Cat 339 Archives - The George Balanchine Foundation

Balanchine Catalogue Archive

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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 II: 4 men;
VARIATION III: Merrill Ashley;
PAS DE DEUX: Hayden, d’Amboise

Performance Type

Ballet

See Also

Video Archives Recording

George Balanchine Foundation Archive of Lost Choreography (VARIATIONS I, III), 2000

Note

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

Revisions

New York City Ballet: some years later, apotheosis eliminated.

Alexander Glazounov (Raymonda, excerpts from Act III, Op. 57, produced 1898)

George Balanchine, after Marius Petipa

Costumes by Esteban Francés. Lighting by Jean Rosenthal

November 9, 1955, New York City Ballet, City Center of Music and Drama, New York. Conductor: Leon Barzin

Maria Tallchief, André Eglevsky; Barbara Fallis, Constance Garfield, Jane Mason, Barbara Walczak, Shaun O’Brien, Roy Tobias, Roland Vazquez, Jonathan Watts

Performance Type

Ballet

See Also

Video Archives Recording

George Balanchine Interpreters Archive (ballerina solo, excerpts from finale), 1996; George Balanchine Archive of Lost Choreography (ballerina solo), 2000

Note

Using much of the same music as the PAS CLASSIQUE HONGROIS from Act III of Raymonda [233], the work is composed of solos, two pas de deux, a duet for two women, and a quartet for four men, concluding with bravura measures for the ballerina. Some of the choreography corresponds closely to the Stepanov notation of Petipa’s Raymonda (made some years after the ballet’s premiere); much is new. In 1960, for the San Francisco Ballet’s Variations de Ballet, parts of Pas de Dix were combined with choreography by Lew Christensen to Glazounov’s suite Scènes de Ballet, Op. 52 (revised 1981).

Additional Productions

Revisions

New York City Ballet: Often performed without male pas de quatre and sometimes without first two of three variations for female soloists.

Stagings

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1958   Eglevsky Ballet Company
1960   Joffrey Ballet
1960   San Francisco Ballet (as part of Christensen’s Variations de Ballet)
1961   New England Civic (in 1964 became Boston Ballet)
1962   Ballett der Hamburgischen Staatsoper (Hamburg, Germany)
1962   Eglevsky Ballet Company
1962   Royal Winnipeg Ballet
1963   Paris Opera Ballet
1963   Pennsylvania Ballet
1964   Dutch National Ballet
1965   Ballet of Los Angeles
1965   Ballett der Buhnen Stadt Koln (Cologne)
1966   Den Norske Opera [Ballet] (Norway)
1967   Joffrey Ballet
1968   Huntington Dance Ensemble (Long Island, New York; later became P. A. F. [Performing Arts Foundation] Dance Ensemble; disbanded)
1969   Houston Ballet
1970   Dance Repertory Company (New York City; disbanded)
1972   Pittsburgh Ballet Theatre
1973   Ballet West
1974   Los Angeles Ballet
1974   Royal New Zealand Ballet
1975   Cincinnati Ballet
1975   Milwaukee Ballet
1975   Stars of American Ballet (disbanded)
1976   Arizona Ballet Theatre (disbanded
1976   Dallas Ballet
1976   National Ballet Academy (later became National Ballet of Illinois; disbanded)
1976   Pacific Northwest Ballet
1977   Louisville Ballet
1977   Chicago Lyric Opera Ballet (in 1980 separated from Chicago Lyric Opera to form Chicago City Ballet [disbanded])
1978   Garden State Ballet (New Jersey)
1978   Philippine Ballet Theatre
1979   American Festival Ballet (Ballet Folk Company)
1980   Makarova and Company
1980   New Jersey Ballet
1981   Kansas City Ballet
1982   Mesa Civic Ballet (Arizona)
1982   North Carolina Dance Theatre
1982   Tulsa Ballet Theatre
1983   Kansas City Ballet
1983   Royal New Zealand Ballet
1985   Aterballetto-Centro Regionale della Danza (Reggio Emilia, Italy)
1987   Miami City Ballet
1988   Miami City Ballet
1988   Pittsburgh Ballet Theatre
1988   Universal Ballet Company (Korea)
1989   NAPAC Ballet (Natal Performing Arts Council—Durban, South Africa)
1992   NAPAC Ballet (Natal Performing Arts Council—Durban, South Africa)
1994   Memphis Concert Ballet
1994   Miami City Ballet
1995   Ballet Austin
1995   Royal Winnipeg Ballet
1996   Miami City Ballet
2003   Banff Center (Alberta, Canada)
2007   Kansas City Ballet
2013   Suzanne Farrell Ballet, The

Recorded Performances

Videos/DVD

2003, VAI, The Art of Maria Tallchief (excerpts [1957]);
2014 Video Artists International, New York City Ballet in Montreal, Vol. 2 (complete recorded 1957)

Television

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1957 (CBC [Montreal], L’Heure du Concert)

Source Notes

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Additional revisions information provided by Arlene Croce; Stepanov information provided by Doug Fullington

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

Ballet

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.

Note

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

Revisions

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.

Stagings

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(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

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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

Ballet

See Also

Note

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

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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.