Balanchine Catalogue Archive
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376. Divertimento from 'Le Baiser de la Fée' 1972
- Music
Igor Stravinsky (excerpts from the full-length ballet, Le Baiser de la Fée, 1928)
- Choreography
George Balanchine
- Production
Costumes by Eugene Berman (from Roma [306]). Lighting by Ronald Bates
- Premiere
June 21, 1972, New York City Ballet, New York State Theater. Conductor: Robert Irving
- Cast
Patricia McBride, Helgi Tomasson; Bettijane Sills, Carol Sumner, 10 women
Performance Type
Ballet
See Also
-
133.7. La Prédiction,
*178. Le Baiser de la Fée,
271. The Fairy's Kiss (Le Baiser de la Fée)
Video Archives Recording
George Balanchine Foundation Interpreters Archive (male solo), forthcoming
Note
Included in the Stravinsky Festival. Unlike Balanchine’s earlier staging of Le Baiser de la Fée as a narrative ballet, the Divertimento tells no story, although certain sections suggest quest and foreboding. Despite the ballet’s title, it appears that Stravinsky’s Divertimento concert suite of 1934 did not figure in Balanchine’s musical selections, which he drew (and edited extensively) from the full ballet score of 1928. (Some but not all of the same musical material occurs in the Divertimento.) (See FESTIVALS DIRECTED BY BALANCHINE.)
Additional Productions
Revisions
1974, New York City Ballet: New pas de deux (with ensemble) added; two principal dancers bid farewell in elegiac conclusion to music from the score of Le Baiser de la Fée that incorporates Tchaikovsky’s ‘None But the Lonely Heart’; some years later the ending of the male solo was modified to include deeper knee bends.
Stagings
2001 Chautauqua Institution (New York)
2022 City Ballet of San Diego
Recorded Performances
Videos/DVD
2002, George Balanchine Foundation, Music Dances: Balanchine Choreographs Stravinsky (male solo)
Film
1973, RM Productions
Television
1973 (RM Productions)
Source Notes
Additional music information provided by Gordon Boelzner, Stephanie Jordan; additional revisions information provided by Nancy Goldner, Patricia McBride, Helgi Tomasson
271. The Fairy's Kiss (Le Baiser de la Fée) 1950
Ballet-Allegory in Four Scenes
- Music
Igor Stravinsky (1928, commissioned by Ida Rubinstein, dedicated to Peter Ilyitch Tchaikovsky). Based on a tale by Hans Christian Andersen (The Ice Maiden)
- Choreography
George Balanchine
- Production
Scenery and costumes by Alice Halicka (from the 1937 production). Lighting by Jean Rosenthal
- Premiere
November 28, 1950, New York City Ballet, City Center of Music and Drama, New York. Conductor: Leon Barzin
- Cast
The Fairy, Maria Tallchief; The Bride, Tanaquil Le Clercq; Her Friend, Patricia Wilde; The Bridegroom, Nicholas Magallanes; His Mother, Beatrice Tompkins; Shadow, Helen Kramer; Winds, Snowflakes, Mountaineers, Bridesmaids, Peasants
Performance Type
Ballet
See Also
-
133.7. La Prédiction,
*178. Le Baiser de la Fée,
376. Divertimento from 'Le Baiser de la Fée'
Note
Originally presented by the American Ballet (Stravinsky Festival), New York, 1937.
178. Le Baiser de la Fée 1937
(also called THE FAIRY’S KISS) Ballet-Allegory in Four Scenes
- Music
Igor Stravinsky (1928, commissioned by Ida Rubinstein, dedicated to Peter Ilyitch Tchaikovsky). Based on a tale by Hans Christian Andersen (The Ice Maiden)
- Choreography
George Balanchine
- Production
Scenery and costumes by Alice Halicka. Scenery painted by Joseph Novak; costumes executed by Theatrical Costume Company and American Ballet Studio: Eudoxia Mironova, Marie Striga
- Premiere
April 27, 1937, American Ballet, Metropolitan Opera, New York. Conductor: Igor Stravinsky
- Cast
The Fairy, Kathryn Mullowny; The Bride, Gisella Caccialanza; Her Friend, Leda Anchutina; The Bridegroom, William Dollar; His Mother, Annabelle Lyon. FIRST TABLEAU, PROLOGUE: Mother; 2 Winds; Snowflakes, Anchutina, 21 women; Fairy; Her Shadow, Rabana Hasburgh; 8 Mountaineers. SECOND TABLEAU, THE VILLAGE FESTIVAL: Peasant Boys and Girls; Bridegroom; Bride; Bridesmaids, Anchutina, 7 women; A Gypsy (Disguised Fairy). THIRD TABLEAU, INSIDE THE MILL: DANCE OF THE PEASANT GIRLS: Anchutina, 16 women; PAS DE DEUX; BRIDE’S VARIATION; CODA (Bride, Bridegroom, Friend, corps de ballet); SCENE: Fairy, Bridegroom. FOURTH TABLEAU, EPILOGUE (BERCEUSE DE DEMEURES ETERNELLES): Fairy, Bridegroom
Performance Type
Ballet
See Also
-
133.7. La Prédiction,
176. Apollon Musagète,
271. The Fairy's Kiss (Le Baiser de la Fée),
376. Divertimento from 'Le Baiser de la Fée'
Video Archives Recording
George Balanchine Foundation Archive of Lost Choreography (Bride and Bridegroom pas de deux; Bride’s solo), 1998; (Gypsy pas de deux), 1998.
Note
Stravinsky used the story of The Ice Maiden, with its theme of the muse’s fatal kiss, to compose an homage to Tchaikovsky. The Fairy implants her magic kiss on a child at birth. When the child has grown to young manhood and good fortune, the Fairy reappears at his wedding fête; repeating the kiss, she leads the young man (the artist in allegory) to abandon his bride and dwell with her forever.
The score was first choreographed by Bronislava Nijinska in 1928 for Ballets Ida Rubinstein. Balanchine created a new ballet in 1937. In 1972, he choreographed Divertimento from ‘Le Baiser de la Fée’ [376] for the New York City Ballet Stravinsky Festival, using musical selections from the full ballet score. (see FESTIVALS DIRECTED BY BALANCHINE.)
The score was first choreographed by Bronislava Nijinska in 1928 for Ballets Ida Rubinstein. Balanchine created a new ballet in 1937. In 1972, he choreographed Divertimento from ‘Le Baiser de la Fée’ [376] for the New York City Ballet Stravinsky Festival, using musical selections from the full ballet score. (see FESTIVALS DIRECTED BY BALANCHINE.)
Additional Productions
Revisions
1940, Ballet Russe de Monte Carlo: Final scene changed several times.
1947, Paris Opéra: Final scene changed.
1950, New York City Ballet: Dance sequences in entr’actes between the tableaux lengthened; new EPILOGUE (changed several times to better create illusion of Fairy and Bridegroom swimming through space).
1947, Paris Opéra: Final scene changed.
1950, New York City Ballet: Dance sequences in entr’actes between the tableaux lengthened; new EPILOGUE (changed several times to better create illusion of Fairy and Bridegroom swimming through space).
Stagings
1940 – Ballet Russe de Monte Carlo
1947 – Paris Opera Ballet
1950 – New York City Ballet
1953 – Teatro alla Scala (Milan)
2011 – Pacific Northwest Ballet
2011 – Suzanne Farrell Ballet
Source Notes
Maria Tallchief (revisions)
133.1. Caprice 1932
- Music
Henri Sauguet, orchestrated by Vittorio Rieti
- Choreography
George Balanchine
- Production
Costume by Christian Bérard
- Premiere
June 29, 1932, Théâtre des Champs-Élysées, Paris. Conductor: Roger Désormière. (Earlier in the summer performed in Brussels, for which no program has been found.)
- Cast
Alice Nikitina
Performance Type
Concert Works
See Also
-
133.2. Diana and Acteon,
133.3. La Naïade,
133.4. Galop,
133.5. Galathée,
133.6. Gavotte Russe,
133.7. La Prédiction,
133.8. Variation,
133.9. La Leçon de Danse
Note
One of nine numbers choreographed by Balanchine for a concert program for Nikitina, partnered by Anatole Vilzak, with themes by Boris Kochno.
Source Notes
This and other numbers in the same concert (133.1-133.9) are described in Nikitina: By Herself, pp. 113-15. Concert program located by Barbara Newman.
133.1a. [Dances for Josephine Baker] 1932
- Choreography
George Balanchine
Performance Type
Concert Works
Note
According to Lincoln Kirstein, Balanchine may have choreographed dances for Josephine Baker in Paris in 1932, probably for the Casino de Paris.
Source Notes
Lincoln Kirstein quoted in Sally Banes, ‘Balanchine and Black Dance,’ in Writing Dance in the Age of Postmodernism (Middletown, CT: Wesleyan University Press, 1994), p. 58; information provided by Beth Genné.
