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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
Genre
Ballet, Pas de Deux
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Balanchine Foundation Video Archives: MARIA TALLCHIEF coaching principal roles from Allegro Brillante
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Maria Tallchief, 1925-2013, Deanna Seay, 1972- and Mikhail Nikitine (George Balanchine Foundation, 2002), 1 hour 33 mins
Maria Tallchief, who created the principal role in George Balanchine's Allegro brillante in 1956 for the New York City Ballet, coaches the Miami City Ballet dancers in the principal roles. In the interview section, she discusses the creation of Allegro brillante, the importance of épaulement and port de bras, and...
Sample
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Maria Tallchief, 1925-2013, Deanna Seay, 1972- and Mikhail Nikitine (George Balanchine Foundation, 2002), 1 hour 33 mins
Description
Maria Tallchief, who created the principal role in George Balanchine's Allegro brillante in 1956 for the New York City Ballet, coaches the Miami City Ballet dancers in the principal roles. In the interview section, she discusses the creation of Allegro brillante, the importance of épaulement and port de bras, and reminisces about Balanchine.
Date Written / Recorded
1999-01-19
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Maria Tallchief, 1925-2013, Deanna Seay, 1972-, Mikhail Nikitine
Contributor
George Balanchine, 1904-1983, Virginia Brooks
Author / Creator
George Balanchine, 1904-1983, Nancy Reynolds, fl. 1994, Maria Tallchief, 1925-2013, Deanna Seay, 1972-, Mikhail Nikitine
Date Published / Released
2002
Publisher
George Balanchine Foundation
Topic / Theme
Performance coaching, Dance
Genre
Ballet, Pas de Deux
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Balanchine Foundation Video Archives: ARTHUR MITCHELL coaching the Pas de Deux from Agon
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Arthur Mitchell, 1934-, Tai Jimenez, fl. 1992 and Donald Williams (George Balanchine Foundation, 2006), 1 hour 44 mins
Arthur Mitchell, who created the male role in the pas de deux of George Balanchine's Agon for the New York City Ballet in 1957, coaches both roles for his Dance Theatre of Harlem dancers. In the interview section, he discusses the creation of Agon and other Balanchine ballets including the partnering aspects and d...
Sample
directed by Nancy Reynolds, fl. 1994; choreographed by George Balanchine, 1904-1983; produced by Virginia Brooks; performed by Arthur Mitchell, 1934-, Tai Jimenez, fl. 1992 and Donald Williams (George Balanchine Foundation, 2006), 1 hour 44 mins
Description
Arthur Mitchell, who created the male role in the pas de deux of George Balanchine's Agon for the New York City Ballet in 1957, coaches both roles for his Dance Theatre of Harlem dancers. In the interview section, he discusses the creation of Agon and other Balanchine ballets including the partnering aspects and details of the way in which Balanchine taught specific steps and movements. He also reminisces about the racial issues involved with his...
Arthur Mitchell, who created the male role in the pas de deux of George Balanchine's Agon for the New York City Ballet in 1957, coaches both roles for his Dance Theatre of Harlem dancers. In the interview section, he discusses the creation of Agon and other Balanchine ballets including the partnering aspects and details of the way in which Balanchine taught specific steps and movements. He also reminisces about the racial issues involved with his participation in this work and in society during the 1950's, and Stravinsky's influence during the dress rehearsal process.
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Date Written / Recorded
2002-01-07
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Arthur Mitchell, 1934-, Tai Jimenez, fl. 1992, Donald Williams
Contributor
George Balanchine, 1904-1983, Virginia Brooks
Author / Creator
George Balanchine, 1904-1983, Nancy Reynolds, fl. 1994, Arthur Mitchell, 1934-, Tai Jimenez, fl. 1992, Donald Williams
Date Published / Released
2006
Publisher
George Balanchine Foundation
Topic / Theme
Performance coaching, Dance
Genre
Neoclassical Ballet, Pas de Deux
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Habanera (Pas de deux)
directed by Charles Dennis, 1946-; composed by Calvin Hazen; choreographed by Pilar Anduja; designed by Clifton Taylor; produced by Charles Dennis, 1946-; performed by Pilar Anduja and Zenon Ramos, Flamenco Vivo Carlota Santana; in Carmen: El Baile, Alive & Kicking, Program 93 (Charles Dennis Productions, 2008), 4 mins
Flamenco Vivo Carlota Santana The passion and power of Flamenco Dance is showcased in this profile of Flamenco Vivo - America's leading Flamenco company as they present 2 works, "Carmen, El Baile" and "Estilos Flamencos" in their 25th Anniversary concert at the Joyce Theater in New York City. The 9 dancers in the...
Sample
directed by Charles Dennis, 1946-; composed by Calvin Hazen; choreographed by Pilar Anduja; designed by Clifton Taylor; produced by Charles Dennis, 1946-; performed by Pilar Anduja and Zenon Ramos, Flamenco Vivo Carlota Santana; in Carmen: El Baile, Alive & Kicking, Program 93 (Charles Dennis Productions, 2008), 4 mins
Description
Flamenco Vivo Carlota Santana The passion and power of Flamenco Dance is showcased in this profile of Flamenco Vivo - America's leading Flamenco company as they present 2 works, "Carmen, El Baile" and "Estilos Flamencos" in their 25th Anniversary concert at the Joyce Theater in New York City. The 9 dancers in the company are accompanied by 5 live musicians led by master guitarist/composer Calvin Hazen. The result is a passionate re-invigoration...
Flamenco Vivo Carlota Santana The passion and power of Flamenco Dance is showcased in this profile of Flamenco Vivo - America's leading Flamenco company as they present 2 works, "Carmen, El Baile" and "Estilos Flamencos" in their 25th Anniversary concert at the Joyce Theater in New York City. The 9 dancers in the company are accompanied by 5 live musicians led by master guitarist/composer Calvin Hazen. The result is a passionate re-invigoration of the flamenco art form by master practitioners. Also included in the program is an interview with Carlota Santana - the artistic director of Flamenco Vivo.
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Date Written / Recorded
2008-03-09
Field of Study
Dance
Content Type
Performance
Performer / Ensemble
Flamenco Vivo Carlota Santana, Pilar Anduja, Zenon Ramos
Contributor
Pilar Anduja, Clifton Taylor, Charles Dennis, 1946-, Calvin Hazen, Flamenco Vivo Carlota Santana
Author / Creator
Pilar Anduja, Calvin Hazen, Charles Dennis, 1946-, Flamenco Vivo Carlota Santana, Zenon Ramos
Date Published / Released
2008
Publisher
Charles Dennis Productions
Series
Alive & Kicking
Topic / Theme
Dance
Genre
Flamenco, Pas de Deux
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Pas de Deux of "Claire de Lune"
directed by Nick Havinga, fl. 1964-1996; designed by Allen Edward Klein; produced by Dan Gallagher, fl. 1963; performed by Marjorie Tallchief, 1926- and James Clouser; in The Art of the Ballerina (Aviva Films Ltd., 2007), 4 mins
Illustrations of the art of the ballerina. Excerpts from "Giselle" "Swan Lake", "Ariadne", and "Claire de Lune". Performance by Marjorie Tallchief, prima ballerina of the Harkness Ballet; and James Clouser, Ballet Master of Canada's Royal Winnipeg Ballet; and with commentary by Walter Terry, dance critic for The N...
Sample
directed by Nick Havinga, fl. 1964-1996; designed by Allen Edward Klein; produced by Dan Gallagher, fl. 1963; performed by Marjorie Tallchief, 1926- and James Clouser; in The Art of the Ballerina (Aviva Films Ltd., 2007), 4 mins
Description
Illustrations of the art of the ballerina. Excerpts from "Giselle" "Swan Lake", "Ariadne", and "Claire de Lune". Performance by Marjorie Tallchief, prima ballerina of the Harkness Ballet; and James Clouser, Ballet Master of Canada's Royal Winnipeg Ballet; and with commentary by Walter Terry, dance critic for The New York Herald Tribune. Piano accompaniment is by Jess Meekers. The dance excerpts here illustrate how dance body language defines the...
Illustrations of the art of the ballerina. Excerpts from "Giselle" "Swan Lake", "Ariadne", and "Claire de Lune". Performance by Marjorie Tallchief, prima ballerina of the Harkness Ballet; and James Clouser, Ballet Master of Canada's Royal Winnipeg Ballet; and with commentary by Walter Terry, dance critic for The New York Herald Tribune. Piano accompaniment is by Jess Meekers. The dance excerpts here illustrate how dance body language defines the characters in the story.
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Date Written / Recorded
1966
Field of Study
Dance
Content Type
Performance
Performer / Ensemble
Marjorie Tallchief, 1926-, James Clouser
Contributor
Dan Gallagher, fl. 1963, Allen Edward Klein
Author / Creator
Nick Havinga, fl. 1964-1996, Marjorie Tallchief, 1926-, James Clouser
Date Published / Released
2007
Publisher
Aviva Films Ltd.
Topic / Theme
Dance
Genre
Ballet, Pas de Deux
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Balanchine Foundation Video Archives: ALICIA ALONSO coaching principal roles from Theme and Variations
choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Paloma Herrera, 1975-, Ángel Corella, 1975- and Alicia Alonso, 1920- (George Balanchine Foundation, 1998), 1 hour 26 mins
Alicia Alonso, who created the ballerina role in George Balanchine's Theme and variations for Ballet Theatre in 1947, coaches Paloma Herrera and Angel Correra in the choreography for the leading female and male dancers in the ballet. The excerpts rehearsed are the opening theme, pas de deux, two male variations, a...
Sample
choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Paloma Herrera, 1975-, Ángel Corella, 1975- and Alicia Alonso, 1920- (George Balanchine Foundation, 1998), 1 hour 26 mins
Description
Alicia Alonso, who created the ballerina role in George Balanchine's Theme and variations for Ballet Theatre in 1947, coaches Paloma Herrera and Angel Correra in the choreography for the leading female and male dancers in the ballet. The excerpts rehearsed are the opening theme, pas de deux, two male variations, and two female variations. In an interview Alonso recalls the creation of the ballet and the difficulty of its choreography, noting Bala...
Alicia Alonso, who created the ballerina role in George Balanchine's Theme and variations for Ballet Theatre in 1947, coaches Paloma Herrera and Angel Correra in the choreography for the leading female and male dancers in the ballet. The excerpts rehearsed are the opening theme, pas de deux, two male variations, and two female variations. In an interview Alonso recalls the creation of the ballet and the difficulty of its choreography, noting Balanchine's practice of constantly challenging his dancers. She describes the contrasting moods of the ballerina's three solos in the ballet, and the ballet's unusual structure. She discusses Balanchine's musicality, which allowed the whole body to become expressive; the special eloquence of head movements; and the rapport between male and female dancers in pas de deux, with special reference to her longstanding partnership with Igor Youskevitch, who created Theme and variations with her.
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Date Written / Recorded
1998-01
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Paloma Herrera, 1975-, Ángel Corella, 1975-, Alicia Alonso, 1920-
Contributor
George Balanchine, 1904-1983, Catherine Tatge, fl. 2004
Author / Creator
George Balanchine, 1904-1983, Paloma Herrera, 1975-, Ángel Corella, 1975-, Alicia Alonso, 1920-
Date Published / Released
1998
Publisher
George Balanchine Foundation
Topic / Theme
Performance coaching, Dance
Segments
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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
Segments
Genre:
Ballet, Pas de Deux
Genre:
Ballet, Pas de Deux
Genre:
Ballet, Pas de Deux
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Balanchine Foundation Video Archives: MARIE-JEANNE coaching Concerto Barocco, with JOHN TARAS, and SUKI SCHORER
directed by Catherine Tatge, fl. 2004; composed by Johann Sebastian Bach, 1685-1750; choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Marie-Jeanne, 1920-2008, John Taras, 1919-2004, Merrill Ashley, 1950- and Suki Schorer (New York, NY: George Balanchine Foundation, 2008), 1 hour 56 mins
Features Marie-Jeanne and John Taras instructing Suki Schorer and students of the School of American Ballet in the original version of Balanchine's choreographic work Concerto barocco. Interviewers ask Marie and John about performing this back in the 1940's and the differences in choreography then and now.
Sample
directed by Catherine Tatge, fl. 2004; composed by Johann Sebastian Bach, 1685-1750; choreographed by George Balanchine, 1904-1983; produced by Catherine Tatge, fl. 2004; performed by Marie-Jeanne, 1920-2008, John Taras, 1919-2004, Merrill Ashley, 1950- and Suki Schorer (New York, NY: George Balanchine Foundation, 2008), 1 hour 56 mins
Description
Features Marie-Jeanne and John Taras instructing Suki Schorer and students of the School of American Ballet in the original version of Balanchine's choreographic work Concerto barocco. Interviewers ask Marie and John about performing this back in the 1940's and the differences in choreography then and now.
Date Written / Recorded
1996-06-17
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Marie-Jeanne, 1920-2008, John Taras, 1919-2004, Merrill Ashley, 1950-, Suki Schorer
Contributor
George Balanchine, 1904-1983, Catherine Tatge, fl. 2004, Johann Sebastian Bach, 1685-1750
Author / Creator
George Balanchine, 1904-1983, Johann Sebastian Bach, 1685-1750, Catherine Tatge, fl. 2004, Marie-Jeanne, 1920-2008, John Taras, 1919-2004, Merrill Ashley, 1950-, Suki Schorer
Date Published / Released
2008
Publisher
George Balanchine Foundation
Topic / Theme
Performance coaching, Dance
Copyright Message
Copyright © 2008 by George Balanchine Foundation
Genre
Ballet, Ensemble
Segments
Genre:
Ballet, Ensemble, Pas de Deux
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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
Segments
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Balanchine Foundation Video Archives: PATRICIA WILDE coaching excerpts from Raymonda Variations (2 ballerina variations; pas de deux)
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 Patricia Wilde, 1928-, Blythe T. Roycroft, Stanko Milov and Laura Desiree (New York, NY: George Balanchine Foundation, 2008), 2 hours
Patricia Wilde, who created the principal ballerina's role in George Balanchine's Raymonda variations (then titled Valses et variations) for the New York City Ballet in 1961, coaches young dancers in the two ballerina variations and pas de deux from the ballet. In the interview sections, she analyzes details of th...
Sample
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 Patricia Wilde, 1928-, Blythe T. Roycroft, Stanko Milov and Laura Desiree (New York, NY: George Balanchine Foundation, 2008), 2 hours
Description
Patricia Wilde, who created the principal ballerina's role in George Balanchine's Raymonda variations (then titled Valses et variations) for the New York City Ballet in 1961, coaches young dancers in the two ballerina variations and pas de deux from the ballet. In the interview sections, she analyzes details of the choreography, describes how Balanchine taught specific steps and movements, and discusses the relationship between his teaching and h...
Patricia Wilde, who created the principal ballerina's role in George Balanchine's Raymonda variations (then titled Valses et variations) for the New York City Ballet in 1961, coaches young dancers in the two ballerina variations and pas de deux from the ballet. In the interview sections, she analyzes details of the choreography, describes how Balanchine taught specific steps and movements, and discusses the relationship between his teaching and his choreography. She also recalls the ballet's first performance, and compares it to his previous ballets Raymonda (1946), staged with Alexandra Danilova for the Ballet Russe de Monte Carlo, and Pas de dix, first presented by New York City Ballet in 1955.
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Date Written / Recorded
1996-05-24
Field of Study
Dance
Content Type
Masterclass
Performer / Ensemble
Patricia Wilde, 1928-, Blythe T. Roycroft, Stanko Milov, Laura Desiree
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, Patricia Wilde, 1928-, Blythe T. Roycroft, Stanko Milov, Laura Desiree
Date Published / Released
2008
Publisher
George Balanchine Foundation
Topic / Theme
Performance coaching, Dance
Copyright Message
Copyright © 2008 by George Balanchine Foundation
Segments
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