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Alexander Glazounov (from Raymonda, Op. 57, produced 1898)
George Balanchine
Scenery and costumes by Rouben Ter-Arutunian. Lighting by Ronald Bates
May 17, 1973, New York City Ballet, New York State Theater. Conductor: Robert Irving. (Preview: Annual New York City Ballet Gala Benefit, May 16.)
Melissa Hayden, Jacques d’Amboise [classical]; Karin von Aroldingen, Jean-Pierre Bonnefous [character]; 16 couples.
CZARDAS: von Aroldingen, Bonnefous;
PAS DE QUATRE: 4 women;
VARIATION I: Colleen Neary;
VARIATION III: Merrill Ashley;
PAS DE DEUX: Hayden, d’Amboise
Performance Type
See Also
Video Archives Recording
George Balanchine Foundation Archive of Lost Choreography (VARIATIONS I, III), 2000
Created to honor Melissa Hayden on the occasion of her retirement. A suite of dances alternating classical and character styles, conceived in the tradition of the late works of Petipa. The ballerina’s variation, deriving from Raymonda [233] is the same as that in Pas de Dix [309]. In the apotheosis the entire cast pays homage to the ballerina.
Additional Productions
New York City Ballet: some years later, apotheosis eliminated.
Alexander Glazounov (from Raymonda, Op. 57, produced 1898)
George Balanchine
Scenery by Horace Armistead (from Lilac Garden [Tudor], 1951). Costumes by Karinska. Lighting by David Hays
December 7, 1961, New York City Ballet, City Center of Music and Drama, New York. Conductor: Robert Irving
VALSE: Patricia Wilde, 12 women;
PAS DE DEUX: Wilde, Jacques d’Amboise;
VARIATION I: Victoria Simon;
VARIATION II: Suki Schorer;
VARIATION V: Gloria Govrin;
VARIATION VI: Carol Sumner;
VARIATION VII: Patricia Neary;
CODA AND FINALE: Wilde, d’Amboise, ensemble
Performance Type
See Also
Video Archives Recording
George Balanchine Foundation Interpreters Archive (PAS DE DEUX; VARIATIONS IV, IX), 1996; George Balanchine Foundation Archive of Lost Choreography (VARIATIONS II, III), 2000
To selections from the score of Raymonda, Balanchine developed in his twentieth-century terms the heritage of the three-act Petipa original of 1898. Unlike Pas de Dix [309] and Cortège Hongrois [384], also set to various excerpts from Raymonda, the choreography is completely new; there are no Petipa quotations.
Additional Productions

1958   Eglevsky Ballet Company
1966   Eglevsky Ballet Company
1967   Atlanta Ballet
1968   Geneva Ballet (Grand Theatre de Geneve [Ballet])
1971   Houston Ballet (titled Waltz and Variations)
1973   Los Angeles Ballet
1975   Pennsylvania Ballet
1976   Chicago Lyric Opera Ballet (in 1980 separated from Chicago Lyric Opera to form Chicago City Ballet [closed])
1977   Pennsylvania Ballet
1981   Alabama Ballet/Ballet South
1982   Dance Theatre of Harlem
1982   Richmond Ballet, The State Ballet of Virginia
1983   Alabama Ballet/Ballet South
1983   Cincinnati Ballet
1983   Louisville Ballet
1983   Pittsburgh Ballet Theatre
1984   Atlanta Ballet
1985   Milwaukee Ballet
1986   Louisville Ballet
1986   Pittsburgh Ballet Theatre
1987   Texas Ballet (formerly Fort Worth Dallas Ballet)
1988   Cincinnati Ballet
1988   Pennsylvania Ballet
1989   Kansas City Ballet
1990   Pittsburgh Ballet Theatre
1990   Texas Ballet (formerly Fort Worth Dallas Ballet)
1991   Les Ballets de Monte-Carlo
1992   Pennsylvania Ballet
1993   Miami City Ballet
1993   Texas Ballet (formerly Fort Worth Dallas Ballet)
1995   Pennsylvania Ballet
1996   Carolina Ballet Theatre
1996   Miami City Ballet
1997   Ballet du Capitole de Toulouse
1997   Texas Ballet (formerly Fort Worth Dallas Ballet)
1998   Miami City Ballet
2000   Chautauqua Institution (New York)
2000   Kalamazoo Ballet Company
2001   Pennsylvania Ballet
2003   Pacific Arts Dance Center
2005   Pennsylvania Ballet
2007   Miami City Ballet
2007   North Carolina Dance Theatre
2008   Carolina Ballet
2008   The Portland Ballet
2011   Ballet du Capitole of Toulouse
2011   Los Angeles Ballet
2011   Pennsylvania Ballet
2013   Carolina Ballet
2015   Miami City Ballet
2019   Nevada Ballet Theatre
2020   Avant Chamber Ballet

Source Notes

Doug Fullington (Petipa quotations)

Ballet in Three Acts
Alexander Glazounov (Op. 57, produced 1898)
George Balanchine and Alexandra Danilova after Marius Petipa
Scenery and costumes by Alexandre Benois. Scenery executed by E. B. Dunkel Studios; costumes executed by Karinska
March 12, 1946, Ballet Russe de Monte Carlo, City Center of Music and, Drama, New York. Conductor: Ivan Boutnikoff. Violinist: Earle Hummel. Harpist: Marjorie Call
Raymonda, Alexandra Danilova; Jean de Brienne, Nicholas Magallanes; Emir Abd-er-Raham, the Saracen Knight, Nikita Talin. ACT I: Raymonda; Brienne; Friends of Raymonda, 3 women; Raymonda’s Page; Two Noblemen, Friends of Brienne; The White Lady, Protectress of the Castle, Joy Williams; The Seneschal of the Castle, G. Alexandroff; Peasant Girls, Marie-Jeanne, Gertrude Tyven [Gertrude Svobodina], 8 women; 4 Knights. ACT II: Raymonda; Brienne; Emir; Emir’s Favorite Slave, Leon Danielian; Slaves, Pauline Goddard, 4 women, 2 men; 4 Jongleurs; Jongleuses, Marie-Jeanne, 4 women. ACT III: DIVERTISSEMENTS: CZARDAS: Goddard, Stanley Zompakos, 6 couples; PAS DE TROIS: Tyven, Patricia Wilde, Danielian; PAS CLASSIQUE HONGROIS: Danilova, Magallanes; Marie-Jeanne, Ruthanna Boris, Maria Tallchief, Yvonne Chouteau, Herbert Bliss, Talin, Robert Lindgren, Ivan Ivanov (VARIATIONS: I. Tallchief; II. Chouteau; III. 4 men; IV. Marie-Jeanne; V. Boris; VI. Magallanes; VII. Danilova); FINALE: Entire cast.
Performance Type
See Also
Video Archives Recording
George Balanchine Foundation Archive of Lost Choreography (VARIATION VI, male solo from Act III), 1998; (VARIATIONS I, II, IV, V, VII, female solos from Act III, with solos from later Balanchine ballets to the same music), 2000.
This version derives from the Petipa original at the Maryinsky as remembered by Balanchine and Danilova, abbreviated and rechoreographed by Balanchine, retaining the Petipa style. The male pas de quatre and the ballerina’s variation in Act III (VARIATIONS III and VII of the PAS CLASSIQUE HONGROIS) are particularly close to the Petipa choreography, as set by Danilova. The other female solos in Act III (with the exception of Variation IV, below) are probably close to the Petipa originals as well. Balanchine provided new choreography for several waltzes, and in Act III, the Pas de Trois, Variation VI (male solo), and Variation IV. He and Danilova choreographed the finale together. The original was a full evening’s ballet for more than two hundred performers; the Balanchine-Danilova version lasted three-quarters of an evening, omitting much of the Petipa mime, and used the entire Ballet Russe de Monte Carlo company of about forty dancers. Frederic Franklin was scheduled to dance Jean de Brienne on opening night, but was injured. The central pas de deux from the Act III PAS CLASSIQUE HONGROIS, usually called Pas de Deux from Raymonda (and as often credited to Petipa as to Balanchine, who staged the Petipa choreography for Diaghilev in 1925), is frequently performed by a ballerina and cavalier as a concert piece. In 1955, Balanchine choreographed Pas de Dix [309] for the New York City Ballet, using much of the PAS CLASSIQUE HONGROIS music, but adding a fast finale (coda). The choreography, for the most part new, retained VARIATION III exactly; VARIATION VII (ballerina solo) was retained in essence, although made more brilliant and sultry. In 1973, Balanchine incorporated this version of VARIATION VII into Cortège Hongrois [384], a new work for the New York City Ballet using much of the Pas de Dix music. In 1961, Balanchine choreographed a completely different work to other selections from the Raymonda score for the New York City Ballet: Valses et Variations [339, retitled Raymonda Variations in 1963].
Additional Productions
Ballet Russe de Monte Carlo: Numerous small revisions including omission of some Act III VARIATIONS on tour; by September 1946, intermission between Acts I and II eliminated; 1947, White Lady and possibly other mime roles deleted; 1948, Act III given as Divertissements from Raymonda, although complete ballet remained in repertory.

(material from Act III divertissements performed under varying Raymonda titles [distinct from Valses et Variations (339, later retitled Raymonda Variations)]; most stagings include material from Pas De Dix [309]; choreography often not credited to Balanchine):

1959   Washington Ballet
1961   American Ballet Theatre (titled Grand Pas—Glazounov)
1962   Ballet de San Juan
1964   National Ballet (Washington, D.C.)
1967   Oklahoma City Ballet
1969   Minnesota Dance Theater
1970   North Carolina Dance Theatre
1972   Delta Festival Ballet
1974   Chicago City Ballet (Closed)
1975   Fairfax Ballet (Virginia)
1977   Cincinnati Ballet
1977   Louisville Ballet
1978   Maryland Ballet
1979   Princeton Ballet (New Jersey)
1980   Atlanta Ballet (until 1968 known as Atlanta Civic Ballet)
1982   Tulsa Ballet Theatre

Source Notes

Additional information about the conception of the ballet provided by Balanchine, Alexandra Danilova; additional revisions information provided by Frederic Franklin, Robert Lindgren, Nikita Talin, Maria Tallchief; additional stagings information provided by Lew Christensen, Frederic Franklin; structure of Pas de Dix clarified by Maria Tallchief. Additional information provided by Doug Fullington.

Probably by Alexander Glazounov (from Raymonda, Op. 57, produced 1898)
George Balanchine
June 1, 1923, Young Ballet, Alexandrovsky Hall, Duma, Petrograd
Nina Stukolkina, Mikhail Mikhailov
Performance Type
See Also
Although Spanish Dance does not appear on the poster announcing the first Evening of the Young Ballet, Yuri Slonimsky quotes Vera Kostrovitskaya’s recollection that it was presented at the concert (Slonimsky, p. 63). A work called Adagio, with Balanchine choreography to the music of Glazounov, appears on the announcement poster, but no other mention has been found.
Source Notes
Full documentation of Balanchine’s activities before he left the Soviet Union in 1924 is not possible. Printed programs of official performances at the Maryinsky Theater and Imperial Theater School in St. Petersburg exist, but none have been found for the performances given by the Young Ballet; a single poster announcing the opening concert is in the Museum of the Vaganova Academy of Russian Ballet. (The Maryinsky Theater was known as the State Maryinsky Theater between 1918 and 1920 and from 1920 to 1935 as the Petrograd/Leningrad State Academic Theater for Opera and Ballet. It was then called the Kirov Theater until 1991 when it again became the Maryinsky. The Imperial Theater School was renamed the Petrograd Theater School in 1918. Today it is the Vaganova School of Russian Ballet.) Research was carried out in Russia by Elizabeth Souritz (Moscow Institute of the History of the Arts) and the late Vera Krasovskaya (St. Petersburg, State Academy of Theater Art) and by Gunhild Schüller of the Institut für Theaterwissenschaft, University of Vienna, who visited Moscow and St. Petersburg in 1981. Major printed resources consulted were the newspapers Krasnaya gazeta and Zhizn iskusstva, the periodicals Teatr and Teatr i iskusstvo, and the weeklies of the Petrograd/Leningrad State Academic Theaters (Ezhenedel’nik petrogradskikh gosudarstvenniykh akademicheskikh teatrov; Ezhenedel’nik teatrov v Leningrade). Records 1-35 are based on the research of Souritz, Krasovskaya, and Schüller, on interviews conducted with Pëtr Gusev in St. Petersburg (Poel Karp, 1980) and with Balanchine, Alexandra Danilova, and Tamara Geva in New York (Nancy Reynolds and Gunhild Schüller, 1979-81), and on material from publications cited in full in the BIBLIOGRAPHY: Balanchine’s Complete Stories of the Great Ballets, Alexandra Danilova’s Choura, Tamara Geva’s Split Seconds, I Remember Balanchine (Francis Mason, ed., containing Yuri Slonimsky’s essay ‘Balanchine: The Early Years’ and the recollections of Geva, Danilova, and Stukolkina), the Maryinsky Theater’s exhibition catalogue Vek Balanchina – The Balanchine Century, 1904-2004, Mikhail Mikhailov’s My Life in Ballet, Natalia Roslavleva’s Era of the Russian Ballet, Bernard Taper’s Balanchine: A Biography, Robert Tracy’s Balanchine’s Ballerinas, and A.E. Twysden’s Alexandra Danilova.