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Balanchine Essays, The Balanchine Essays: The Barre - Part 1
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), 53 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 barre exercises, according to the principles of Balanchine technique. Schorer, a longtime teacher at the School of American Balle...
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), 53 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 barre exercises, 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...
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 barre exercises, 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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Date Written / Recorded
1998
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: DAME ALICIA MARKOVA Recreating Excerpts from Le Chant du Rossignol
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 (New York, NY: George Balanchine Foundation, 2008), 1 hour 54 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...
Sample
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 (New York, NY: George Balanchine Foundation, 2008), 1 hour 54 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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Balanchine Foundation Video Archives: EDWARD VILLELLA coaching principal roles from 'Rubies' from Jewels
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; interview by Nancy Reynolds, fl. 1994; performed by Jennifer Carlynn Kronenberg, fl. 1994, Renato Penteado, fl. 2009 and Edward Villella, 1936- (New York, NY: George Balanchine Foundation, 2010), 1 hour 13 mins
In this video Edward Villella coaches the two principal roles from Balanchine's "Rubies."
Sample
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; interview by Nancy Reynolds, fl. 1994; performed by Jennifer Carlynn Kronenberg, fl. 1994, Renato Penteado, fl. 2009 and Edward Villella, 1936- (New York, NY: George Balanchine Foundation, 2010), 1 hour 13 mins
Description
In this video Edward Villella coaches the two principal roles from Balanchine's "Rubies."
Date Written / Recorded
2008
Field of Study
Dance
Content Type
Documentary
Performer / Ensemble
Jennifer Carlynn Kronenberg, fl. 1994, Renato Penteado, fl. 2009, Edward Villella, 1936-
Contributor
George Balanchine, 1904-1983, Gabriel Fauré, 1845-1924, Igor Stravinsky, 1882-1971, Pyotr Il'yich Tchaikovsky, 1840-1893
Author / Creator
George Balanchine, 1904-1983, Nancy Reynolds, fl. 1994, Jennifer Carlynn Kronenberg, fl. 1994, Renato Penteado, fl. 2009, Edward Villella, 1936-
Date Published / Released
2010
Publisher
George Balanchine Foundation
Person Discussed
Edward Villella, 1936-, George Balanchine, 1904-1983
Topic / Theme
Performance coaching, Dance technique, Dance history, Ballet
Copyright Message
Copyright © 2013. Used by permission of the George Balanchine Foundation
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Balanchine Foundation Video Archives: JILLANA coaching excerpts from Liebeslieder Walzer
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; produced by George Balanchine Foundation; performed by Jillana, fl. 1947-2011, Tyler Angle and Janie Taylor, 1980-, in Coaching Excerpts from Liebeslieder Walzer (New York, NY: George Balanchine Foundation, 2013), 1 hour 13 mins
Jillana coaching two principal roles from Liebeslieder Walzer
Sample
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; produced by George Balanchine Foundation; performed by Jillana, fl. 1947-2011, Tyler Angle and Janie Taylor, 1980-, in Coaching Excerpts from Liebeslieder Walzer (New York, NY: George Balanchine Foundation, 2013), 1 hour 13 mins
Description
Jillana coaching two principal roles from Liebeslieder Walzer
Date Written / Recorded
2011-10-11
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Jillana, fl. 1947-2011, Tyler Angle, Janie Taylor, 1980-
Contributor
George Balanchine, 1904-1983, George Balanchine Foundation, Johannes Brahms, 1833-1897
Author / Creator
George Balanchine, 1904-1983, Nancy Reynolds, fl. 1994, Jillana, fl. 1947-2011, Tyler Angle, Janie Taylor, 1980-
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 Foundation Video Archives: MARIA TALLCHIEF coaching excerpts from Pas de Dix (ballerina variation; excerpt from finale)
directed by Catherine Tatge, fl. 2004; composed by Alexander Konstantinovich Glazunov, 1865-1936; choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Maria Tallchief, 1925-2013 and Jennie Somogyi (New York, NY: George Balanchine Foundation, 2008), 1 hour 26 mins
Interview with Maria Tallchief. Tallchief, who created the principal ballerina's role in George Balanchine's Pas de dix, first presented by the New York City Ballet in 1955, compares this ballet with Balanchine's earlier Raymonda (1946), staged with Alexandra Danilova for the Ballet Russe de Monte Carlo. She discu...
Sample
directed by Catherine Tatge, fl. 2004; composed by Alexander Konstantinovich Glazunov, 1865-1936; choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Maria Tallchief, 1925-2013 and Jennie Somogyi (New York, NY: George Balanchine Foundation, 2008), 1 hour 26 mins
Description
Interview with Maria Tallchief. Tallchief, who created the principal ballerina's role in George Balanchine's Pas de dix, first presented by the New York City Ballet in 1955, compares this ballet with Balanchine's earlier Raymonda (1946), staged with Alexandra Danilova for the Ballet Russe de Monte Carlo. She discusses how Balanchine taught various ballet steps and movements that appear in the ballet, including passé Finale (excerpt) and Variatio...
Interview with Maria Tallchief. Tallchief, who created the principal ballerina's role in George Balanchine's Pas de dix, first presented by the New York City Ballet in 1955, compares this ballet with Balanchine's earlier Raymonda (1946), staged with Alexandra Danilova for the Ballet Russe de Monte Carlo. She discusses how Balanchine taught various ballet steps and movements that appear in the ballet, including passé Finale (excerpt) and Variation.
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Date Written / Recorded
1995-06-28
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Maria Tallchief, 1925-2013, Jennie Somogyi
Contributor
George Balanchine, 1904-1983, Catherine Tatge, fl. 2004, Alexander Konstantinovich Glazunov, 1865-1936
Author / Creator
George Balanchine, 1904-1983, Alexander Konstantinovich Glazunov, 1865-1936, Catherine Tatge, fl. 2004, Maria Tallchief, 1925-2013, Jennie Somogyi
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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Balanchine Foundation Video Archives: MARIA TALLCHIEF coaching "Sanguinic" variation from The Four Temperaments and Sylvia: Pas de Deux...
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- (New York, NY: George Balanchine Foundation, 2008), 1 hour 53 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...
Sample
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- (New York, NY: George Balanchine Foundation, 2008), 1 hour 53 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
Copyright Message
Copyright © 2008 by George Balanchine Foundation
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Balanchine Foundation Video Archives: MELISSA HAYDEN coaching excerpts from Donizetti Variations
directed by Nancy Reynolds, fl. 1994; composed by Gaetano Donizetti, 1797-1848; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Melissa Hayden, 1923-2006, Peter Boal, 1965- and Gillian Murphy, 1979- (New York, NY: George Balanchine Foundation, 2007), 1 hour 9 mins
Melissa Hayden, who created the ballerina role in Donizetti variations in its premiere in 1960, coaches Peter Boal and Gillian Murphy in the choreography performed by the two principal dancers, including their first entrance, their pas de deux (adagio, ballerina variation, and coda), and the ballerina variation da...
Sample
directed by Nancy Reynolds, fl. 1994; composed by Gaetano Donizetti, 1797-1848; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Melissa Hayden, 1923-2006, Peter Boal, 1965- and Gillian Murphy, 1979- (New York, NY: George Balanchine Foundation, 2007), 1 hour 9 mins
Description
Melissa Hayden, who created the ballerina role in Donizetti variations in its premiere in 1960, coaches Peter Boal and Gillian Murphy in the choreography performed by the two principal dancers, including their first entrance, their pas de deux (adagio, ballerina variation, and coda), and the ballerina variation danced with three men (who do not appear on this recording). The male variation in the pas de deux and a second male variation (intended...
Melissa Hayden, who created the ballerina role in Donizetti variations in its premiere in 1960, coaches Peter Boal and Gillian Murphy in the choreography performed by the two principal dancers, including their first entrance, their pas de deux (adagio, ballerina variation, and coda), and the ballerina variation danced with three men (who do not appear on this recording). The male variation in the pas de deux and a second male variation (intended to be danced with six women) are performed without coaching from Hayden. To illustrate her point that Donizetti's music provides less support for the dancing than is usual in Balanchine's ballets, Hayden has the dancers perform their entrance first to the Donizetti score, then to Tchaikovsky's music for the Black swan pas de deux from Swan lake. In an interview she discusses various aspects of the ballet: its change of costumes, which altered its character; the influence of August Bournonville's choreography; the interpretation she developed with her partner Jacques d'Amboise; and the ballet's technical challenges. She also discusses Balanchine's use of off-balance movement and his concept of the plié, and remembers him as partner and performer.
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Date Written / Recorded
1999-11-23
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Melissa Hayden, 1923-2006, Peter Boal, 1965-, Gillian Murphy, 1979-
Contributor
George Balanchine, 1904-1983, Virginia Brooks, Gaetano Donizetti, 1797-1848
Author / Creator
George Balanchine, 1904-1983, Gaetano Donizetti, 1797-1848, Nancy Reynolds, fl. 1994, Melissa Hayden, 1923-2006, Peter Boal, 1965-, Gillian Murphy, 1979-
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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Balanchine Foundation Video Archives: MELISSA HAYDEN coaching the pas de deux from Stars & Stripes
composed by John Philip Sousa, 1854-1932; choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Melissa Hayden, 1923-2006, Gillian Murphy, 1979- and Charles Askegard, fl. 1987 (George Balanchine Foundation, 2002), 1 hour 12 mins
Melissa Hayden, who created the female role in the pas de deux of George Balanchine's Stars and stripes with Jacques d'Amboise for the New York City Ballet in 1958, coaches Charles Askegard and Gillian Murphy in this pas de deux. In the interview section, she discusses the creation of Stars and stripes, the musica...
Sample
composed by John Philip Sousa, 1854-1932; choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Melissa Hayden, 1923-2006, Gillian Murphy, 1979- and Charles Askegard, fl. 1987 (George Balanchine Foundation, 2002), 1 hour 12 mins
Description
Melissa Hayden, who created the female role in the pas de deux of George Balanchine's Stars and stripes with Jacques d'Amboise for the New York City Ballet in 1958, coaches Charles Askegard and Gillian Murphy in this pas de deux. In the interview section, she discusses the creation of Stars and stripes, the musicality of the choreography, and the difficulty performing the female variation. She also reminisces about creating the beginning of this...
Melissa Hayden, who created the female role in the pas de deux of George Balanchine's Stars and stripes with Jacques d'Amboise for the New York City Ballet in 1958, coaches Charles Askegard and Gillian Murphy in this pas de deux. In the interview section, she discusses the creation of Stars and stripes, the musicality of the choreography, and the difficulty performing the female variation. She also reminisces about creating the beginning of this pas de deux with Conrad Ludow and how proud Balanchine was to be an American.
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Date Written / Recorded
1999-11-17
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Melissa Hayden, 1923-2006, Gillian Murphy, 1979-, Charles Askegard, fl. 1987
Contributor
George Balanchine, 1904-1983, Catherine Tatge, fl. 2004, John Philip Sousa, 1854-1932
Author / Creator
George Balanchine, 1904-1983, John Philip Sousa, 1854-1932, Melissa Hayden, 1923-2006, Gillian Murphy, 1979-, Charles Askegard, fl. 1987
Date Published / Released
2002
Publisher
George Balanchine Foundation
Topic / Theme
Performance coaching, Dance
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Balanchine Foundation Video Archives: MERRILL ASHLEY coaching principal roles from Ballo Della Regina
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Ana Sophia Scheller, Joaquin de Luz and Merrill Ashley, 1950- (New York, NY: George Balanchine Foundation, 2011), 2 hours 49 mins
Merrill Ashley discusses how the scenerio influenced this ballet, the importance of footwork, how height differences influence this ballet, George Balanchine's use of big expansive steps, how she influenced and changed the choreography, how the music's speed created musicality issues, changes made to the choreogra...
Sample
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Ana Sophia Scheller, Joaquin de Luz and Merrill Ashley, 1950- (New York, NY: George Balanchine Foundation, 2011), 2 hours 49 mins
Description
Merrill Ashley discusses how the scenerio influenced this ballet, the importance of footwork, how height differences influence this ballet, George Balanchine's use of big expansive steps, how she influenced and changed the choreography, how the music's speed created musicality issues, changes made to the choreography and spacing for the televised version due to camera angles and slippery floor, and the addition of fouette turns for the televised...
Merrill Ashley discusses how the scenerio influenced this ballet, the importance of footwork, how height differences influence this ballet, George Balanchine's use of big expansive steps, how she influenced and changed the choreography, how the music's speed created musicality issues, changes made to the choreography and spacing for the televised version due to camera angles and slippery floor, and the addition of fouette turns for the televised show which remained in the ballet. The excerpts from Ballo della regina are presented in the order in which they appear in the ballet.
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Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Ana Sophia Scheller, Joaquin de Luz, Merrill Ashley, 1950-
Contributor
George Balanchine, 1904-1983, Virginia Brooks
Author / Creator
George Balanchine, 1904-1983, Nancy Reynolds, fl. 1994, Ana Sophia Scheller, Joaquin de Luz, Merrill Ashley, 1950-
Date Published / Released
2011
Publisher
George Balanchine Foundation
Topic / Theme
Dance
Copyright Message
Copyright © 2011. Used by permission of the George Balanchine Foundation.
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Balanchine Foundation Video Archives: MIMI PAUL and JOHN CLIFFORD coaching principal roles from Valse Fantaisie
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; performed by Megan Fairchild, fl. 2008, Jared Angle, fl. 1996, John Clifford, fl. 1966 and Mimi Paul, in Coaching Principal Roles from Valse-Fantaisie (New York, NY: George Balanchine Foundation, 2011), 1 hour 22 mins
Mimi Paul and John Clifford coaching principal roles from Valse Fantaisie
Sample
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; performed by Megan Fairchild, fl. 2008, Jared Angle, fl. 1996, John Clifford, fl. 1966 and Mimi Paul, in Coaching Principal Roles from Valse-Fantaisie (New York, NY: George Balanchine Foundation, 2011), 1 hour 22 mins
Description
Mimi Paul and John Clifford coaching principal roles from Valse Fantaisie
Date Written / Recorded
2008
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Megan Fairchild, fl. 2008, Jared Angle, fl. 1996, John Clifford, fl. 1966, Mimi Paul
Contributor
George Balanchine, 1904-1983, Mikhail Ivanovich Glinka, 1804-1857
Author / Creator
George Balanchine, 1904-1983, Nancy Reynolds, fl. 1994, Megan Fairchild, fl. 2008, Jared Angle, fl. 1996, John Clifford, fl. 1966, Mimi Paul
Date Published / Released
2011
Publisher
George Balanchine Foundation
Person Discussed
George Balanchine, 1904-1983
Topic / Theme
Expression in performance, Dance technique, Performance coaching
Copyright Message
Copyright © 2012. Used by permission of the George Balanchine Foundation
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