Originally presented by American Ballet Caravan, Rio de Janeiro, 1941, titled Ballet Imperial. While the choreography is essentially the same as the New York City Ballet version of 1964, the Imperial Russian décor and tutus used in 1941, and all productions thereafter were replaced in 1973 by simple chiffon dresses and a plain backdrop.
New Productions by Balanchine Companies
1979, New York City Ballet: New costumes by Ben Benson
349. Ballet Imperial 1964
(from 1973 called TSCHAIKOVSKY PIANO CONCERTO NO. 2)
Peter Ilyitch Tschaikovsky (Piano Concerto No. 2 in G major, Op. 44, 1879, abridged, rewritten and rearranged by Alexander Siloti)
George Balanchine. Staged by Frederic Franklin
Scenery by Rouben Ter-Arutunian (based on the 1941 production). Costumes by Karinska
October 15, 1964, New York City Ballet, New York State Theater. Conductor: Robert Irving. Pianist: Gordon Boelzner
Suzanne Farrell, Jacques d’Amboise; Patricia Neary; Frank Ohman, Earle Sieveling; 2 female demi-soloists; 12 women, 6 men.
ALLEGRO BRILLANTE–ANDANTE; ANDANTE NON TROPPO; ALLEGRO CON FUOCO
*194. Ballet Imperial, 382. Tschaikovsky Piano Concerto No. 2
Originally presented by American Ballet Caravan, Rio de Janeiro, 1941; danced in 1942 as part of New Opera Company programs with rechoreographed ballerina cadenza, and in somewhat altered form by the Ballet Russe de Monte Carlo in 1944. The 1964 production was based on the 1944 version, to which Balanchine then made a number of changes.
Originally presented by the American Ballet, New York, 1935. At the invitation of Nelson A. Rockefeller, Coordinator of Inter-American Affairs, Balanchine and Lincoln Kirstein formed American Ballet Caravan, bringing together members of the former American Ballet and of Ballet Caravan for a five-months tour of South America. Serenade was presented in repertory with other ballets, including Balanchine’s Ballet Imperial, Concerto Barocco, Divertimento, Errante, Apollo, The Bat, and Fantasia Brasileira.