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Radio and Juliet

Ballet · 2005

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."

Raymonda

Ballet · 1898

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

Ballet · 1961

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.

Red Detachment of Women

Ballet · 1964

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

Resurrection

Ballet · 1929

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

Ballet · 1927

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."

Roxana, the Beauty of Montenegro

Ballet · 1878

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

Ballet · 2006

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.

Salutation

Ballet · 1936

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).

Scherza

Ballet · 1927

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.

Serenade

Ballet · 1934

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.

Seven Beauties

Ballet · 1952

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.

Spartacus

Ballet · 1956

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.

Stars and Stripes

Ballet · 1958

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

Ballet · 1988

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

Ballet · 1972

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.

Swan Lake (1895)

Ballet · 1895

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.

Sweeney Todd

Ballet · 1959

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 Cage

Ballet · 1951

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 Daughter of the Snows

Ballet · 1879

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).

The Dream

Ballet · 1964

In the forest outside Athens, Oberon, king of the fairies, fights furiously with his wife Titania, as they both want the same young Indian in their entourage. Oberon decides to punish Titania for her insolence and sends his servant, the mischievous fairy Puck, to look for a pansy: the dew of the flower, poured into the eyes of sleeping Titania, will make her fall in love with the first person she will see when she awakens. Meanwhile, Oberon and Puck meddle in the lives of four mortal lovers who wander into their path. Much confusion ensues, between the four mortals as their loves intertwine, and within a troupe of actors, one of whom is turned into a donkey to become Titania's lover. In the end, Oberon and Titania make peace, and Puck brings things back to their natural order.

The Dying Swan

Ballet · 1907

The Dying Swan (originally The Swan) is a solo dance choreographed by Mikhail Fokine to Camille Saint-Saëns's Le Cygne from Le Carnaval des animaux as a pièce d'occasion for the ballerina Anna Pavlova, who performed it about 4,000 times. The short ballet (four minutes) follows the last moments in the life of a swan, and was first presented in St. Petersburg, Russia in 1907. The ballet has since influenced modern interpretations of Odette, heroine of Tchaikovsky's ballet Swan Lake, and has inspired non-traditional interpretations as well as various adaptations.

The Fairy Doll

Ballet · 1888

In the original libretto, the story takes place in a Parisian toy shop in the 1830s. The curtain rises on the everyday life of a shop selling mechanical dolls. Assistants keep order while the owner attends to his work. A postman delivers letters, a messenger demands a tip, and a maid arrives asking for a doll to be repaired. The shopkeeper restores the toy. A merchant enters with his wife and daughter. The child becomes fascinated with a baby doll and insists on buying it. During the commotion, another doll is accidentally activated, startling them. After disagreements over prices, they leave. A commissioner arrives with news that a wealthy Englishman will soon visit. Sir James Plumpstershire, his wife, and their children enter the shop. The owner presents various dolls dressed in costumes representing different nations, each performing characteristic dances, including Tirolean Ländler, Chinese Polka, Spanish Dance, Japanese Mazurka and the Harlequin’s Tarantella.The highlight is the Fairy Doll, who performs a waltz. The Englishman is delighted and purchases her before leaving with his family. After closing time, the shop is locked and the lights are extinguished. At midnight, the Fairy Doll emerges and, with a wave of her wand, brings all the dolls to life. The shop fills with magical light as the dolls dance and celebrate. At one point, the shopkeeper and his assistant return, having heard noises, but everything appears normal. Once they leave again, the dolls resume their festivities, honoring the Fairy Doll as their queen. As dawn approaches, they return to their original positions before the shop reopens.

The Firebird

Ballet · 1910

The Firebird (L'Oiseau de feu; Жар-птица) is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1910 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Michel Fokine, who collaborated with Alexandre Benois and others on a scenario based on the Russian fairy tales of the Firebird and the blessing and curse it possesses for its owner. It was first performed at the Opéra de Paris on 25 June 1910 and was an immediate success, catapulting Stravinsky to international fame and leading to future Diaghilev–Stravinsky collaborations including Petrushka (1911) and The Rite of Spring (1913). The Firebird mortal and supernatural elements are distinguished with a system of leitmotifs placed in the harmony dubbed "leit-harmony". Stravinsky intentionally used many specialist techniques in the orchestra, including ponticello, col legno, flautando, glissando, and flutter-tonguing. Set in the evil immortal Koschei's castle, the ballet follows Prince Ivan, who battles Koschei with the help of the magical Firebird. Stravinsky later created three concert suites based on the work: in 1911, ending with the "Infernal Dance"; in 1919, which remains the most popular today; and in 1945, featuring significant reorchestration and structural changes. Other choreographers have staged the work with Fokine's original choreography or created entirely new productions using the music, some with new settings or themes. Many recordings of the suites have been made; the first was released in 1928, using the 1911 suite. A film version of the popular Sadler's Wells Ballet production, which revived Fokine's original choreography, was produced in 1959.

The Fountain of Bakhchisarai

Ballet · 1934

The ballet opens at Bakhchisarai Palace, where Khan Girey is seated surrounded by his court. Dancers try to entertain him but he is oblivious to his surroundings, staring at water trickling from a fountain. The scene shifts back in time to the palace of a Polish nobleman, where a ball is being held for the engagement of Maria, the daughter of the house, to the young noble Vaslav. Suddenly lurking Tartars led by Khan Girey scale the walls and attack the guests. After a vicious fight in which the Khan kills Vaslav, the palace is looted and torched and the women carried away as part of the booty. Maria hides her face, but the Khan tears away her scarf and is mesmerized by her beauty. The Khan and his warriors return to Bakhchisarai Palace where he is greeted by Zarema, his harem favorite. While Zarema, who obviously loves him, is overjoyed at his return, the Khan ignores her completely in his preoccupation with Maria. He has Maria installed in an apartment isolated from the harem and visits her there. Laying his heart at her feet he tries to make her love him, but Maria is appalled and rejects him. In their brief struggle the Khan's hat falls to the floor. The Khan returns to the court where Zarema tries to win his attention by dancing for him, but he rejects her and she collapses in despair. During the night Zarema steals out of the harem and past the guards to visit Maria in her chamber. She tries to tell Maria how desperately she loves the Khan, finally drawing a concealed dagger to stab her unwilling rival. At first afraid, Maria stands before Zarema and opens her arms wide, showing Zarema that she would welcome death. Zarema is stunned and falls to the ground. Maria tries to comfort her, but Zarema has seen the Khan's hat on the floor. Fearing the worst, she is again inflamed with jealousy. As the Khan and his guards rush in to try and stop her, Zarema breaks free and stabs Maria to death. The Khan draws his own dagger to kill Zarema, but she kneels down in front of him and offers her chest to the knife, just as Maria did. The Khan cannot kill her, but commands the guards to take her away to be flung to her death from the palace walls. In the court, Khan Girey sits, devastated, and stares at the Fountain of Tears, as his orders are carried out.

The Four Temperaments

Ballet · 1946

The Four Temperaments or Theme and Four Variations (The Four Temperaments) is an orchestral work and ballet by Paul Hindemith. Although it was originally conceived as a ballet for Léonide Massine, However, Balanchine created the choreography a few years later. The ballet, The Four Temperaments was the first work Balanchine made for the Ballet Society, the forerunner of the New York City Ballet, and premiered on November 20, 1946, at the Central High School of Needle Trades, New York, during the Ballet Society's first performance. Though critics at the premiere did not receive the ballet well, it was later acknowledged as a "masterpiece," and was revived by ballet companies worldwide.

The Golden Age (Shostakovich)

Ballet · 1930

The ballet is a satirical take on the political and cultural change in 1920s Europe. It follows a Soviet football (soccer) team in a Western city where they come into contact with many politically incorrect antagonistic characters such as the Diva, the Fascist, the Agent Provocateur, the Negro and others. The team falls victim to match rigging, police harassment, and unjust imprisonment by the evil bourgeoisie. The team is freed from jail when the local workers overthrow their capitalist overlords. The ballet ends with a dance of solidarity between the workers and the football team. Shostakovich himself was a very keen football follower, and is said to have coined the expression "Football is the ballet of the masses". Prelude Act I, Scene 1, The Golden Age of Industry Exhibition: Procession of the Guests of Honour Act I, Scene 1, The Golden Age of Industry Exhibition: Inspection of the Display Windows Act I, Scene 1, The Golden Age of Industry Exhibition: Demonstration of Important Exhibits - Appearance of the Soviet Football Team Act I, Scene 1, The Golden Age of Industry Exhibition: Magician-Advertising Agent - Dance of the Hindu Act I, Scene 1, The Golden Age of Industry Exhibition: Boxing as an Advertising Stunt Act I, Scene 1, The Golden Age of Industry Exhibition: Scandal during the Boxing Match - Entrance of the Police Act I, Scene 2, Exhibition Hall: Dance of the Golden Youths Act I, Scene 2, Exhibition Hall: Dance of Diva: Adagio Act I, Scene 2, Exhibition Hall: Appearance of the Soviet Football Team and Diva's Variations Act I, Scene 2, Exhibition Hall: Soviet Dance Act I, Scene 2, Exhibition Hall: Diva asks the Leader of the Soviet Team to Dance with Her Act I, Scene 2, Exhibition Hall: Dance and Scene of the Diva and the Fascist Act I, Scene 2, Exhibition Hall: Dance of the Black Man and 2 Soviet Football Players Act I, Scene 2, Exhibition Hall: The Supposed Terrorist, "The Hand of Moscow" Act I, Scene 2, Exhibition Hall: General Confusion - The Embarrassment of the Fascists Act I, Scene 2, Exhibition Hall: A Rare Case of Mass Hysteria Act I, Scene 2, Exhibition Hall: Conversation between the Director of the Exhibition and the Fascist Act I, Scene 2, Exhibition Hall: Foxtrot... foxtrot... foxtrot Act II, Scene 3, A Street in the Same City: Mime of the Agents Provocateurs, Provocation and Arrest: Galop Act II, Scene 4, Workers' Stadium: Procession of the Workers to the Stadium - Dance of the Young Pioneers - Sports Games Act II, Scene 4, Workers' Stadium: Football March Act II, Scene 4, Workers' Stadium: Intermezzo, "Everybody amuses oneself in one's own way" Act II, Scene 4, Workers' Stadium: Dance of the Western Komsomol Girl and 4 Sportsmen Act II, Scene 4, Workers' Stadium: Sports Contests - Joint Sports Dance Act II, Scene 4, Workers' Stadium: Scene and Exit of the Soviet Team Act III: Entr'acte, "Tea for Two" Act III, Scene 5, Music Hall: Chechotka, "Shoe Shine of the Highest Grade" Act III, Scene 5, Music Hall: Tango Act III, Scene 5, Music Hall: Polka, "Once upon a Time in Geneva" - Polka, "Angel of Peace" Act III, Scene 5, Music Hall: The Touching Coalition of the Classes, slightly fraudulent Act III, Scene 5, Music Hall: Entrance of Diva and the Fascist - Their Dance Act III, Scene 5, Music Hall: Can-can Act III, Scene 6, Prison Building: Prelude Act III, Scene 6, Prison Building: Scene of the Freeing of the Prisoners Act III, Scene 6, Prison Building: Total Unveiling of the Conspiracy - The Bourgeoisie in Panic Act III, Scene 6, Prison Building: Final Dance of Solidarity

The Hard Nut

Ballet · 1991

While resetting the ballet in a 1960s-style American town and costuming it garishly and making the characters rather cartoonlike (the toy soldiers are an army of G.I. Joes), the overall plot of The Nutcracker was rather faithfully followed, to the point of including a pantomime version of "The Story of the Hard Nut," the tale-within-a-tale of E.T.A. Hoffmann's "The Nutcracker and the Mouse King" in Act II, to explain how Drosselmeyer's nephew was turned into the Nutcracker. This section is usually not included, not even in Tchaikovsky's original version. Princess Pirlipat is turned into a pig-snouted creature as a baby by the vengeful Mouse Queen, and Drosselmeyer searches the world for a way to break the spell, thus ushering the famous Danses caracterisques of Act II. The only one able to do so is Drosselmeyer's nephew, who, after biting a hard nut, breaks the spell placed on Princess Pirlipat, but is turned into a Nutcracker. Princess Pirlipat promptly rejects him, whereupon Clara (here called Marie) declares her love for him and the spell on Drosselmeyer's nephew is broken.

The Haunted Ballroom

Ballet · 1934

Set in a haunted ballroom, the ballet tells how the heads of the family of Treginnis are under a curse that leads to their deaths, dancing with ghostly partners. Three guests at a ball in another part of the Tregennis house persuade the heir of Treginnis to show them the haunted ballroom. Fascinated, they want to dance, but are stopped by the master of the house. They leave and he is left alone, realising that the ghosts will come for him. Shapes appear, led by a thinly cloaked figure. Three of the ghosts resemble the young women who had strayed into the room. Treginnis seeks to dance with them, but Death intervenes. and the ballet closes with Tregennis's young son realising that he too will meet the same death.

The Incredible Flutist

Ballet · 1938

The Incredible Flutist is a ballet composed by Walter Piston in 1938, his only composition for the stage. The ballet received its premiere by the Boston Pops under Arthur Fiedler on May 30 of that year. The libretto, written by Piston and Hans Wiener, describes a marketplace teeming with activity and enlivened by a circus. A flutist acts as a snake charmer and also charms women. A rich widow flirts with a merchant, is discovered by her lover, faints, and is revived by the flutist's music. The circus then leaves the square. Piston extracted an orchestral suite from the ballet, which was premiered on November 22, 1940, by the Pittsburgh Symphony under Fritz Reiner. The suite is in thirteen movements: Introduction "Siesta Hour in the Marketplace and Entrance of the Vendors" "Dance of the Vendors" "Entrance of the Customers" "Tango of the Four Daughters" "Arrival of Circus and Circus March" "Solo of the Flutist" Minuet – "Dance of the Widow and Merchant" "Spanish Waltz" "Eight O'Clock Strikes" Siciliano – "Dance of the Flutist and the Merchant's Daughter" Polka Finale Elliott Carter commented on how Piston avoided the use of a particular musical geographic "pastiche" style in the music, which could have made the setting specific to one geography, and noted that the village can be "any village" in this setting.

The Kermesse in Bruges

Ballet · 1851

At a church fair (or kermesse) in 17th century Bruges three brothers (Adrian, Geert, and Carelis) receive magical gifts from the alchemist Mirewelt. The two older brothers, Adrian and Geert, leave their sweethearts behind and set off into the world with their gifts (a sword and a ring) to seek their fortunes. The magical gifts bring disappointment to the two men but, back home, the brothers discover Carelis' magic lute brings happiness to all. Adrian, Geert, and Mirewelt are charged with sorcery and sentenced to death at the stake, but Carelis appears and his magic lute sets everyone to dancing joyfully. The condemned are released and reunited with their sweethearts while Carelis and Eleonore, the alchemist's daughter, embrace. Carelis' magic lute is locked away in a chest, to be taken out only at the yearly kermesse.

The King's Command or The Pupils of Dupré

Ballet · 1886

The King's Command (also known as L'Ordre du Roi, or Les Élèves de Dupré) is a ballet in 4 Acts-6 Scenes, with choreography by Marius Petipa and music composed by Albert Vizentini. The work was first presented by the Imperial Ballet on, 1886 at the Imperial Bolshoi Kamenny Theatre in St. Petersburg, Russia, with Virginia Zucchi (as Pepita), Pavel Gerdt (as Pepito), Enrico Cecchetti (as Dupré), and Lev Ivanov (as Milon) in the leading roles. This was the last ballet to be given at the St. Petersburg Imperial Bolshoi Kamenny Theatre before it was demolished in 1886.

The Lady and the Fool

Ballet · 1954

During a prelude the curtain rises on a dark street with couples on their way to a ball (music from Alzira).; A sad theme (Jérusalem) marks the entrance of two poor clowns, Moondog and Bootface who head for an empty bench in the street, where they fall asleep. On her way to the ball and beautifully dressed, La Capricciosa notices the two ragged clowns, wakes them up and asks them to dance for her (Alzira).; The clowns dance a grotesque divertissement; La Capricciosa is delighted by their dance and sweeps them both along with her to the ball. In a splendid reception room at the palace of Signor Midas guests arrive (music from Il finto Stanislao and Giovanna d'Arco). Signor Midas greets everyone, welcomes the entrance of the dashing Capitano Adoncino (Il finto Stanislao, Aroldo, Les vêpres siciliennes) and the romantic Prince of Arroganza. The host and his guests are pursued by two debutantes looking for a rich husband, but the men eagerly await the arrival of La Capricciosa. At the height of a tarantella, a fanfare announces her arrival, and she dances a brilliant solo (I due Foscari) and introduces the two clowns, who then perform for the guests, with a scene based on a quarrel over a rose (Il finto Stanislao, Aroldo). An off-stage band summons the guests to dance, leaving the masked La Capricciosa with her three suitors (Ernani).They at first dance together (I due Foscari) then one by one the men tears a mask from her face – only to reveal another mask underneath; first Midas (Ernani, I masnadieri), then the Prince (I masnadieri, Macbeth, I due Foscari) and finally Adoncino (Macbeth, Attila), but they are rejected, and retire.; Alone, La Capricciosa removes her final mask, and at that moment Moondog enters and falls instantly in love with her (Attila). The off-stage band strikes up again and all re-enter, leading to several dances for Midas (Jérusalem), the Prince (Ernani, I Lombardi alla prima crociata) the husband-hunting debutantes (Il finto Stanislao, Oberto), Adoncino, with a pas de cinq to finish (Jérusalem, Attila). La Capricciosa enters, soon followed by Moondog (Les vêpres siciliennes) who makes passionate advances to her. She eventually allows her love to overwhelm her and they dance a pas de deux (Aroldo, I masnadieri).; After an ensemble in which Bootface tries to attracts the debutantes (Ernani, I Lombardi alla prima crociata, Les vêpres siciliennes), La Capricciosa enters. Despite the pleas of her three suitors, she points out Moondog, and they embrace to the horror of the guests who leave the room (Aroldo, Luisa Miller). La Capricciosa helps Moondog to his feet and they slowly go off, leaving a disconsolate Bootface; but they return and take him with them (Ernani, Aroldo). In the final scene, back in the street, all three curl up to sleep on the bench (Jérusalem, Aroldo).

The Lady in the Ice

Ballet · 1953

The Lady in the Ice is a 1953 ballet composed by Jean-Michel Damase, choreographed by Roland Petit, and directed by Orson Welles, based on an idea by Welles. Welles also wrote the libretto and was the ballet's costume and set designer. Richard Negri was the assistant designer. It was Welles's only attempt at a ballet. The ballet was staged by the Ballet de Paris, premiering on 7 September 1953 at the Stoll Theatre in London. The cast included Colette Marchand, Georges Reich, and Joe Milan. Later in 1953 the ballet was produced by Petit in Paris, as Une femme dans la glace. Welles discussed the production with Peter Bogdanovich in the book This Is Orson Welles: It was very successful in London, and only moderately so in Paris, where it was very badly lit — as everything always is in Paris. The plot is: a girl's been found, like dinosaurs have been found, in a block of ice. And she's on display in a sort of carnival. A young man falls in love with her, and his love melts the ice. And when she kisses him, he turns to ice. A little parable for our times.

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