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Dance in America: Choreography by Jerome Robbins with the New York City Ballet | |||
| Choreographer | Jerome Robbins | ||
| Genre | TELEVISION | ||
| Premiere | May 2, 1986 | ||
| Notes | 1986; Antique Epigraphs and Fancy Free with members of the N.Y. City Ballet | ||
Dance in America: In Memory of... A Ballet by Jerome Robbins | |||
| Choreographer | Jerome Robbins | ||
| Genre | TELEVISION | ||
| Premiere | January 16, 1987 | ||
| Notes | 1987; With members of the N.Y. City Ballet | ||
Dance in America: Two Duets | |||
| Choreographer | Jerome Robbins | ||
| Dancers | Mikhail Baryshnikov, Natalia Makarova | ||
| Genre | TELEVISION | ||
| Premiere | February 20, 1980 | ||
| Notes | 1980; Other Dances with Mikhail Baryshnikov and Natalia Makarova | ||
Dances at a Gathering | |||
| Composer | Frederic Chopin | ||
| Music | 1. Mazurka, Op. 63, no. 3
2. Waltz, Op. 69, no. 2 3. Mazurka, Op. 33, no. 3 4. Mazurka, Op. 6, no. 4; Mazurka, Op. 7, no. 5; Mazurka, Op. 7, no. 4; Mazurka, Op 24, no. 2; Mazurka, Op. 6, no. 2 5. Waltz, Op. 42 6. Waltz, Op. 34, no. 2 7. Mazurka, Op. 56, no. 2 8. Etude, Op. 25, no. 4 9, Waltz, Op. 34, no. 1 10. Waltz, Op. 70, no. 2 11. Etude, Op 25, no. 5 12. Etude, Op. 10, no. 2 13. Scherzo, Op. 20 14 Nocturne, Op. 15, no. 1 | ||
| Dancers | Allegra Kent, Sara Leland, Kay Mazzo, Patricia McBride, Violette Verdy, Anthony Blum, John Clifford, Robert Maiorano, John Prinz, Edward Villella | ||
| Costumes | Joe Eula | ||
| Lighting | Jennifer Tipton | ||
| Genre | BALLET | ||
| Premiere | May 22, 1969, New York State Theater, New York City Ballet | ||
| Casting Reqs | 10 Dancers: 5 women (Pink, Mauve, Apricot, Green, Blue), 5 men (Brown, Purple, Green, Brick, Blue) | ||
| Requirements | piano | ||
| Running Time | 58′ | ||
| Notes | Mr. Robbins has dedicated this ballet to the memory of Jean Rosenthal. | ||
Dumbarton Oaks | |||
| Composer | Igor Stravinsky | ||
| Music | Concert in E Flat "Dumbarton Oaks, 8.5.1938" for Chamber Orchestra | ||
| Dancers | Allegra Kent, Anthony Blum | ||
| Costumes | Patricia Zipprodt | ||
| Lighting | Ronald Bates | ||
| Genre | BALLET | ||
| Premiere | June 23, 1972, New York State Theater, New York City Ballet | ||
| Casting Reqs | 14 Dancers: 1 principal woman, 1 principal man: 6 corps women, 6 corps men | ||
| Requirements | orchestra | ||
| Running Time | 15′ | ||
| Notes | The music was commissioned for the 30th wedding anniversary of Mr. and Mrs. Robert Woods Bliss, well-known patrons of the arts, whose house, museum and gardens at Dumbarton Oaks in Georgetown had provided the setting for many important functions and entertainments. Stravinsky was unable to conduct the first performance in America. At his express wish, the eminent teacher Nadia Boulanger was invited to take his place and the concerto was played for the first time in the great hall of Dumbarton Oaks under her direction. | ||
Dybbuk | |||
| Composer | Leonard Bernstein | ||
| Music | Dybbuk (commissioned by New York City Ballet) | ||
| Dancers | Patricia McBride, Helgi Tomasson, Bart Cook, Victor Castelli, Tracy Bennett, Hermes Conde | ||
| Scenery | Rouben Ter-Arutunian | ||
| Costumes | Patricia Zipprodt | ||
| Lighting | Jennifer Tipton | ||
| Genre | BALLET | ||
| Premiere | May 16, 1974, New York State Theater, New York City Ballet | ||
| Casting Reqs | 20 Dancers: 1 principal woman, 1 principal man; 4 demi women; 7 corps men, 7 corps women | ||
| Requirements | orchestra; singers | ||
| Running Time | 44′ | ||
| Notes | In Central-European Jewish folklore, a dybbuk is a spirit, lost and restless, which enters and persists in the body of a living person. The body possessed acts and speaks with the voice and behavior of the dead one. The most famous treatment of this theme is S. Ansky′s play, The Dybbuk, renowned in its original Yiddish version and through many subsequent international productions.
This ballet is not a retelling of Ansky′s play but uses it as a point of departure for a series of related dances concerning rituals and hallucinations which are present in the dark magico-religious ambience of the play and in the obsessions of its characters. Portions of this ballet have also appeared as "The Dybbuk Variations" and "Suite of Dances". | ||
Ed Sullivan Show | |||
| Choreographer | Jerome Robbins | ||
| Dancers | Ballets: U.S.A. | ||
| Genre | TELEVISION | ||
| Premiere | February 20, 1960 | ||
| Notes | 1960; Ballets: U.S.A.; (The Concert & N.Y. Export: Opus Jazz) | ||
Eight Lines | |||
| Composer | Steve Reich | ||
| Music | Eight Lines (title of orchestral version of Octet, 1980) | ||
| Dancers | Maria Calegari, Ib Andersen, Kyra Nichols, Sean Lavery | ||
| Costumes | Florence Klotz | ||
| Lighting | Ronald Bates | ||
| Genre | BALLET | ||
| Premiere | February 14, 1985, New York State Theater, New York City Ballet | ||
| Casting Reqs | 14 Dancers: 2 principal women, 2 principal men; 3 demi men; 5 corps women, 2 corps men | ||
| Requirements | orchestra | ||
| Running Time | 18′ | ||
Events | ||
| Composer | Robert Prince | |
| Music | Events | |
| Dancers | John Jones, Howard Jeffrey, Christine Mayer, Bill Reilly, Jamie Bauer, Muriel Bentley, Geryl Donald, Fern MacLarnon, Kay Mazzo, Charlene Mehl, Helene Petroff, Francia Russell, Lawrence Gradus, Doug Spingler, Robert Thompson | |
| Scenery | Ben Shahn | |
| Costumes | Ray Diffen | |
| Genre | BALLET | |
| Premiere | July 12, 1961, Teatro Nuovo, Spoleto, Italy; Ballets: U.S.A. | |
Facsimile | ||
| Composer | Leonard Bernstein | |
| Dancers | Nora Kaye (A Woman); Jerome Robbins (A Man); John Kriza (Another Man) | |
| Scenery | Oliver Smith | |
| Costumes | Irene Sharaff | |
| Genre | BALLET | |
| Premiere | October 24, 1946, Broadway Theatre, Ballet Theatre | |
Fancy Free | |||
| Composer | Leonard Bernstein | ||
| Music | Fancy Free; on tape "Big Stuff", sung by Dee Dee Bridgewater | ||
| Dancers | Sailors: Harold Lang, John Kriza, Jerome Robbins; Passers-By: Muriel Bentley, Shirley Eckl, Janet Reed; Bartender: Rex Cooper | ||
| Scenery | Oliver Smith | ||
| Costumes | Kermit Love | ||
| Lighting | Ronald Bates | ||
| Genre | BALLET | ||
| Premiere | April 18, 1944, Metropolitan Opera House, Ballet Theatre | ||
| Casting Reqs | 7 Dancers; Sailors: 3 boys; Passers-By: 3 girls; Bartender | ||
| Requirements | orchestra | ||
| Running Time | 29′ | ||
| Notes | The ballet concerns three sailors on shore leave. Time: 1944, a hot summer night.
Place New York City, a side street. Fancy Free is dedicated to the memory of John Kriza. | ||
Fanfare | |||
| Composer | Benjamin Britten | ||
| Music | A Young Person′s Guide to the Orchestra (Op. 34) | ||
| Dancers | Yvonne Mounsey (Harp); Todd Bolender (Percussion); Jillana (Oboe); Carolyn George, Roy Tobias (Clarinets); Irene Larsson, Jacques d′Amboise (Violas); Brooks Jackson (Double Bass); Frank Hobi, Michael Maule (Trumpets); Edward Bigelow (Tuba) | ||
| Scenery | Irene Sharaff | ||
| Costumes | Irene Sharaff | ||
| Lighting | Jennifer Tipton | ||
| Genre | BALLET | ||
| Premiere | June 2, 1953, City Center of Music and Drama, New York City Ballet | ||
| Casting Reqs | 34 Dancers:
WOODWINDS Piccolo: 1 woman, Flutes: 2 women, Oboe: 1 woman, Clarinets: 1 woman, 1 man, Bassoons: 2 men BRASS Horns: 4 men, Trumpets: 2 men, Tuba: 1 man, Trombones: 3 men STRINGS 1st Violins: 3 women, 2nd Violins: 3 women, Violas: 1 woman, 1 man, Celli: 3 women, Bass: 1 man, Harp: 1 woman PERCUSSION Drums: 1 man, Cymbals: 1 man, Gong: 1 man | ||
| Requirements | Narrator; orchestra | ||
| Running Time | 18′ | ||
| Notes | In 1945, Britten was asked to write for the British Ministry of Education′s documentary film, Instruments of the Orchestra (Op. 34). With text by Eric Crozier, the work consists of variations and a fugue on a rondeau from Henry Purcell′s incidental music for "Adelazar", of the "Moor′s Revenge", by Mrs. Aphra Behn. Each variation is played by a different instrument or group of instruments composing a contemporary symphonic orchestra. Consecutively, the four families of the band -- strings, woodwinds, brass, and percussion -- are exploited in characteristic monologues and conversations. Finally, the piccolo initiates the great fugue which recapitulates Purcell′s noble theme. | ||
Fiddler on the Roof | |||
| Book | Joseph Stein | ||
| Composer | Jerry Bock | ||
| Lyrics | Sheldon Harnick | ||
| Director | Jerome Robbins | ||
| Choreographer | Jerome Robbins | ||
| Leads | Zero Mostel (Tevye)
Maria Karnilova (Golde) Joanna Merlin (Tzeitel) Julia Migenes (Hodel) Tanya Everett (Chava) Marilyn Rogers (Shprintze) Linda Ross (Beilke) Beatrice Arthur (Yente) Austin Pendleton (Motel) Bert Convy (Perchik) Michael Granger (Lazar Wolf) Zvee Scooler (Mordcha) Gluck-Sandor (Rabbi) Leonard Frey (Mendel) Paul Lipson (Avram) Maurice Edwards (Nachum) Sue Babel (Grandma Tzeitel) Carol Sawyer (Fruma-Sarah) Joseph Sullivan (Constable) Joe Ponazecki (Fyedka) Helen Verbit (Shandel) Gino Conforti (The Fiddler) | ||
| Cast | Villagers:
Tom Abbott, John C. Attle, Sammy Bayes, Robert Berdeen, Lorenzo Bianco, Duane Bodin, Robert Currie, Sarah Felcher, Tony Gardell, Louis Genevrino, Ross Gifford, Dan Jasin, Sandra Kazan, Thom Koutsoukos, Sharon Lerit, Sylvia Mann, Peff Medelski, Irene Paris, Charles Rule, Roberta Senn, Mitch Thomas, Helen Verbit | ||
| Scenery | Boris Aronson | ||
| Costumes | Patricia Zipprodt | ||
| Genre | MUSICALS | ||
| Premiere | September 22, 1964, Imperial Theatre; New York City | ||
| Notes | The book is based on stories by Sholom Aleichem. | ||
Firebird | |||
| Composer | Igor Stravinsky | ||
| Scenery | Marc Chagall (1945) | ||
| Costumes | Marc Chagall executed by Karinska | ||
| Lighting | Ronald Bates | ||
| Genre | BALLET | ||
| Premiere | November 27, 1970, New York State Theater, New York City Ballet | ||
| Casting Reqs | Firebird: principal woman; Prince Ivan: principal man; Prince′s Bride: principal woman; Maidens: 12 women; Youths: 12 men; Kastchei the Wizard & his subjects: 3 men, 5 women | ||
| Requirements | orchestra | ||
| Running Time | 29' | ||
| Notes | The New York City Ballet presented its first production of ″Firebird″ in 1949 at the City Center Theater with scenery and costumes the eminent painter Marc Chagall had created following the original designs for Bolm′s choreography from 1945. In 1970 a new production was mounted to adapt to the larger proportions of the New York State Theater. The costumes, of extraordinary complexity and fantasy, were created by Madame Karinska from Chagall′s original designs. Chagall expressed his great pleasure at the devotion and inventiveness with which Madame Karinska interpreted his watercolor sketches in textiles, plastics, paint, and mineral materials. The choreography represents a collaboration between George Balanchine and Jerome Robbins, the latter being responsible for the episode with Kastchei the Wizard and his subjects. Balanchine entirely redesigned his dances in light of Marc Chagall′s designs. This ballet was conceived as Chagall accompanied by music and dance.
Prince Ivan, the hunter, wanders into a magic wood and captures the Firebird. On her pleading, he frees her and she rewards him with a magic plume. Kastchei, the wizard, has enchanted the princess and her maidens but, with the aid of the Firebird′s feather, Prince Ivan rescues the maidens and marries the Princess amid great rejoicing. | ||
Ford 50th Anniversary Show | |||
| Director | Jerome Robbins | ||
| Choreographer | Jerome Robbins | ||
| Leads | Mary Martin & Ethel Merman | ||
| Genre | TELEVISION | ||
| Premiere | June 15, 1953 | ||
| Notes | 1953; With Mary Martin and Ethel Merman; Staged and choreographed | ||
Four Bagatelles (originally Beethoven Pas de Deux) | |||
| Composer | Ludwig van Beethoven | ||
| Music | Seven Bagatelles, Op. 33:
No. 4 in A Major (Andante) No. 5 in C Major (Allegro ma non troppo) No. 2 in C Major (Scherzo allegro) Six Bagatelles, Op. 126: No. 4 in B Minor (Presto) | ||
| Dancers | Gelsey Kirkland, Jean-Pierre Bonnefoux (Gala preview: Violette Verdy, Jean-Pierre Bonnefoux) | ||
| Costumes | Florence Klotz | ||
| Lighting | Ronald Bates | ||
| Genre | BALLET | ||
| Premiere | January 10, 1974, New York State Theater, New York City Ballet | ||
| Casting Reqs | 2 Dancers: 1 principal man, 1 principal woman | ||
| Requirements | piano | ||
| Running Time | 13′ | ||
Four Chamber Works | |||
| Composer | Igor Stravinsky | ||
| Music | Septet (1952). Ragtime (for Eleven Instruments) (1920), Concertino (for Twelve Instruments) (1920, composed for string quartet; orchestrated for 12 instruments in 1952), Three Pieces (for Clarinet Solo) (1919), Octet (for Wind Instruments) (1922) | ||
| Dancers | Maria Calegari, Lourdes Lopez, Joseph Duell, Peter Frame, Kipling Houston (Septet); Heather Watts, Bart Cook, Helene Alexopoulos, Renee Estopinal, Susan Freedman, Lisa Jackson (Ragtime); Merrill Ashley, Sean Lavery, Mel Tomlinson (Concertino and Three Pieces); Christopher d′Amboise, Jean-Pierre Frohlich, Christopher Fleming, Douglas Hay (Octet) | ||
| Scenery | Lawrence Miller | ||
| Costumes | Lawrence Miller | ||
| Genre | BALLET | ||
| Premiere | June 16, 1982, New York State Theater, New York City Ballet | ||
| Casting Reqs | 18 Dancers: I. Septet: 2 women, 3 men
II. Ragtime: 2 principal man & woman, 4 corps women III. Concertino & Three Pieces: 1 woman, 2 men; IV. Octet: 4 men | ||
| Requirements | orchestra | ||
| Running Time | 45′ | ||
Funny Girl | |||
| Book | Isobel Lennart | ||
| Composer | Jule Styne | ||
| Lyrics | Bob Merrill | ||
| Director | Garson Kanin | ||
| Choreographer | Carol Haney (Musical Stagings) | ||
| Leads | Barbra Streisand (Fanny Brice)
Sydney Chaplin (Nick Arnstein) Roger De Koven (Florenz Ziegfeld Jr.) Joseph Macauley (Tom Keeney) Kay Medford (Mrs. Brice) Danny Meehan (Eddie Ryan) Jean Stapleton (Mrs. Strakosh) | ||
| Scenery | Robert Randolph | ||
| Costumes | Irene Sharaff | ||
| Genre | MUSICALS | ||
| Premiere | March 26, 1964, Winter Garden Theatre; New York City | ||
| Notes | Production supervised by Jerome Robbins | ||
Gershwin Concerto | |||
| Composer | George Gershwin | ||
| Music | Piano Concerto in F (1925) | ||
| Dancers | Maria Calegari, Christopher d′Amboise, Darci Kistler, Mel Tomlinson | ||
| Scenery | Santo Loquasto | ||
| Costumes | Santo Loquasto | ||
| Lighting | Thomas Skelton | ||
| Genre | BALLET | ||
| Premiere | February 4, 1982, New York State Theater, New York City Ballet | ||
| Casting Reqs | 28 Dancers: 2 women principals, 2 men principals, 12 corps women, 12 corps men | ||
| Requirements | piano, orchestra | ||
| Running Time | 33′ | ||
Glass Pieces | |||
| Composer | Philip Glass | ||
| Music | Rubric (1981), Facades (1981), excerpt from Akhnaten (1984) | ||
| Dancers | Helene Alexopoulos, Peter Frame, Lourdes Lopez, Joseph Duell, Lisa Hess, Victor Castelli, Maria Calegari, Bart Cook | ||
| Scenery | Jerome Robbins & Ronald Bates | ||
| Costumes | Ben Benson | ||
| Lighting | Jennifer Tipton (original lighting by Ronald Bates) | ||
| Genre | BALLET | ||
| Premiere | May 12, 1983, New York State Theater, New York City Ballet | ||
| Casting Reqs | 42 Dancers (no principal may double over sections)
I. Rubric--Principals: 3 women, 3 men; Corps: 16 women, 16 men II. Facades--Principals: 1 woman, 1 man; Corps: 20 women III. Akhnaten--Corps: 12 women, 12 men | ||
| Requirements | orchestra | ||
| Running Time | 26′ | ||
Gypsy | ||
| Book | Arthur Laurents | |
| Composer | Jule Styne | |
| Lyrics | Stephen Sondheim | |
| Director | Jerome Robbins | |
| Choreographer | Jerome Robbins | |
| Leads | Ethel Merman (Rose)
Sandra Church (Louise) Jacqueline Mayro (Baby June) Jack Klugman (Herbie) Paul Wallace (Tulsa) Maria Karnilova (Tessie Tura) Faith Dane (Mazeppa) Chotzi Foley (Electra) | |
| Dancers | Marilyn Cooper; Patsy Bruder; Marilyn D'Honau; Marle Letowt; Joan Petlak; Imelda de Martin; Kathryn albertson; Gloria Kristy; Denise McLaglen; Barbara London; Theda Nelson; Carroll Jo Towers; Marvin Arnold; Ricky Coll; Don Emmons; Michael Parks; Ian Tucker; Paul Wallace; David Winters | |
| Scenery | Joe Mielziner | |
| Costumes | Raoul Pene du Bois | |
| Genre | MUSICALS | |
| Premiere | May 21, 1959, Broadway Theatre; New York City | |
Handel - Concerto Grosso | ||
| Composer | HANDEL | |
| Music | Concerto Grosso, op 6, no. 9 | |
| Genre | BALLET | |
| Premiere | January 1, 2007 | |
High Button Shoes |
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| Book | Stephen Longstreet | ||
| Music | Julie Styne & Sammy Cahn | ||
| Lyrics | Julie Styne & Sammy Cahn | ||
| Director | George Abbott | ||
| Choreographer | Jerome Robbins | ||
| Leads | Phil Silvers (Harrison Floy) Jack McCauley (Henry Longstreet) Nanette Fabray (Sara Longstreet) Mark Dawson (Hubert Ogglethorpe) Joey Faye (Mr. Pontdue) Lois Lee (Fran) | ||
| Dancers | Jean Marie Caples; Jacqueline Dodge; Evelyn Giles; Christine Karner; Elena Lane; Sondra Lee; Kay Lewis; Louisa Lewis; Audrey Peters; Gloria Smith; Eleonore Trieber; Vincent Carbone; Evans Davis; Fred Hearn; Ray Kirchner; Tommy Morton; Arthur Partington; William Peirson; Kenneth Spaulding; William Sumner; Ray Tobias; Don Weissmuller | ||
| Scenery | Oliver Smith | ||
| Costumes | Miles White | ||
| Genre | MUSICALS | ||
| Premiere | October 9, 1947, New Century Theatre; New York City | ||
| Notes | Choreographed "Mack Sennett" ballet. | ||
I′m Old Fashioned | |||
| Composer | Morton Gould | ||
| Music | based on a theme by Jerome Kern, "I′m Old Fashioned" | ||
| Dancers | Kyra Nichols, Sean Lavery, Heather Watts, Bart Cook, Judith Fugate, Joseph Duell | ||
| Costumes | Florence Klotz | ||
| Genre | BALLET | ||
| Premiere | June 16, 1983, New York State Theater, New York City Ballet | ||
| Casting Reqs | 24 Dancers: Principals: 3 women, 3 men; Corps: 9 women, 9 men | ||
| Requirements | orchestra; film | ||
| Running Time | 35′ | ||
In G Major (aka "En Sol") | |||
| Composer | Maurice Ravel | ||
| Music | Piano Concerto in G Major (1928-31) | ||
| Dancers | Suzanne Farrell, Peter Martins | ||
| Scenery | Erte | ||
| Costumes | Erte | ||
| Lighting | Jennifer Tipton | ||
| Genre | BALLET | ||
| Premiere | May 15, 1975, New York State Theater, New York City Ballet | ||
| Casting Reqs | 14 Dancers; Principals: 1 woman, 1 man; Corps: 6 women, 6 men | ||
| Requirements | piano, orchestra | ||
| Running Time | 22′ | ||
| Notes | Ravel, at the peak of fame and popularity, had just returned from a triumphant tour of the United States when he began this concerto.
Ravel wrote that the work was "a concerto in the strict sense, written in the spirit of Mozart and Saint-Saëns... I had intended to call this concerto a ′Divertissement', then it occurred to me that there was no need to do so because the very title ′Concerto′ should be sufficiently clear... In some ways, my concerto is not unlike my Violin Sonata; it uses certain effects borrowed from jazz, but only in moderation." | ||