Browse Titles - 162 results
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Alice
composed by David Del Tredici, 1937-; conducted by Ermanno Florio, 1954-; choreographed by Glen Tetley, 1926-2007; designed by Nadine Baylis, Nadine Baylis, Michael J. Whitfield and Gil Densham; produced by W. Paterson Ferns, 1945-, Cheryl Knapp, fl. 1991 and Norman Campbell, 1924-2004; performed by Karen Kain, 1951-, Kimberly Glasco, Rex Harrington, 1962-, Peter Ottman, Owen Montague, Joanne Kolomyjec, Jeremy Ransom, John Alleyne, Philippe Dubuc, Michael Greyeyes, Andrew Needhammer, Jacques Gorrissen, Hazaros Surmeyan, Stephanie Landry, Mark Raab and Clinton Luckett, National Ballet of Canada and National Ballet of Canada Orchestra (ArtHaus Musik, 1989), 1 hour 3 mins
"On a July afternoon in 1862, Charles Dodgson took a friend's 10 year old daughter Alice and her two sisters on a picnic. He improvised a story for the young girls which he later published under the pen name Lewis Carroll. The story was called "Alice's adventures in Wonderland". When Alice grew up she married Regi...
Sample
composed by David Del Tredici, 1937-; conducted by Ermanno Florio, 1954-; choreographed by Glen Tetley, 1926-2007; designed by Nadine Baylis, Nadine Baylis, Michael J. Whitfield and Gil Densham; produced by W. Paterson Ferns, 1945-, Cheryl Knapp, fl. 1991 and Norman Campbell, 1924-2004; performed by Karen Kain, 1951-, Kimberly Glasco, Rex Harrington, 1962-, Peter Ottman, Owen Montague, Joanne Kolomyjec, Jeremy Ransom, John Alleyne, Philippe Dubuc, Michael Greyeyes, Andrew Needhammer, Jacques Gorrissen, Hazaros Surmeyan, Stephanie Landry, Mark Raab and Clinton Luckett, National Ballet of Canada and National Ballet of Canada Orchestra (ArtHaus Musik, 1989), 1 hour 3 mins
Description
"On a July afternoon in 1862, Charles Dodgson took a friend's 10 year old daughter Alice and her two sisters on a picnic. He improvised a story for the young girls which he later published under the pen name Lewis Carroll. The story was called "Alice's adventures in Wonderland". When Alice grew up she married Reginald Hargreaves, had children and lived to the age of 82. But she never forgot Lewis Carroll. "Full many a year has slipped away since...
"On a July afternoon in 1862, Charles Dodgson took a friend's 10 year old daughter Alice and her two sisters on a picnic. He improvised a story for the young girls which he later published under the pen name Lewis Carroll. The story was called "Alice's adventures in Wonderland". When Alice grew up she married Reginald Hargreaves, had children and lived to the age of 82. But she never forgot Lewis Carroll. "Full many a year has slipped away since that golden afternoon that gave thee birth, but I can call it up almost as clearly as if it were yesterday."--- Opening frames.
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Date Written / Recorded
1988
Field of Study
Dance
Content Type
Performance
Performer / Ensemble
National Ballet of Canada, National Ballet of Canada Orchestra, Karen Kain, 1951-, Kimberly Glasco, Rex Harrington, 1962-, Peter Ottman, Owen Montague, Joanne Kolomyjec, Jeremy Ransom, John Alleyne, Philippe Dubuc, Michael Greyeyes, Andrew Needhammer, Jacques Gorrissen, Hazaros Surmeyan, Stephanie Landry, Mark Raab, Clinton Luckett
Contributor
Glen Tetley, 1926-2007, Ermanno Florio, 1954-, Nadine Baylis, Simon Bowers, Tom Wood, fl. 2000, Michael J. Whitfield, Gil Densham, W. Paterson Ferns, 1945-, Cheryl Knapp, fl. 1991, Norman Campbell, 1924-2004, David Del Tredici, 1937-, National Ballet of Canada, National Ballet of Canada Orchestra, Jeff Herd, fl. 1973, Ernest Abugov, fl. 1975
Author / Creator
Glen Tetley, 1926-2007, David Del Tredici, 1937-, National Ballet of Canada, National Ballet of Canada Orchestra, Karen Kain, 1951-, Kimberly Glasco, Rex Harrington, 1962-, Peter Ottman, Owen Montague, Joanne Kolomyjec, Jeremy Ransom, John Alleyne, Philippe Dubuc, Michael Greyeyes, Andrew Needhammer, Jacques Gorrissen, Hazaros Surmeyan, Stephanie Landry, Mark Raab, Clinton Luckett
Date Published / Released
1989
Publisher
ArtHaus Musik
Topic / Theme
Dance, Alice Pleasance Liddell Hargreaves, Alice, Lewis Carroll, Reginald Hargreaves, Dormouse, Gryphon, Cook, White Rabbit, Mad Hatter, March Hare, Queen of Hearts, King of Hearts, Knave of Hearts, Caterpillar, Mock Turtle, Duchess
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Alonzo King - Poet of Dance
directed by Marita Stocker, fl. 2010-2017; produced by Erwin Sturzer, fl. 2003 and Torsten Bönnhoff, fl. 2012, Monarda Arts, ZDF Television and 3Sat; performed by Caroline Rocher, fl. 1999, Courtney Henry, fl. 2011, Zack Tang, 1988-, Kara Wilkes, fl. 2001, Laurel Keen, fl. 2002, Ricardo Zayas, fl. 2005, Victor M. Arellano, 1978-, Meredith Webster, 1982-, Michael Montgomery, fl. 2010, David Harvey, fl. 2008, Keelan Whitmore, fl. 2001, Kim Yujin, fl. 2005 and Ashley Jackson, 1987-, Alonzo King LINES Ballet, in Alonzo King - Poet of Dance (Halle, Saxony-Anhalt: ArtHaus Musik, 2012), 52 mins
The choreographer Alonzo King, acclaimed as “one of the few, true Ballet Masters of our times” by world-famous William Forsythe, works with his company The Alonzo King LINES Ballet in San Francisco. Before founding LINES Ballet in 1982 King has been working for companies around the world, including the Frankfu...
Sample
directed by Marita Stocker, fl. 2010-2017; produced by Erwin Sturzer, fl. 2003 and Torsten Bönnhoff, fl. 2012, Monarda Arts, ZDF Television and 3Sat; performed by Caroline Rocher, fl. 1999, Courtney Henry, fl. 2011, Zack Tang, 1988-, Kara Wilkes, fl. 2001, Laurel Keen, fl. 2002, Ricardo Zayas, fl. 2005, Victor M. Arellano, 1978-, Meredith Webster, 1982-, Michael Montgomery, fl. 2010, David Harvey, fl. 2008, Keelan Whitmore, fl. 2001, Kim Yujin, fl. 2005 and Ashley Jackson, 1987-, Alonzo King LINES Ballet, in Alonzo King - Poet of Dance (Halle, Saxony-Anhalt: ArtHaus Musik, 2012), 52 mins
Description
The choreographer Alonzo King, acclaimed as “one of the few, true Ballet Masters of our times” by world-famous William Forsythe, works with his company The Alonzo King LINES Ballet in San Francisco. Before founding LINES Ballet in 1982 King has been working for companies around the world, including the Frankfurt Ballet, the Joffrey Ballet, the Dance Theatre of Harlem, the Alvin Ailey American Dance Theatre, the Washington Ballet and the Hong...
The choreographer Alonzo King, acclaimed as “one of the few, true Ballet Masters of our times” by world-famous William Forsythe, works with his company The Alonzo King LINES Ballet in San Francisco. Before founding LINES Ballet in 1982 King has been working for companies around the world, including the Frankfurt Ballet, the Joffrey Ballet, the Dance Theatre of Harlem, the Alvin Ailey American Dance Theatre, the Washington Ballet and the Hong Kong Ballet. With its global perspective on dance the LINES Ballet attracts worldwide attention combining modern dance and classical ballet. Alonzo King gives his dancers the chance to get involved into the creative process of the choreography. Critics often comment on the “new language” or “re-invention of form” arising in King‘s choreographies.
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Field of Study
Dance
Content Type
Documentary
Performer / Ensemble
Alonzo King LINES Ballet, Caroline Rocher, fl. 1999, Courtney Henry, fl. 2011, Zack Tang, 1988-, Kara Wilkes, fl. 2001, Laurel Keen, fl. 2002, Ricardo Zayas, fl. 2005, Victor M. Arellano, 1978-, Meredith Webster, 1982-, Michael Montgomery, fl. 2010, David Harvey, fl. 2008, Keelan Whitmore, fl. 2001, Kim Yujin, fl. 2005, Ashley Jackson, 1987-
Contributor
Erwin Sturzer, fl. 2003, Torsten Bönnhoff, fl. 2012, Monarda Arts, ZDF Television, 3Sat
Author / Creator
Marita Stocker, fl. 2010-2017, Alonzo King LINES Ballet, Caroline Rocher, fl. 1999, Courtney Henry, fl. 2011, Zack Tang, 1988-, Kara Wilkes, fl. 2001, Laurel Keen, fl. 2002, Ricardo Zayas, fl. 2005, Victor M. Arellano, 1978-, Meredith Webster, 1982-, Michael Montgomery, fl. 2010, David Harvey, fl. 2008, Keelan Whitmore, fl. 2001, Kim Yujin, fl. 2005, Ashley Jackson, 1987-
Date Published / Released
2012
Publisher
ArtHaus Musik
Person Discussed
Andreas Morell, 1946-, Courtney Henry, fl. 2011, Zack Tang, 1988-, Kara Wilkes, fl. 2001, Laurel Keen, fl. 2002, Ricardo Zayas, fl. 2005, Victor M. Arellano, 1978-, Meredith Webster, 1982-, Alonzo King, 1952-
Topic / Theme
Television, Theatrical productions, Ballet
Copyright Message
Copyright © 2011 Arthaus Musik
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The Art of Baroque Dance: Folies d'Espagne - From Page to Stage
directed by Natalie van Parys; composed by Marin Marais, 1656-1728; choreographed by Natalie van Parys; performed by Natalie van Parys and Gilles Poirier (Dancetime Publications, 2006), 42 mins
The famous music and dance of Folies d’Espagne are comprised of short, highly expressive pieces. Each variation reveals an individual temperament that inspired its choreography. With this video, viewers can uncover secrets of dance interpretation, savor its beauty, and better understand the unique relationship b...
Sample
directed by Natalie van Parys; composed by Marin Marais, 1656-1728; choreographed by Natalie van Parys; performed by Natalie van Parys and Gilles Poirier (Dancetime Publications, 2006), 42 mins
Description
The famous music and dance of Folies d’Espagne are comprised of short, highly expressive pieces. Each variation reveals an individual temperament that inspired its choreography. With this video, viewers can uncover secrets of dance interpretation, savor its beauty, and better understand the unique relationship between dance and music in the French Baroque style. Rich and entertaining, it provides an in-depth view of the artistic process of brin...
The famous music and dance of Folies d’Espagne are comprised of short, highly expressive pieces. Each variation reveals an individual temperament that inspired its choreography. With this video, viewers can uncover secrets of dance interpretation, savor its beauty, and better understand the unique relationship between dance and music in the French Baroque style. Rich and entertaining, it provides an in-depth view of the artistic process of bringing Baroque dance alive for generations to come.Gorgeously layered with a wealth of historic architectural and artistic images, the video exemplifies five important characteristics of French Baroque dance: dance notation, treatment of space, arm embellishments, relation to music, and interpretation by the individual dancer. The Art of Baroque Dance: Folies d’Espagne from Page to Stage video presents the most important elements that enable us to understand, appreciate, and explore the preservation of Baroque dance.A segmented performance of historical French Baroque dance written and directed by, and featuring, Natalie van Parys.
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Field of Study
Dance
Content Type
Instructional material
Performer / Ensemble
Natalie van Parys, Gilles Poirier
Contributor
Natalie van Parys, Marin Marais, 1656-1728
Author / Creator
Natalie van Parys, Marin Marais, 1656-1728, Gilles Poirier
Date Published / Released
2006
Publisher
Dancetime Publications
Topic / Theme
Dance notation, Performance practice, Dance
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Jumps: Category One
directed by Merrill Brockway, 1923-2013; choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004 and Barbara Horgan, fl. 1953; performed by Merrill Ashley, 1950- and Suki Schorer; in The Balanchine Essays: Jumps - Part 1, Balanchine Essays (George Balanchine Foundation), 25 mins
Toward the latter part of his life, George Balanchine talked about creating a "dictionary" of his technique, a visual reference for the students of ballet. The George Balanchine Foundation has helped to fulfill his wish by producing 'The Balanchine Essays.'
directed by Merrill Brockway, 1923-2013; choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004 and Barbara Horgan, fl. 1953; performed by Merrill Ashley, 1950- and Suki Schorer; in The Balanchine Essays: Jumps - Part 1, Balanchine Essays (George Balanchine Foundation), 25 mins
Description
Toward the latter part of his life, George Balanchine talked about creating a "dictionary" of his technique, a visual reference for the students of ballet. The George Balanchine Foundation has helped to fulfill his wish by producing 'The Balanchine Essays.'
Field of Study
Dance
Content Type
Instructional material
Performer / Ensemble
Merrill Ashley, 1950-, Suki Schorer
Contributor
George Balanchine, 1904-1983, Catherine Tatge, fl. 2004, Barbara Horgan, fl. 1953
Author / Creator
George Balanchine, 1904-1983, Merrill Brockway, 1923-2013, Merrill Ashley, 1950-, Suki Schorer
Publisher
George Balanchine Foundation
Series
Balanchine Essays
Person Discussed
George Balanchine, 1904-1983
Topic / Theme
Dance technique
Copyright Message
Copyright © 2012. Used by permission of The George Balanchine Foundation, Inc. All rights reserved.
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Introduction
directed by Ross MacGibbon, 1955-; composed by Igor Stravinsky, 1882-1971; choreographed by George Balanchine, 1904-1983; produced by Nancy Reynolds, fl. 1994; performed by Dame Alicia Markova, 1910-2004 and Iohna Loots, fl. 1995; in Balanchine Foundation Video Archives: DAME ALICIA MARKOVA Recreating Excerpts from Le Chant du Rossignol (New York, NY: George Balanchine Foundation, 2008), 9 mins
Dame Alicia Markova reconstructs George Balanchine's choreography for the role of the Nightingale, which she created in his ballet Le chant du rossignol (The song of the nightingale) for Serge Diaghilev's Ballets Russes in 1925. She begins by describing the action (based on the fairy tale by Hans Christian Anderse...
directed by Ross MacGibbon, 1955-; composed by Igor Stravinsky, 1882-1971; choreographed by George Balanchine, 1904-1983; produced by Nancy Reynolds, fl. 1994; performed by Dame Alicia Markova, 1910-2004 and Iohna Loots, fl. 1995; in Balanchine Foundation Video Archives: DAME ALICIA MARKOVA Recreating Excerpts from Le Chant du Rossignol (New York, NY: George Balanchine Foundation, 2008), 9 mins
Description
Dame Alicia Markova reconstructs George Balanchine's choreography for the role of the Nightingale, which she created in his ballet Le chant du rossignol (The song of the nightingale) for Serge Diaghilev's Ballets Russes in 1925. She begins by describing the action (based on the fairy tale by Hans Christian Andersen) as the music is played, then works intensively with dancer Iohna Loots on the nightingale's variation and pas de deux with Death, a...
Dame Alicia Markova reconstructs George Balanchine's choreography for the role of the Nightingale, which she created in his ballet Le chant du rossignol (The song of the nightingale) for Serge Diaghilev's Ballets Russes in 1925. She begins by describing the action (based on the fairy tale by Hans Christian Andersen) as the music is played, then works intensively with dancer Iohna Loots on the nightingale's variation and pas de deux with Death, a role intended to be performed by a female dancer. Historians Millicent Hodson and Kenneth Archer, who assisted in the reconstruction, appear briefly on camera.
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Date Written / Recorded
1995-02-03
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Dame Alicia Markova, 1910-2004, Iohna Loots, fl. 1995
Contributor
George Balanchine, 1904-1983, Nancy Reynolds, fl. 1994, Igor Stravinsky, 1882-1971
Author / Creator
George Balanchine, 1904-1983, Igor Stravinsky, 1882-1971, Ross MacGibbon, 1955-, Dame Alicia Markova, 1910-2004, Iohna Loots, fl. 1995
Date Published / Released
2008
Publisher
George Balanchine Foundation
Topic / Theme
Performance coaching, Dance
Copyright Message
Copyright © 2008 by George Balanchine Foundation
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'Raymonda' Act III Male Solo, Segment 1
directed by Nancy Reynolds, fl. 1994; composed by Alexander Konstantinovich Glazunov, 1865-1936; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Frederic Franklin, 1914-2013 and Nikolaj Hübbe, 1967-; in Balanchine Foundation Video Archives: FREDERIC FRANKLIN recreating a male solo from Raymonda Act III (1946) (New York, NY: George Balanchine Foundation, 2008), 10 mins
Frederic Franklin, a former premier danseur of the Ballet Russe de Monte Carlo, works in the studio with Nikolaj Hübbe, a principal dancer of New York City Ballet, on the male variation from the Pas Classique Hongrois from Raymonda, Act III. The variation was choreographed by George Balanchine for Franklin, altho...
directed by Nancy Reynolds, fl. 1994; composed by Alexander Konstantinovich Glazunov, 1865-1936; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Frederic Franklin, 1914-2013 and Nikolaj Hübbe, 1967-; in Balanchine Foundation Video Archives: FREDERIC FRANKLIN recreating a male solo from Raymonda Act III (1946) (New York, NY: George Balanchine Foundation, 2008), 10 mins
Description
Frederic Franklin, a former premier danseur of the Ballet Russe de Monte Carlo, works in the studio with Nikolaj Hübbe, a principal dancer of New York City Ballet, on the male variation from the Pas Classique Hongrois from Raymonda, Act III. The variation was choreographed by George Balanchine for Franklin, although an injury prevented him from performing in the ballet's premiere. Hübbe first marks the variation, then dances it full-out in its...
Frederic Franklin, a former premier danseur of the Ballet Russe de Monte Carlo, works in the studio with Nikolaj Hübbe, a principal dancer of New York City Ballet, on the male variation from the Pas Classique Hongrois from Raymonda, Act III. The variation was choreographed by George Balanchine for Franklin, although an injury prevented him from performing in the ballet's premiere. Hübbe first marks the variation, then dances it full-out in its entirety or in sections as he and Franklin discuss and refine its components. In the ensuing interview with Nancy Reynolds, Franklin reminisces about Balanchine's creation of Raymonda for the Ballet Russe de Monte Carlo in 1946, with a cast headed by Alexandra Danilova as Raymonda, himself (alternating with Nicholas Magallanes) as Jean de Brienne, and Nikita Talin as the Emir Abd-er-Raham. He also recalls other works staged by Balanchine for the Ballet Russe de Monte Carlo, notably Jeu de cartes, La sonnambula, Danses concertantes, Concerto barocco, and the musical Song of Norway.
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Date Written / Recorded
1997-05-19
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Frederic Franklin, 1914-2013, Nikolaj Hübbe, 1967-
Contributor
George Balanchine, 1904-1983, Virginia Brooks, Alexander Konstantinovich Glazunov, 1865-1936
Author / Creator
George Balanchine, 1904-1983, Alexander Konstantinovich Glazunov, 1865-1936, Nancy Reynolds, fl. 1994, Frederic Franklin, 1914-2013, Nikolaj Hübbe, 1967-
Date Published / Released
2008
Publisher
George Balanchine Foundation
Topic / Theme
Performance coaching, Choreography, Dance
Copyright Message
Copyright © 2008 by George Balanchine Foundation
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'Apollo' Pas de deux - Segment 1
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Maria Tallchief, 1925-2013, Maria Terezia Balogh and Todd Edson; in Balanchine Foundation Video Archives: MARIA TALLCHIEF coaching excerpts from Apollo, and Swan Lake, with PAUL MEJIA (New York, NY: George Balanchine Foundation, 2007), 11 mins
Maria Tallchief first danced the role of Terpsichore in Apollo in 1947, and created the role of Odette, the swan queen, in Balanchine's version of Swan lake in 1951. She coaches Maria Terezia Balogh and Todd Edson in the pas de deux of Terpsichore and Apollo, then works with Balogh on Terpsichore's variation. Foll...
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Maria Tallchief, 1925-2013, Maria Terezia Balogh and Todd Edson; in Balanchine Foundation Video Archives: MARIA TALLCHIEF coaching excerpts from Apollo, and Swan Lake, with PAUL MEJIA (New York, NY: George Balanchine Foundation, 2007), 11 mins
Description
Maria Tallchief first danced the role of Terpsichore in Apollo in 1947, and created the role of Odette, the swan queen, in Balanchine's version of Swan lake in 1951. She coaches Maria Terezia Balogh and Todd Edson in the pas de deux of Terpsichore and Apollo, then works with Balogh on Terpsichore's variation. Following this session, Tallchief discusses some of the fine points of technique emphasized by Balanchine; these are demonstrated by Balogh...
Maria Tallchief first danced the role of Terpsichore in Apollo in 1947, and created the role of Odette, the swan queen, in Balanchine's version of Swan lake in 1951. She coaches Maria Terezia Balogh and Todd Edson in the pas de deux of Terpsichore and Apollo, then works with Balogh on Terpsichore's variation. Following this session, Tallchief discusses some of the fine points of technique emphasized by Balanchine; these are demonstrated by Balogh. She then fine-tunes some details of the Apollo pas de deux with Balogh and Edson. In the second part of the video, Tallchief works with Balogh and Michael Clark on the White swan pas de deux, danced by Odette and Prince Siegfried, from Swan lake. In an interview, she and Paul Mejia discuss partnering in Balanchine's ballets, Balanchine's version of Swan lake, and Tallchief's interpretation of his choreography.
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Date Written / Recorded
1997-06-01
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Maria Tallchief, 1925-2013, Maria Terezia Balogh, Todd Edson
Contributor
George Balanchine, 1904-1983, Virginia Brooks
Author / Creator
George Balanchine, 1904-1983, Nancy Reynolds, fl. 1994, Maria Tallchief, 1925-2013, Maria Terezia Balogh, Todd Edson
Date Published / Released
2007
Publisher
George Balanchine Foundation
Topic / Theme
Performance coaching, Dance
Copyright Message
Copyright © 2007 by George Balanchine Foundation
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'Firebird' Berceuse - Segment 1
directed by Catherine Tatge, fl. 2004; composed by Igor Stravinsky, 1882-1971; choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Maria Tallchief, 1925-2013 and Helene Alexopoulos; in Balanchine Foundation Video Archives: MARIA TALLCHIEF, coaching excerpts from Firebird and Orpheus (Firebird Berceuse; Eurydice’s solo) (New York, NY: George Balanchine Foundation, 2008), 11 mins
Maria Tallchief, a former principal ballerina with the New York City Ballet, coaches a current principal, Heléne Alexopoulos, in excerpts from the leading roles she created in two ballets choreographed by George Balanchine to the music of Igor Stravinsky: Firebird (1949) and Orpheus (1948). In the interview secti...
directed by Catherine Tatge, fl. 2004; composed by Igor Stravinsky, 1882-1971; choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Maria Tallchief, 1925-2013 and Helene Alexopoulos; in Balanchine Foundation Video Archives: MARIA TALLCHIEF, coaching excerpts from Firebird and Orpheus (Firebird Berceuse; Eurydice’s solo) (New York, NY: George Balanchine Foundation, 2008), 11 mins
Description
Maria Tallchief, a former principal ballerina with the New York City Ballet, coaches a current principal, Heléne Alexopoulos, in excerpts from the leading roles she created in two ballets choreographed by George Balanchine to the music of Igor Stravinsky: Firebird (1949) and Orpheus (1948). In the interview sections, she analyzes details of the choreography, noting the Russian folk flavor in the berceuse, the importance of hand and arm movements...
Maria Tallchief, a former principal ballerina with the New York City Ballet, coaches a current principal, Heléne Alexopoulos, in excerpts from the leading roles she created in two ballets choreographed by George Balanchine to the music of Igor Stravinsky: Firebird (1949) and Orpheus (1948). In the interview sections, she analyzes details of the choreography, noting the Russian folk flavor in the berceuse, the importance of hand and arm movements and épaulement in Balanchine's choreography, and his emphasis on the proper execution of transitional steps, including walking and running. Having been married to Balanchine at the time, she was able to observe at close hand the creative process that produced both ballets.
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Date Written / Recorded
1995-06-27
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Maria Tallchief, 1925-2013, Helene Alexopoulos
Contributor
George Balanchine, 1904-1983, Catherine Tatge, fl. 2004, Igor Stravinsky, 1882-1971
Author / Creator
George Balanchine, 1904-1983, Igor Stravinsky, 1882-1971, Catherine Tatge, fl. 2004, Maria Tallchief, 1925-2013, Helene Alexopoulos
Date Published / Released
2008
Publisher
George Balanchine Foundation
Topic / Theme
Performance coaching, Dance
Copyright Message
Copyright © 2008 by George Balanchine Foundation
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Sugar Plum Fairy Variation (partial): Coaching session
choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Maria Tallchief, 1925-2013 and Jennie Somogyi; in Balanchine Foundation Video Archives: MARIA TALLCHIEF coaching excerpts from George Balanchine's The Nutcracker™ (George Balanchine Foundation, 2008), 11 mins
Maria Tallchief, who created the role of the Sugar Plum Fairy in George Balanchine's version of The nutcracker for the New York City Ballet in 1954, coaches young dancers in excerpts from the ballet. In the interview sections, she analyzes details of the choreography and describes the way in which Balanchine taugh...
choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Maria Tallchief, 1925-2013 and Jennie Somogyi; in Balanchine Foundation Video Archives: MARIA TALLCHIEF coaching excerpts from George Balanchine's The Nutcracker™ (George Balanchine Foundation, 2008), 11 mins
Description
Maria Tallchief, who created the role of the Sugar Plum Fairy in George Balanchine's version of The nutcracker for the New York City Ballet in 1954, coaches young dancers in excerpts from the ballet. In the interview sections, she analyzes details of the choreography and describes the way in which Balanchine taught specific steps and movements. She also reminisces about the first performance, and compares the choreography to the Petipa-Ivanov ver...
Maria Tallchief, who created the role of the Sugar Plum Fairy in George Balanchine's version of The nutcracker for the New York City Ballet in 1954, coaches young dancers in excerpts from the ballet. In the interview sections, she analyzes details of the choreography and describes the way in which Balanchine taught specific steps and movements. She also reminisces about the first performance, and compares the choreography to the Petipa-Ivanov version then being presented by the Ballet Russe de Monte Carlo.
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Date Written / Recorded
1996-04-15
Field of Study
Dance
Content Type
Performance, Instructional material
Performer / Ensemble
Maria Tallchief, 1925-2013, Jennie Somogyi
Contributor
George Balanchine, 1904-1983, Catherine Tatge, fl. 2004
Author / Creator
George Balanchine, 1904-1983, Maria Tallchief, 1925-2013, Jennie Somogyi
Date Published / Released
2008
Publisher
George Balanchine Foundation
Topic / Theme
Performance coaching, Dance
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'The Four Temperaments', Second Variation: Sanguinic - Segment 1
directed by Catherine Tatge, fl. 2004; composed by Paul Hindemith, 1895-1963; choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Maria Tallchief, 1925-2013, Wendy Whelan, 1967- and Damian Woetzel, 1967-; in Balanchine Foundation Video Archives: MARIA TALLCHIEF coaching "Sanguinic" variation from The Four Temperaments and Sylvia: Pas de Deux (ballerina solo) (New York, NY: George Balanchine Foundation, 2008), 10 mins
Maria Tallchief danced the Sanguinic pas de deux with Nicholas Magallanes in Ballet Society's second performance of The four temperaments, and created the ballerina role in Sylvia pas de deux, partnered by Magallanes, for New York City Ballet in 1950. She works on fine points of the choreography of these ballets w...
directed by Catherine Tatge, fl. 2004; composed by Paul Hindemith, 1895-1963; choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Maria Tallchief, 1925-2013, Wendy Whelan, 1967- and Damian Woetzel, 1967-; in Balanchine Foundation Video Archives: MARIA TALLCHIEF coaching "Sanguinic" variation from The Four Temperaments and Sylvia: Pas de Deux (ballerina solo) (New York, NY: George Balanchine Foundation, 2008), 10 mins
Description
Maria Tallchief danced the Sanguinic pas de deux with Nicholas Magallanes in Ballet Society's second performance of The four temperaments, and created the ballerina role in Sylvia pas de deux, partnered by Magallanes, for New York City Ballet in 1950. She works on fine points of the choreography of these ballets with current principal dancers of New York City Ballet. In a brief interview she discusses aspects of the two ballets, including Kurt Se...
Maria Tallchief danced the Sanguinic pas de deux with Nicholas Magallanes in Ballet Society's second performance of The four temperaments, and created the ballerina role in Sylvia pas de deux, partnered by Magallanes, for New York City Ballet in 1950. She works on fine points of the choreography of these ballets with current principal dancers of New York City Ballet. In a brief interview she discusses aspects of the two ballets, including Kurt Seligmann's costumes for the first performances of The four temperaments, and André Eglevsky's introduction of a more fluid style of port de bras in Sylvia pas de deux.
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Date Written / Recorded
1996-04-15
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Maria Tallchief, 1925-2013, Wendy Whelan, 1967-, Damian Woetzel, 1967-
Contributor
George Balanchine, 1904-1983, Catherine Tatge, fl. 2004, Paul Hindemith, 1895-1963, Léo Delibes, 1836-1891
Author / Creator
George Balanchine, 1904-1983, Paul Hindemith, 1895-1963, Catherine Tatge, fl. 2004, Maria Tallchief, 1925-2013, Wendy Whelan, 1967-, Damian Woetzel, 1967-
Date Published / Released
2008
Publisher
George Balanchine Foundation
Topic / Theme
Performance coaching, Dance
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Copyright © 2008 by George Balanchine Foundation
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