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Balanchine Essays, The Balanchine Essays: Passé and Attitude
directed by Merrill Brockway, 1923-2013; choreographed by George Balanchine, 1904-1983; produced by Barbara Horgan, fl. 1953 and Catherine Tatge, fl. 2004; performed by Merrill Ashley, 1950- and Suki Schorer, in Balanchine Essays (George Balanchine Foundation, 1998), 45 mins
Drawing upon their experience as principal dancers with George Balanchine's New York City Ballet, Suki Schorer and Merrill Ashley provide a detailed analysis and demonstration of the ballet steps passé and attitude, according to the principles of Balanchine technique. Schorer, a longtime teacher at the School of...
Sample
directed by Merrill Brockway, 1923-2013; choreographed by George Balanchine, 1904-1983; produced by Barbara Horgan, fl. 1953 and Catherine Tatge, fl. 2004; performed by Merrill Ashley, 1950- and Suki Schorer, in Balanchine Essays (George Balanchine Foundation, 1998), 45 mins
Description
Drawing upon their experience as principal dancers with George Balanchine's New York City Ballet, Suki Schorer and Merrill Ashley provide a detailed analysis and demonstration of the ballet steps passé and attitude, according to the principles of Balanchine technique. Schorer, a longtime teacher at the School of American Ballet, sets exercises intended to help the dancer learn and practice correct form, and both she and Ashley recall images Bala...
Drawing upon their experience as principal dancers with George Balanchine's New York City Ballet, Suki Schorer and Merrill Ashley provide a detailed analysis and demonstration of the ballet steps passé and attitude, according to the principles of Balanchine technique. Schorer, a longtime teacher at the School of American Ballet, sets exercises intended to help the dancer learn and practice correct form, and both she and Ashley recall images Balanchine used in class to elicit desired movement qualities from the dancers. Brief phrases from Balanchine's ballets illustrate the choreographic application of Balanchine technique.
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Field of Study
Dance
Content Type
Instructional material
Performer / Ensemble
Merrill Ashley, 1950-, Suki Schorer
Contributor
George Balanchine, 1904-1983, Barbara Horgan, fl. 1953, Catherine Tatge, fl. 2004
Author / Creator
George Balanchine, 1904-1983, Merrill Brockway, 1923-2013, Merrill Ashley, 1950-, Suki Schorer
Date Published / Released
1998
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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Balanchine Essays, The Balanchine Essays: Pirouettes and Other Turns
directed by Merrill Brockway, 1923-2013; choreographed by George Balanchine, 1904-1983; produced by Barbara Horgan, fl. 1953 and Catherine Tatge, fl. 2004; performed by Peter Boal, 1965-, Merrill Ashley, 1950- and Suki Schorer, in Balanchine Essays (George Balanchine Foundation, 1998), 1 hour 17 mins
Drawing upon their experience as principal dancers with George Balanchine's New York City Ballet, Suki Schorer and Merrill Ashley provide a detailed analysis and demonstration of ballet pirouettes and other turns, according to the principles of Balanchine technique. Schorer, a longtime teacher at the School of Ame...
Sample
directed by Merrill Brockway, 1923-2013; choreographed by George Balanchine, 1904-1983; produced by Barbara Horgan, fl. 1953 and Catherine Tatge, fl. 2004; performed by Peter Boal, 1965-, Merrill Ashley, 1950- and Suki Schorer, in Balanchine Essays (George Balanchine Foundation, 1998), 1 hour 17 mins
Description
Drawing upon their experience as principal dancers with George Balanchine's New York City Ballet, Suki Schorer and Merrill Ashley provide a detailed analysis and demonstration of ballet pirouettes and other turns, according to the principles of Balanchine technique. Schorer, a longtime teacher at the School of American Ballet, sets exercises intended to help the dancer learn and practice correct form, and both she and Ashley recall images Balanch...
Drawing upon their experience as principal dancers with George Balanchine's New York City Ballet, Suki Schorer and Merrill Ashley provide a detailed analysis and demonstration of ballet pirouettes and other turns, according to the principles of Balanchine technique. Schorer, a longtime teacher at the School of American Ballet, sets exercises intended to help the dancer learn and practice correct form, and both she and Ashley recall images Balanchine used in class to elicit desired movement qualities from the dancers.
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Field of Study
Dance
Content Type
Instructional material
Performer / Ensemble
Peter Boal, 1965-, Merrill Ashley, 1950-, Suki Schorer
Contributor
George Balanchine, 1904-1983, Barbara Horgan, fl. 1953, Catherine Tatge, fl. 2004
Author / Creator
George Balanchine, 1904-1983, Merrill Brockway, 1923-2013, Peter Boal, 1965-, Merrill Ashley, 1950-, Suki Schorer
Date Published / Released
1998
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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Balanchine Essays, The Balanchine Essays: Port de Bras & Épaulement
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 Balanchine Essays (George Balanchine Foundation, 1998), 42 mins
Drawing upon their experience as principal dancers with George Balanchine's New York City Ballet, Suki Schorer and Merrill Ashley provide a detailed analysis and demonstration of ballet port de bras and épaulement, according to the principles of Balanchine technique. Schorer, a longtime teacher at the School of A...
Sample
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 Balanchine Essays (George Balanchine Foundation, 1998), 42 mins
Description
Drawing upon their experience as principal dancers with George Balanchine's New York City Ballet, Suki Schorer and Merrill Ashley provide a detailed analysis and demonstration of ballet port de bras and épaulement, according to the principles of Balanchine technique. Schorer, a longtime teacher at the School of American Ballet, sets exercises intended to help the dancer learn and practice correct form, and both she and Ashley recall images Balan...
Drawing upon their experience as principal dancers with George Balanchine's New York City Ballet, Suki Schorer and Merrill Ashley provide a detailed analysis and demonstration of ballet port de bras and épaulement, according to the principles of Balanchine technique. Schorer, a longtime teacher at the School of American Ballet, sets exercises intended to help the dancer learn and practice correct form, and both she and Ashley recall images Balanchine used in class to elicit desired movement qualities from the dancers. Brief phrases from Balanchine's ballets Divertimento no. 15 and Symphony in C illustrate the choreographic application of Balanchine technique.
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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
Date Published / Released
1998
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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Balanchine Foundation Video Archives: FREDERIC FRANKLIN and MARIA TALLCHIEF recreating The Gypsy pas de deux from Le Baiser de la Fee (194...
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 Frederic Franklin, 1914-2013, Maria Tallchief, 1925-2013, Lourdes Lopez, Nikolaj Hübbe, 1967- and Vida Brown Olinick, 1922- (New York, NY: George Balanchine Foundation, 2008), 1 hour 20 mins
Working as a team, Maria Tallchief, Frederic Franklin and Vida Brown reconstruct the Gypsy pas de deux from Le baiser de la fée (1937). Tallchief and Franklin respectively danced the roles of the Fairy (here disguised as the Gypsy) and the Young Man in the Ballet Russe de Monte Carlo revival of 1946 ; Brown also...
Sample
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 Frederic Franklin, 1914-2013, Maria Tallchief, 1925-2013, Lourdes Lopez, Nikolaj Hübbe, 1967- and Vida Brown Olinick, 1922- (New York, NY: George Balanchine Foundation, 2008), 1 hour 20 mins
Description
Working as a team, Maria Tallchief, Frederic Franklin and Vida Brown reconstruct the Gypsy pas de deux from Le baiser de la fée (1937). Tallchief and Franklin respectively danced the roles of the Fairy (here disguised as the Gypsy) and the Young Man in the Ballet Russe de Monte Carlo revival of 1946 ; Brown also danced the role of the Fairy. Tallchief occasionally consults notes she made in 1946. Following the footage of their working session wi...
Working as a team, Maria Tallchief, Frederic Franklin and Vida Brown reconstruct the Gypsy pas de deux from Le baiser de la fée (1937). Tallchief and Franklin respectively danced the roles of the Fairy (here disguised as the Gypsy) and the Young Man in the Ballet Russe de Monte Carlo revival of 1946 ; Brown also danced the role of the Fairy. Tallchief occasionally consults notes she made in 1946. Following the footage of their working session with Lourdes Lopez and Nikolaj Hübbe, Tallchief and Franklin reminisce, in words and movement, about the ballet's final sequence, danced to the music of "None but the lonely heart." In an interview with Jack Anderson, Tallchief, Franklin and Brown discuss productions of the ballet by the Ballet Russe de Monte Carlo (1940, 1946) and the Paris Opéra Ballet (1947), as well as Balanchine's later work Divertimento from Le baiser de la fée (1972). They compare the role of the Young Man to that of the Poet in Night shadow (La sonnambula), and discuss some recurring themes in Balanchine's ballets, noting that Balanchine himself seldom voiced his artistic intentions.
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Date Written / Recorded
1996
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Frederic Franklin, 1914-2013, Maria Tallchief, 1925-2013, Lourdes Lopez, Nikolaj Hübbe, 1967-, Vida Brown Olinick, 1922-
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, Frederic Franklin, 1914-2013, Maria Tallchief, 1925-2013, Lourdes Lopez, Nikolaj Hübbe, 1967-, Vida Brown Olinick, 1922-
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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Balanchine Foundation Video Archives: FREDERIC FRANKLIN recreating The Bride and Bridegroom pas de deux from Le Baiser de la Fee (1940), w...
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 Frederic Franklin, 1914-2013, Nichol Hlinka, 1960- and Nikolaj Hübbe, 1967- (New York, NY: George Balanchine Foundation, 2008), 1 hour 41 mins
Frederic Franklin, who danced the role of the Bridegroom (Young Man) in the 1940 and 1946 Ballet Russe de Monte Carlo stagings of Le baiser de la fée (first presented by the American Ballet in 1937), reconstructs a pas de deux and woman's solo from the ballet. He is assisted by Maria Tallchief and Vida Brown, bot...
Sample
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 Frederic Franklin, 1914-2013, Nichol Hlinka, 1960- and Nikolaj Hübbe, 1967- (New York, NY: George Balanchine Foundation, 2008), 1 hour 41 mins
Description
Frederic Franklin, who danced the role of the Bridegroom (Young Man) in the 1940 and 1946 Ballet Russe de Monte Carlo stagings of Le baiser de la fée (first presented by the American Ballet in 1937), reconstructs a pas de deux and woman's solo from the ballet. He is assisted by Maria Tallchief and Vida Brown, both of whom danced the role of the Fairy. In an interview with Jack Anderson, Tallchief, Franklin and Brown discuss productions of the ba...
Frederic Franklin, who danced the role of the Bridegroom (Young Man) in the 1940 and 1946 Ballet Russe de Monte Carlo stagings of Le baiser de la fée (first presented by the American Ballet in 1937), reconstructs a pas de deux and woman's solo from the ballet. He is assisted by Maria Tallchief and Vida Brown, both of whom danced the role of the Fairy. In an interview with Jack Anderson, Tallchief, Franklin and Brown discuss productions of the ballet by the Ballet Russe de Monte Carlo (1940, 1946) and the Paris Opéra Ballet (1947), as well as Balanchine's later work, Divertimento from Le baiser de la fée (1972). They compare the role of the Young Man to that of the Poet in Night shadow (La sonnambula), and discuss some recurring themes in Balanchine's ballets, noting that Balanchine himself seldom voiced his artistic intentions.
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Date Written / Recorded
1997-01-27
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Frederic Franklin, 1914-2013, Nichol Hlinka, 1960-, Nikolaj Hübbe, 1967-
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, Frederic Franklin, 1914-2013, Nichol Hlinka, 1960-, 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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Balanchine Foundation Video Archives: MARIA TALLCHIEF coaching excerpts from George Balanchine's The Nutcracker™
choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Maria Tallchief, 1925-2013 (George Balanchine Foundation, 2008), 1 hour 49 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...
Sample
choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Maria Tallchief, 1925-2013 (George Balanchine Foundation, 2008), 1 hour 49 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
Contributor
George Balanchine, 1904-1983, Catherine Tatge, fl. 2004
Author / Creator
George Balanchine, 1904-1983, Maria Tallchief, 1925-2013
Date Published / Released
2008
Publisher
George Balanchine Foundation
Topic / Theme
Performance coaching, Dance
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Balanchine Foundation Video Archives: SUZANNE FARRELL coaching Meditation
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; designed by Barbara Karinska, 1886-1983; produced by George Balanchine Foundation; interview by George Jackson, 1931-; performed by Michael Cook, fl. 1999-2009, Elisabeth Holowchuk, fl. 2009 and Suzanne Farrell, 1945-, in Coaching Meditation (New York, NY: George Balanchine Foundation, 2012), 1 hour 24 mins
Suzanne Farrell coaching Meditation
Sample
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; designed by Barbara Karinska, 1886-1983; produced by George Balanchine Foundation; interview by George Jackson, 1931-; performed by Michael Cook, fl. 1999-2009, Elisabeth Holowchuk, fl. 2009 and Suzanne Farrell, 1945-, in Coaching Meditation (New York, NY: George Balanchine Foundation, 2012), 1 hour 24 mins
Description
Suzanne Farrell coaching Meditation
Date Written / Recorded
2009-09
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Michael Cook, fl. 1999-2009, Elisabeth Holowchuk, fl. 2009, Suzanne Farrell, 1945-
Contributor
George Balanchine, 1904-1983, Barbara Karinska, 1886-1983, George Balanchine Foundation, Pyotr Il'yich Tchaikovsky, 1840-1893
Author / Creator
George Balanchine, 1904-1983, Nancy Reynolds, fl. 1994, George Jackson, 1931-, Michael Cook, fl. 1999-2009, Elisabeth Holowchuk, fl. 2009, Suzanne Farrell, 1945-
Date Published / Released
2012
Publisher
George Balanchine Foundation
Person Discussed
Suzanne Farrell, 1945-, George Balanchine, 1904-1983
Topic / Theme
Expression in performance, Dance technique, Performance coaching
Copyright Message
Copyright © 2013. Used by permission of the George Balanchine Foundation
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Balanchine Foundation Video Archives: VIOLETTE VERDY and CONRAD LUDLOW coaching excerpts from 'Emeralds' from Jewels
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; produced by George Balanchine Foundation; performed by James Fayette, fl. 2003, Carla Körbes, 1981-, Conrad Ludlow and Violette Verdy, 1933-2016, in Coaching Prélude (pas de deux) and La Fileuse (solo) from 'Emeralds' from Jewels (New York, NY: George Balanchine Foundation, 2013), 1 hour 13 mins
Violette Verdy and Conrad Ludlow coaching excerpts from 'Emeralds' from Jewels.
Sample
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; produced by George Balanchine Foundation; performed by James Fayette, fl. 2003, Carla Körbes, 1981-, Conrad Ludlow and Violette Verdy, 1933-2016, in Coaching Prélude (pas de deux) and La Fileuse (solo) from 'Emeralds' from Jewels (New York, NY: George Balanchine Foundation, 2013), 1 hour 13 mins
Description
Violette Verdy and Conrad Ludlow coaching excerpts from 'Emeralds' from Jewels.
Date Written / Recorded
2003-10-27
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
James Fayette, fl. 2003, Carla Körbes, 1981-, Conrad Ludlow, Violette Verdy, 1933-2016
Contributor
George Balanchine, 1904-1983, George Balanchine Foundation, Gabriel Fauré, 1845-1924, Igor Stravinsky, 1882-1971, Pyotr Il'yich Tchaikovsky, 1840-1893
Author / Creator
George Balanchine, 1904-1983, Nancy Reynolds, fl. 1994, James Fayette, fl. 2003, Carla Körbes, 1981-, Conrad Ludlow, Violette Verdy, 1933-2016
Date Published / Released
2013
Publisher
George Balanchine Foundation
Person Discussed
George Balanchine, 1904-1983
Topic / Theme
Expression in performance, Dance technique, Performance coaching
Copyright Message
Copyright © 2013. Used by permission of the George Balanchine Foundation
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Balanchine in Paris
choreographed by George Balanchine, 1904-1983; produced by Dominique Delouche, 1931-; performed by Valéry Colin, Muriel Hallé, Nina Vyroubova, 1921-2007, Elisabeth Platel, Myriam Ould-Braham, 1982-, Dame Alicia Markova, 1910-2004, Cyril Pierre, Lucia Lacarra, Monique Loudières, Violette Verdy, 1933-2016, Hervé Moreau, Michaël Denard, 1944-, Isabelle Ciaravola, fl. 1990 and Ghislaine Thesmar, 1943- (Les Films du Prieuré, 2011), 57 mins
Among her many claims to glory, Violette Verdy can include that she was a famous actress when only fifteen, becoming Jean-Louis Barrault’s partner for the production of “Malatesta” by Montherlant. An act she topped by becoming star dancer in Roland Petit’s “Le Loup, Dutilleux”. George Balanchine then i...
Sample
choreographed by George Balanchine, 1904-1983; produced by Dominique Delouche, 1931-; performed by Valéry Colin, Muriel Hallé, Nina Vyroubova, 1921-2007, Elisabeth Platel, Myriam Ould-Braham, 1982-, Dame Alicia Markova, 1910-2004, Cyril Pierre, Lucia Lacarra, Monique Loudières, Violette Verdy, 1933-2016, Hervé Moreau, Michaël Denard, 1944-, Isabelle Ciaravola, fl. 1990 and Ghislaine Thesmar, 1943- (Les Films du Prieuré, 2011), 57 mins
Description
Among her many claims to glory, Violette Verdy can include that she was a famous actress when only fifteen, becoming Jean-Louis Barrault’s partner for the production of “Malatesta” by Montherlant. An act she topped by becoming star dancer in Roland Petit’s “Le Loup, Dutilleux”. George Balanchine then invited her to join the New York City Ballet in 1958, where she created such ballets as “Tchaikovski Pas de deux”, “Jewels”, “...
Among her many claims to glory, Violette Verdy can include that she was a famous actress when only fifteen, becoming Jean-Louis Barrault’s partner for the production of “Malatesta” by Montherlant. An act she topped by becoming star dancer in Roland Petit’s “Le Loup, Dutilleux”. George Balanchine then invited her to join the New York City Ballet in 1958, where she created such ballets as “Tchaikovski Pas de deux”, “Jewels”, “Liebeslieder Walzer” and “Sonatine” among other masterpieces, and where Jerome Robbins created “Dances at a Gathering” and “In the Night” for her… Rolf Liebermann appointed her Dance Director at the Paris Opera (1976), and she then returned to the United States, where she radiantly conveyed the good word, the ‘beautiful gesture’ of her master, Mister B, as he is familiarly and respectfully known in ballet circles. Thirty years later, it is Balanchine’s neo-classic approach (with a foray into Robbins) that is the primal material for my film. Violette Verdy conducts master classes, based on the aforementioned ballets, with top-level dancers so that they can achieve the “Balanchine touch”, the secrets of which she knows firsthand. Like in my earlier films, the sequences of “Memoire pour le XXIème siècle” are mixed with biographical material, along with archival extracts which illustrate the subject.
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Field of Study
Dance
Content Type
Documentary, Instructional material
Performer / Ensemble
Valéry Colin, Muriel Hallé, Nina Vyroubova, 1921-2007, Elisabeth Platel, Myriam Ould-Braham, 1982-, Dame Alicia Markova, 1910-2004, Cyril Pierre, Lucia Lacarra, Monique Loudières, Violette Verdy, 1933-2016, Hervé Moreau, Michaël Denard, 1944-, Isabelle Ciaravola, fl. 1990, Ghislaine Thesmar, 1943-
Contributor
George Balanchine, 1904-1983, Dominique Delouche, 1931-
Author / Creator
George Balanchine, 1904-1983, Valéry Colin, Muriel Hallé, Nina Vyroubova, 1921-2007, Elisabeth Platel, Myriam Ould-Braham, 1982-, Dame Alicia Markova, 1910-2004, Cyril Pierre, Lucia Lacarra, Monique Loudières, Violette Verdy, 1933-2016, Hervé Moreau, Michaël Denard, 1944-, Isabelle Ciaravola, fl. 1990, Ghislaine Thesmar, 1943-
Date Published / Released
2011
Publisher
Les Films du Prieuré
Person Discussed
George Balanchine, 1904-1983
Topic / Theme
Performance coaching, Ballet, Choreographers, Choreography, Dance
Copyright Message
Copyright © 2011. Used by permission of Les Films du Prieuré.
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'Rubies' from Jewels
choreographed by George Balanchine, 1904-1983; designed by Christian Lacroix, 1951-, Christian Lacroix, 1951-; produced by Denis Morlière, fl. 1996 and Giovanni Valentini, 1582-1649; performed by Aurélie Dupont, fl. 1987, Marie-Agnès Gillot, fl. 1990 and Alessio Carbone, fl. 1997, Paris Opera Ballet and Orchestra of the Opéra National de Paris (Opus Arte, 2006), 20 mins
This is a performance of Jewels, performed by Orchestra of the Opera National de Paris and Ballet of the Opera national de Paris (Paris Opera Ballet), and directed by Brigitte Lefevre and Antoine Perset.
Sample
choreographed by George Balanchine, 1904-1983; designed by Christian Lacroix, 1951-, Christian Lacroix, 1951-; produced by Denis Morlière, fl. 1996 and Giovanni Valentini, 1582-1649; performed by Aurélie Dupont, fl. 1987, Marie-Agnès Gillot, fl. 1990 and Alessio Carbone, fl. 1997, Paris Opera Ballet and Orchestra of the Opéra National de Paris (Opus Arte, 2006), 20 mins
Description
This is a performance of Jewels, performed by Orchestra of the Opera National de Paris and Ballet of the Opera national de Paris (Paris Opera Ballet), and directed by Brigitte Lefevre and Antoine Perset.
Date Written / Recorded
2005-11
Field of Study
Dance
Content Type
Performance
Performer / Ensemble
Paris Opera Ballet, Orchestra of the Opéra National de Paris, Aurélie Dupont, fl. 1987, Marie-Agnès Gillot, fl. 1990, Alessio Carbone, fl. 1997
Contributor
George Balanchine, 1904-1983, Christian Lacroix, 1951-, Denis Morlière, fl. 1996, Giovanni Valentini, 1582-1649, Gabriel Fauré, 1845-1924, Igor Stravinsky, 1882-1971, Pyotr Il'yich Tchaikovsky, 1840-1893, Paris Opera Ballet, Orchestra of the Opéra National de Paris, Stefano Pace, Pierre Cavasillas
Author / Creator
George Balanchine, 1904-1983, Paris Opera Ballet, Orchestra of the Opéra National de Paris, Aurélie Dupont, fl. 1987, Marie-Agnès Gillot, fl. 1990, Alessio Carbone, fl. 1997
Date Published / Released
2006
Publisher
Opus Arte
Topic / Theme
Dance
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