made for the New York City Ballet's Ravel Festival, which celebrated the centenary of Ravel, and premiered on May 15, 1975, at the New York State Theater, following a preview performance the previous day. The ballet was originated by Violette Verdy and Jean-Pierre Bonnefoux.
The Song of the Earth is a ballet based on Das Lied von der Erde, a symphonic work written by the Austrian composer Gustav Mahler in 1908–1909. It is scored for two voices and orchestra, and has been used for ballets by several well-known choreographers, including Antony Tudor (1908–1987), Kenneth MacMillan (1929–1992), Heinz Spoerli (born 1940), and John Neumeier (born 1939).
Principal characters: Crassus, Roman consul Spartacus, captive king of Thrace Phrygia, wife of Spartacus Aegina, concubine to Crassus The Roman consul Crassus returns to Rome from his latest conquests in a triumphal procession. Among his captives are the Thracian king Spartacus and his wife Phrygia. Spartacus laments his captivity and bids a bitter farewell to Phrygia, who is taken off to join Crassus's harem of concubines. To entertain Crassus and his entourage, Spartacus is sent into the gladiatorial ring and is forced to kill a close friend. Horrified at his deed, Spartacus incites his fellow captives to rebellion. The escaped captives celebrate their freedom. Meanwhile, Crassus entertains the Roman patricians with lavish entertainment. Spartacus and the other escaped captives disrupt the orgy and rescue the slave women, including Phrygia. Aegina insists that Crassus pursue the slave army immediately. The lovers celebrate their escape to the "Adagio of Spartacus and Phrygia". Aegina discovers Spartacus's camp and observes the lovers emerging from their tent the next morning. Aegina sends word to Crassus, who sends his army in pursuit. Internecine struggles break out among Spartacus's forces. Finally, Crassus's forces discover Spartacus and impale him upon their spears. Spartacus's closest followers recover his body and carry it off while Phrygia mourns her loss.
Originally performed with the musicians onstage and a square dance caller directing the steps, the ballet is set to concerti by Vivaldi. A 1976 revival removed the caller, moved the orchestra to the pit, and added a solo to music by Corelli.
Jiří Kylián’s contemporary dance work was inspired by traditional dances of Aboriginal Australians and is set to Carlos Chávez’s Toccata for Percussion Instruments.
Stars and Stripes is a neoclassical ballet choreographed by George Balanchine to music by John Philip Sousa, orchestrated by Hershy Kay. The ballet was made as a tribute to the United States, Balanchine's adopted country. It premiered on January 17, 1958, at the City Center of Music and Drama, danced by the New York City Ballet. It is dedicated to Fiorello La Guardia, former mayor of New York City. The ballet had been revived by multiple ballet companies, and at different special occasions.
Still Life at the Penguin Cafe is an ecocritical ballet choreographed by David Bintley and featuring music composed by Simon Jeffes, founder of the Penguin Cafe Orchestra. It is also the title of the accompanying album. Geoffrey Richardson co-wrote one of the pieces. The name of the ballet is derived from that of the Penguin Cafe Orchestra, which was Simon Jeffes' ensemble. The ballet's debut production in 1988 was performed by The Royal Ballet at Covent Garden, in England. The ballet was conceived by David Bintley (at that time resident choreographer at Covent Garden), who approached Simon Jeffes about the music that was to be used in the choreography. The music for the ballet was drawn from several musical pieces composed by Jeffes before the ballet was conceived, composed during the period 1981 to 1987. Most of the pieces were originally written for small ensembles, consisting of, for example, violin, cello, guitar and piano. Jeffes orchestrated the pieces for the ballet, and in the Royal Ballet production, they were performed by a full orchestra. The ballet was filmed in 1988 by Thames Television and commercially released. The ballet premiered in the United States in 1991.
Stravinsky Violin Concerto, originally titled Violin Concerto, is a neoclassical ballet choreographed by George Balanchine to Stravinsky's Violin Concerto. Balanchine had previously choreographed another ballet to the concerto in 1941 for the Original Ballet Russe, titled Balustrade, though it was not revived following a few performances. He then reused the concerto for New York City Ballet's Stravinsky Festival in 1972, a tribute to the composer following his death. The ballet premiered on June 18, 1972, at the New York State Theater.
An abstract neoclassical ballet set to music from Édouard Lalo’s Namouna. Its original all-white costumes inspired its title; later productions dressed the men in black and used the title Noir et Blanc.
Jerome Robbins’s ballet was made from his 1974 Dybbuk Variations, a cut version of his ballet Dybbuk; all three versions use Leonard Bernstein’s 1974 music.
Prince Siegfried encounters Odette, a princess transformed into a swan by the sorcerer Rothbart. Their love faces deception and an enchantment that can be broken only by a faithful vow. Tchaikovsky’s score anchors a ballet whose choreography and ending vary across productions.
In this revival’s libretto, Odette and other young women are cursed to become swans by day. Siegfried vows to rescue her, but is deceived into pledging himself to Odile; when he and Odette choose to die together, the evil genie is destroyed. The ending and act structure were revised from the 1877 scenario.
The 1895 Petipa/Ivanov/Drigo revival of Swan Lake is a famous version of the ballet Swan Lake, (ru. Лебединое Озеро), (fr. Le Lac des Cygnes). This is a ballet by Pyotr Ilyich Tchaikovsky based on an ancient German legend, presented in either four acts, four scenes (primarily outside Russia and Eastern Europe), three acts, four scenes (primarily in Russia and Eastern Europe) or, more rarely, in two acts, four scenes. Originally choreographed by Julius Reisinger to the music of Pyotr Ilyich Tchaikovsky (opus 20), it was first presented as The Lake of the Swans by the Ballet of the Moscow Imperial Bolshoi Theatre on 20 February/4 March 1877 (Julian/Gregorian calendar dates) in Moscow, Russia. Although the ballet is presented in many different versions, most ballet companies today base their stagings both choreographically and musically on this revival by Marius Petipa and Lev Ivanov, staged for the Imperial Ballet, first presented on 15 January/27 January 1895, at the Imperial Mariinsky Theatre in St. Petersburg, Russia instead of the original version.
A one-act ballet by George Balanchine set to Tchaikovsky’s Swan Lake music.
The ballet Sweeney Todd, Op. 68 by Malcolm Arnold was completed in 1959. It is a one-act ballet based on the legend of Sweeney Todd, a villain in The String of Pearls serial. The scenario and original choreography were by John Cranko and the scenery and costumes by Alix Stone in the style of Victorian toy theatres. It was first performed by the Royal Ballet touring company on 10 December 1959, at the Shakespeare Memorial Theatre, Stratford-upon-Avon, with the Royal Opera House Orchestra conducted by John Lanchbery. The dancers who created the roles in the first production were Donald Britton (Sweeney Todd), Johaar Mosaval (Tobias), Elizabeth Anderton (Johanna), Desmond Doyle (Mark Ingestre), Ian Hamilton (Colonel Jeffrey). Paul R.W Jackson noted the ingenious interweaving and development of the themes or motifs used for each of the main characters. "The grisly opening prelude turned into Todd's theme, while Johanna's music became an ingratiating waltz for a pas de deux". The first complete recording was issued in 2025, with the BBC Concert Orchestra, conductor Martin Yates.
The huntress nymph Sylvia mocks Eros and wounds the shepherd Aminta when he protects the god. Eros revives Aminta, while hunter Orion abducts Sylvia; she escapes by getting Orion drunk and returns to Aminta. At Diana’s temple, the goddess ultimately relents and permits the lovers to unite.
Symphonic Variations is a one-act ballet by Frederick Ashton set to the eponymous music (M. 46) of César Franck. The premiere, performed by the Sadler's Wells Ballet, took place at the Royal Opera House, Covent Garden, on 24 April 1946 in a triple bill; the other works were Ashton's Les Patineurs and Robert Helpmann's Adam Zero. The ballet was conducted by Constant Lambert and the set designed by Sophie Fedorovitch.
Peter Martins’s ballet is set to Tchaikovsky’s Symphony No. 1 in G minor, Op. 13, Winter Dreams.
Symphony in C, originally titled Le Palais de Cristal, is a ballet choreographed by George Balanchine, to Georges Bizet's Symphony in C. The ballet was originally created for the Paris Opera Ballet, and premiered on July 28, 1947, at the Palais Garnier.
John Clifford’s ballet is set to Stravinsky’s Symphony in E-flat, Op. 1.
Symphony in Three Movements is a neoclassical ballet choreographed by George Balanchine to the music of the same name by Igor Stravinsky. The ballet was made for the New York City Ballet Stravinsky Festival in 1972, a tribute to the composer following his death. The ballet premiered on June 18, 1972, at the New York State Theater.
George Balanchine’s ballet is set to Stravinsky’s Tango, originally written in 1940 and arranged by the composer in 1953.
Peter Martins’s ballet is set to Stravinsky’s Tango, written in 1940 and arranged by the composer in 1953.
Tarantella is a ballet choreographed by George Balanchine to Grande Tarantelle by Louis Moreau Gottschalk, arranged by Hershy Kay. The ballet premiered on January 7, 1964, at the New York City Center, performed by New York City Ballet's Patricia McBride and Edward Villella.
Terpsichore is a ballet in one act based on the myth of Terpsichore, with choreography by Marius Petipa and music by Cesare Pugni. First presented by the Imperial Ballet on November 15/27 (Julian/Gregorian calendar dates), 1861, for the Imperial court at the theatre of Tsarskoe Selo in St. Petersburg, Russia.
A grand ballet in two acts and five scenes with a prologue, based on Miguel de Cervantes’s novella La gitanilla.
A fantastic ballet in three acts and seven scenes.
A full-evening ballet in three parts explores life, love and transformation through movement and an original score.
A one-act ballet created for students of the Imperial Ballet School.
A two-act ballet first presented by the Imperial Ballet, with Mariia Surovshchikova-Petipa as the Blue Dahlia and Timofei Stukolkin as Beausoleil.
The ballet is an ironic tale of slovenly work in a Soviet factory. The lazy Lyonka hates work and together with a local priest and anti-Soviet plotter he plans to sabotage the machinery by putting a bolt in it. Their plan is foiled by a group of Young Communists.
A ballet adaptation of John Boyne’s novel, with a score by Gary Yershon.
Among a tribe of female insect that preys on their male counterparts, The Novice, the daughter of The Queen, is born, and her membranous covering is removed. She is confronted by the First Intruder, a male insect, and she reflexively stabs him and cracks his neck until he dies. The tribe celebrates that she has been initiated. The Second Intruder appears, and this time the tribe leave her to kill him. However, the two fall in love and mate. The tribe returns and the couple attempts to hide, but are discovered. The tribe attacks the Second Intruder, and finally, the Novice is overcome by animal instincts and kills him. The Novice is embraced by the Queen, while the rest of the tribe salutes her.
The Cellist is a one-act ballet about British cellist Jacqueline du Pré, choreographed by Cathy Marston, with the scenario devised by Marston and Edward Kemp. The music was written by Philip Feeney and incorporated scores du Pré was best known for. The ballet is Marston's first Royal Ballet main stage production, and premiered on 17 February 2020 at the Royal Opera House,
A ballet by Peter Martins set to John Adams’s 1985 concert piece, originally written for the opera Nixon in China. The music accompanies a scene in which Mao Zedong dances with his future bride, film star Chiang Ch’ing.
A comic ballet by Jerome Robbins set to nine Chopin piano pieces, including the Military Polonaise, Berceuse, waltz, mazurka, ballade, and several preludes.
An allegorical two-act ballet in which Prometheus gives life to two humans and brings them to Apollo to learn music, dance, and the arts. The gods teach them, they fall in love, and the ballet ends with a wedding celebrating Prometheus’s success.
The Daughter of the Snows (also known as Snegurochka or La Fille des neiges) is a ballet in three acts and five scenes, with choreography by Marius Petipa and music by Ludwig Minkus. The libretto by Marius Petipa is based on the 1873 play The Snow Maiden by Alexander Ostrovsky, inspired by a Russian folk fairy tale about Snegurochka from the folklore collection by Alexander Afanasyev. The ballet premiered on 7 January 1879 at the St. Petersburg Imperial Bolshoi Kammeny Theatre in St. Petersburg, Russia by the Imperial Ballet. Prima ballerina Yekaterina Vazem considered it "among Petipa's less successful ballets" and "not popular with the public." According to Vazem, the ballet was taken out of the repertoire after only a few performances. Principal dancers: Yekaterina Vazem (as the Snow Maiden).
A ballet drawing parallels between lyrebird courtship displays and the mateship of Australian men at a bush picnic as they try to seduce a woman.
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