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Poppa Piece | |||
| Genre | WORKSHOPS | ||
| Premiere | November 30, 1990, Lincoln Center Theatre | ||
| Notes | 1991; Written by Jerome Robbins | ||
Pulcinella (with George Balanchine) | |||
| Composer | Igor Stravinsky | ||
| Music | Pulcinella | ||
| Dancers | Edward Villella (Pulcinella); Violette Verdy (Girl); Michael Arshansky (Pulcinella′s Father); Francisco Moncion, Shaun O′Brien (Devil), George Balanchine, Jerome Robbins (Beggars) | ||
| Scenery | Eugene Berman | ||
| Costumes | Eugene Berman | ||
| Lighting | Ronald Bates | ||
| Genre | BALLET | ||
| Premiere | June 23, 1972, New York State Theater, New York City Ballet | ||
| Casting Reqs | 12 Dancers: 3 principal men; 3 corps women, 3 corps men | ||
| Requirements | 1 soprano, 1 tenor, 1 bass | ||
| Running Time | 37′ | ||
Quartet | |||
| Composer | Sergei Prokofiev | ||
| Music | String Quartet No. 2, Op. 92 | ||
| Dancers | Patricia Wilde, Herbert Bliss, Jillana, Jacques d′Amboise, Yvonne Mounsey, Todd Bolender | ||
| Scenery | Jean Rosenthal | ||
| Costumes | Karinska | ||
| Lighting | Jean Rosenthal | ||
| Genre | BALLET | ||
| Premiere | February 18, 1954, City Center of Music and Drama, New York City Ballet | ||
| Casting Reqs | 3 principal couples; 4 couples | ||
| Requirements | string quartet | ||
| Notes | In 1942 Prokofiev was living in Nalchik in the eastern Caucasus. Drawing material from the rich, strange and poignant folk music of that region, he composed his second string quartet. He described it as "the combination of the least known varieties of folk song with the most classical form of the quartet."
The first movement follows the sonata form of exposition, development and recapitulation. The second is an adagio based on a Caucasian love song. The final movement derives from a loosely knit series of wild and free Caucasian dances. | ||
Quiet City | |||
| Composer | Aaron Copland | ||
| Music | Quiet City (1940) | ||
| Dancers | Robert LaFosse, Peter Boal, Damian Woetzel | ||
| Costumes | Barbara Matera | ||
| Lighting | Jennifer Tipton | ||
| Genre | BALLET | ||
| Premiere | May 8, 1986, New York State Theater, New York City Ballet | ||
| Casting Reqs | 12 Dancers: 3 principal men; 3 corps women, 6 corps men | ||
| Running Time | 12′ | ||
| Notes | "Quiet City" is the name of an orchestral interlude written by Mr. Copland in 1940. He drew his material from incidental music he had written a year earlier for Irwin Shaw′s play of the same name.
The ballet is dedicated to the memory of Joe Duell. | ||
Race to Urga | |||
| Genre | WORKSHOPS | ||
| Premiere | November 30, 1986, Lincoln Center Theatre | ||
| Notes | 1968; With Stephen Sondheim, Leonard Bernstein and John Guare | ||
Requiem Canticles | |||
| Composer | Igor Stravinsky | ||
| Music | Requiem Canticles | ||
| Dancers | Merrill Ashley, Susan Hendl, Robert Maiorano, Bruce Wells | ||
| Lighting | Ronald Bates | ||
| Genre | BALLET | ||
| Premiere | June 25, 1972, New York State Theater, New York City Ballet | ||
| Casting Reqs | 19 Dancers: 2 principal women, 2 principal men; 7 corps women, 8 corps men. | ||
| Requirements | 1 soprano, 1 bass, chorus | ||
| Notes | In a program note for stage performances of "Requiem Canticles" Stravinsky wrote:
"I planned my 'Requiem Caticles' as an instrumental work originally, and I composed the threnody for wind instruments and muffled drums, now at the center of the work, first. Later I decided to use sentences (merely) from six texts of the traditional Requiem service, and at that time I conceived the triangulate instrumental frame of the string Prelude, wind-instrument Interlude, and percussion Postlude. The 'Requiem Canticles' are concert music, but the celebration of death is to be played in memory of a man of God, a man of the poor, a man of peace." | ||
Rondo | |||
| Composer | Wolfgang Amadeus Mozart | ||
| Music | Rondo in A Minor | ||
| Dancers | Kyra Nichols, Stephanie Saland | ||
| Cast | Pianist: Gordon Boelzner | ||
| Lighting | Ronald Bates | ||
| Genre | BALLET | ||
| Premiere | November 11, 1980, New York State Theater, New York City Ballet | ||
| Casting Reqs | 2 Dancers: women | ||
| Requirements | piano on stage | ||
| Running Time | 10′ | ||
Salute to Israel | |||
| Choreographer | Jerome Robbins | ||
| Dancers | Mikhail Baryshnikov & Gelsey Kirkland | ||
| Genre | TELEVISION | ||
| Premiere | May 8, 1978 | ||
| Notes | 1978; New Chopin dance. | ||
Scherzo Fantastique | |||
| Composer | Igor Stravinsky | ||
| Music | Scherzo Fantastique (1908) | ||
| Dancers | Gelsey Kirkland, Bart Cook, Stephen Caras, Victor Castelli, Bryan Pitts | ||
| Lighting | Ronald Bates | ||
| Genre | BALLET | ||
| Premiere | June 18, 1972, New York State Theater, New York City Ballet | ||
| Casting Reqs | 5 Dancers: 1 woman, 4 men | ||
| Requirements | orchestra | ||
| Running Time | 16′ | ||
Silk Stockings | ||
| Book | George S. Kaufman, Lelleen McGrath & Abe Burrows | |
| Composer | Cole Porter | |
| Lyrics | Cole Porter | |
| Director | Cy Feuer | |
| Choreographer | Eugene Loring | |
| Leads | Don Ameche (Steve Canfield)
Hildegarde Neff (Ninotchka George Tobias (Commissar Markovitch) Gretchen Wyler (Janice Dayton | |
| Scenery | Jo Mielziner | |
| Costumes | Lucinda Ballard | |
| Genre | SHOWS DOCTORED | |
| Premiere | February 24, 1955 | |
Summer Day | ||
| Composer | Sergei Prokofiev | |
| Music | Quartet No. 2, Op.92 | |
| Dancers | Annabelle Lyon, Jerome Robbins | |
| Genre | BALLET | |
| Premiere | May 12, 1947, City Center of Music & Drama, American-Soviet Musical Society | |
The Cage | |||
| Composer | Igor Stravinsky | ||
| Music | Concerto in D for string orchestra "Basler" (1946) | ||
| Dancers | Nora Kaye (The Novice), Yvonne Mounsey (The Queen), Nicholas Magallanes, Michael Maule (The Intruders) | ||
| Scenery | Jean Rosenthal | ||
| Costumes | Ruth Sobotka | ||
| Lighting | Jennifer Tipton | ||
| Genre | BALLET | ||
| Premiere | June 14, 1951, City Center of Music and Drama, New York City Ballet | ||
| Casting Reqs | 16 Dancers: Novice: principal woman; 1st Intruder: solo man; The Group: corps of 12 women; Queen: solo woman; 2nd Intruder: principal man | ||
| Requirements | orchestra | ||
| Running Time | 13′ | ||
| Notes | There occurs in certain forms of insect and animal life, and even in our own mythology, the phenomenon of the female species considering the male as prey. This ballet concerns the rites of such a species. | ||
The Concert (Or, The Perils of Everybody) | |||
| Composer | Frederic Chopin | ||
| Music | Polonaise in A Major (op. 40, no. 1)
Berceuse (op. 57) Prelude (op. 28, no. 18) Prelude (op. 28, no. 16) Waltz in E-Minor (posthumous, op. 15) Prelude (op. 28, no. 7) Mazurka in G Major (posthumous) Prelude (op. 28, no. 4) Ballade (op. 47, no. 3) Orchestrated by Clare Grundman. | ||
| Dancers | Tanaquil LeClercq, Todd Bolender, Yvonne Mounsey, Robert Barnett, Wilma Curley, John Mandia, Shaun O′Brien, Patricia Savoia, Richard Thomas | ||
| Scenery | Saul Steinberg; Edward Gorey | ||
| Costumes | Irene Sharaff | ||
| Lighting | Jennifer Tipton | ||
| Genre | BALLET | ||
| Premiere | March 6, 1956, City Center of Music and Drama, New York City Ballet | ||
| Casting Reqs | 21 Dancers | ||
| Requirements | piano on stage; orchestra | ||
| Running Time | 26′ | ||
| Notes | One of the pleasures of attending a concert is the freedom to lose oneself in listening to the music. Quite often, unconsciously, mental pictures and images form, and the patterns and paths of these reveries are influenced by the music itself, or its program notes, or by the personal dreams, problems and fantasies of the listener. Chopin′s music in particular has been subject to fanciful ″program″ names such as the Butterfly Etude, the Minute Waltz, the Raindrop Prelude, etc.. | ||
The Four Seasons | |||
| Composer | Giuseppe Verdi | ||
| Music | "Il Ballo delle Quattro Stagioni" from "I Vespri Siciliani"; "Scherzando" and "Valse" from "Jérusalem" (the French version of "I Lombardi alla Prima Crociata" and the only production in which the ballet music was used); and "Echo de la Bohèmienne" from "Il Trovatore". | ||
| Dancers | Joseph Duell, Heather Watts, Peter Frame, Kyra Nichols, Daniel Duell, Stephanie Saland, Bart Cook, Patricia McBride, Mikhail Baryshnikov, Jean-Pierre Frohlich | ||
| Scenery | Santo Loquasto | ||
| Costumes | Santo Loquasto | ||
| Lighting | Jennifer Tipton | ||
| Genre | BALLET | ||
| Premiere | January 18, 1979, New York State Theater, New York City Ballet | ||
| Casting Reqs | 31 Dancers: Janus - 1 man
WINTER Allegory: 1 man, Principals: 1 woman, 2 men, Corps: 8 women SPRING Allegory: 1 woman, Principals: 1 woman, 1 man, Corps: 4 men SUMMER Allegory: 1 woman, Principals: 1 woman, 1 man, Corps: 6 women FALL Allegory: 1 man, Principals: 1 woman, 2 men, Corps: 8 women + 2 for finale, 8 men + 1 for finale | ||
| Requirements | orchestra | ||
| Running Time | 36′ | ||
| Notes | When opera was presented in Paris in the late Nineteenth Century, the composer was obliged to include a ballet at the beginning of the third act whether or not it had anything to do with the plot of the opera. Usually it didn′t but it gave the Jockey Club, a group of wealthy subscribers, a chance to look over their favorite beautiful ladies of the ballet at a convenient time of the evening and these patrons were attentively in their seats for the ballet, if not for the rest of the opera. The tradition of the third act divertissement was so firmly established that when Wagner put his ″Venusberg″ ballet at the very beginning of Act I of ″Tannhäuser″, there were such forcible protests by the Jockey Club that the whole opera was nearly withdrawn.
Fortunately for us, Verdi was less revolutionary about Parisian conventions and composed many third Act opera ballets. Although seldom included in today′s productions, they contain some of the most delightful dance music of the period. For ″I Vespri Siciliani″, he devised a ballet called ″The Four Seasons″. His libretto called for Janus, the God of New Year, to inaugurate a series of dances by each of the seasons in turn. Verdi′s notes suggest such notions as ballerinas warming themselves in Winter by dancing, Spring bringing on warm breezes, indolent Summer ladies being surprised by an Autumnal faun, etc.. The present ballet follows his general plan. The original score is augmented by a few selections of his ballet music from ″I Lombardi″ and ″Il Trovatore″. | ||
The Goldberg Variations | |||
| Composer | Johann Sebastian Bach | ||
| Music | The Goldberg Variations or Aria with Thirty Variations (1742) | ||
| Dancers | Renee Estopinal, Michael Steele, Gelsey Kirkland, Sara Leland, John Clifford, Robert Maiorano, Robert Weiss, Bruce Wells, Karin von Aroldingen, Peter Martins, Susan Hendl, Anthony Blum, Patricia McBride, Helgi Tomasson | ||
| Costumes | Joe Eula | ||
| Lighting | Thomas Skelton | ||
| Genre | BALLET | ||
| Premiere | May 27, 1971, New York State Theater, New York City Ballet | ||
| Casting Reqs | 47 Dancers
Part I Principals: 2 women, 4 men; Corps: 6 women, 5 men Part II Principals: 3 women, 3 men; Corps: 12 women, 9 men | ||
| Running Time | 75′ | ||
| Notes | Bach′s so-called "Goldberg Variations" was published in 1742 under the title "Area Mit Verschieden Veraenderungen". "Veraenderungen" is usually translated as variations, but it also means alterations or mutations.
It is the only work of Bach′s in the structure of a Theme and Variations. However, it differs from most compositions of this nature in that the variations are not based on the melody but on the harmonic implications of the accompaniment of the theme, a sarabande that Bach wrote for his second wife. | ||
The Guests | |||
| Composer | Marc Blitzstein | ||
| Music | The Guests | ||
| Dancers | Maria Tallchief, Nicholas Magallanes, Francisco Moncion | ||
| Costumes | Jerome Robbins | ||
| Genre | BALLET | ||
| Premiere | January 20, 1949, City Center of Music & Drama, New York City Ballet | ||
| Casting Reqs | 2 principal men, 1 principal woman; First group: 5 couples; Second group: 3 couples | ||
The King and I | ||
| Book | Ernest Lehman, Oscar Hammarstein II, Margaret Landon | |
| Composer | Richard Rodgers | |
| Lyrics | Oscar Hammerstein II | |
| Director | Walter Lang | |
| Choreographer | Jerome Robbins | |
| Leads | Deborah Kerr (Anna Leonowens)
Yul Brynner (King Mongkut of Siam) Rita Moreno (Tuptim) Martin Benson (Kralahome) Terry Saunders (Lady Thiang) | |
| Scenery | John De Cuir, Lyle R. Wheeler | |
| Costumes | Irene Sharaff | |
| Genre | MOTION PICTURES | |
| Premiere | June 28, 1956, New York City | |
The King and I | ||
| Book | Oscar Hammerstein II | |
| Composer | Richard Rodgers | |
| Lyrics | Oscar Hammerstein II (based on the novel Anna and the King of Si | |
| Director | John van Druten | |
| Choreographer | Jerome Robbins | |
| Leads | Gertrude Lawrence (Anna Leonowens)
Yul Brynner (The King) Doretta Morrow (Tuptim) Dorothy Sarnoff (Lady Thiang) Larry Douglas (Lun Tha) | |
| Dancers | The Royal Dancers:
Jamie Bauer, Lee Becker, Mary Burr, Gemze de Lappe, Shellie Farrell, Marilyn Gennaro, Evelyn Giles, Ina Kurland, Nancy Lynch, Michiko, Helen Murielle, Prue Ward, Dusty Worrall, Yuriko; Wives: Stephanie Augustine, Marcia James, Ruth Korda, Suzanne Lake, Gloria Marlowe, Carolyn Maye, Helen Merritt, Phyllis Wilcox; Amazons: Geraldine Hamburg, Maribel Hammer, Norma Larkin, Miriam Lawrence; Priests: Duane Camp, Joseph Caruso, Leonard Graves, Jack Matthews, Ed Preston Slaves: Doris Avila, Raul Celada, Beau Cummingham, Tommy Gomez | |
| Scenery | Jo Mielziner | |
| Costumes | Irene Sharaff | |
| Genre | MUSICALS | |
| Premiere | March 29, 1951, St. James Theatre, New York City | |
The Pajama Game | |||
| Book | George Abbott & Richard Bissell | ||
| Composer | Richard Adler & Jerry Ross | ||
| Lyrics | Richard Adler & Jerry Ross | ||
| Director | George Abbott & Jerome Robbins | ||
| Choreographer | Bob Fosse | ||
| Leads | John Raitt (Sid Sorokin)
Janis Paige (Babe Williams) Eddie Foy Jr. (Hines) Carol Haney (Gladys) Buzz Miller (Second Helper) Peter Gennaro (Worker) Stanley Prager (Prez) Ralph Dunn (Hasler) Reta Shaw (Mabel) Thelma Pelish (Mae) Marion Colby (Brenda) Jack Waldron (Salesman) | ||
| Dancers | Carmen Alvarez; Marilyn Gennaro; Lida Koehring; Shirley MacLaine; Marsha Reynolds; Ann Wallace; Robert Evans; Eric Kristen; Jim Hutchison; Dale Moreda; Augustin Rodriquez; Ben Vargas | ||
| Scenery | Lemuel Ayers | ||
| Costumes | Lemuel Ayers | ||
| Genre | MUSICALS | ||
| Premiere | May 13, 1954, St. James Theatre; New York City | ||
| Notes | Based on the book "7 1/2 Cents" by Richard Bissell. | ||
The Pied Piper | |||
| Composer | Aaron Copland | ||
| Music | Concerto for Clarinet and String Orchestra with Harp and Piano | ||
| Dancers | Diana Adams, Nicholas Magallanes, Jillana, Roy Tobias, Janet Reed, Todd Bolender, Melissa Hayden, Herbert Bliss, Tanaquil LeClerq, Jerome Robbins | ||
| Costumes | supplied by performers | ||
| Lighting | Jean Rosenthal | ||
| Genre | BALLET | ||
| Premiere | December 4, 1951, City Center of Music and Drama, New York City Ballet | ||
| Casting Reqs | 5 principal couples; 16 corps women, 7 corps men | ||
| Requirements | solo clarinet | ||
The Tender Land | ||
| Book | Horace Everett | |
| Composer | Aaron Copland | |
| Director | Jerome Robbins | |
| Genre | OPERA | |
| Premiere | April 1, 1954, New York City Opera | |
Tricolore | |||
| Composer | Georges Auric | ||
| Choreographer | with Peter Martins and Jean-Pierre Bonnefoux | ||
| Dancers | Renee Estopinal, Jay Jolley, Kyra Nichols, Joseph Duell, Karin von Aroldingen, Nina Fedorova | ||
| Scenery | Rouben Ter-Arutunian | ||
| Costumes | Rouben Ter-Arutunian | ||
| Genre | BALLET | ||
| Premiere | May 18, 1978, New York State Theater, New York City Ballet | ||
| Running Time | 24′ | ||
Two's Company |
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| Book | Charles Sherman & Peter DeVries | ||
| Composer | Vernon Duke, Sheldon Harnick | ||
| Lyrics | Ogden Nash, Sammy Cahn, Sheldon Harnick | ||
| Director | Jules Dassin | ||
| Choreographer | Jerome Robbins | ||
| Leads | Bette Davis; Hiram Sherman; David Burns; Bill Callahan; Stanley Prager; Ellen Hanley; Maria Karnilova; George S. Irving; Nora Kaye; Buzz Miller; Oliver Wakefield; Peter Kelley | ||
| Dancers | William Inglis; John Kelly; Ralph Linn; Job Sanders; Stanley Simmons; Florence Baum; Jeanna Beldin; Eleanor Boleyn; Barbara Heath; Dorothy Hill; Julie Marlowe; Helen Murielle. Robert Orton′s Teen Aces: Robert Orton; Francis Edwards; Henry Mallory; Gilbert Shipley; Armstead Shobey; Norman Shobey. | ||
| Scenery | Ralph Alswang | ||
| Costumes | Miles White | ||
| Genre | MUSICALS | ||
| Premiere | December 15, 1952, Alvin Theatre; New York City | ||
| Notes | SKETCHES DIRECTOR: JULES DASSIN. MUSICAL NUMBERS: JEROME ROBBINS | ||
Une Barque sur L′Ocean | |||
| Composer | Maurice Ravel | ||
| Music | Une Barque sur l′Ocean (orchestral version) | ||
| Dancers | Victor Castelli, Daniel Duell, Laurence Matthews, Jay Jolley, Nolan T′Sani | ||
| Costumes | Parmelee Welles | ||
| Lighting | Ronald Bates | ||
| Genre | BALLET | ||
| Premiere | May 29, 1975, New York State Theater, New York City Ballet | ||
| Casting Reqs | 5 men | ||
Watermill | |||
| Composer | Teiji Ito | ||
| Music | Watermill (1971) | ||
| Dancers | Edward Villella, Penny Dudleston, Colleen Neary, Tracy Bennett, Victor Castelli, Hermes Conde, Bart Cook, Jean-Pierre Frohlich, Deni Lamont, Robert Maiorano | ||
| Cast | Musicians: Dan Erkkila, Genji Ito, Teiji Ito, Kensuke Kawase, Mara Purl, Terry White | ||
| Scenery | Jerome Robbins in association with David Reppa | ||
| Costumes | Patricia Zipprodt | ||
| Lighting | Jennifer Tipton | ||
| Genre | BALLET | ||
| Premiere | February 3, 1972, New York State Theater, New York City Ballet | ||
| Casting Reqs | 24 Dancers: 1 principal man; 1 demi woman, 4 demi men; 7 corps women, 11 corps men | ||
| Requirements | Ito′s ensemble (6 musicians) | ||
| Running Time | 59′ | ||
| Notes | The score of ″Watermill″ stems mainly from the religious ceremonials and theatrical music of the Orient. It features the Shakuhachi, a bamboo flute used in the 13th Century in Japan, played mainly by Zen Buddhist priests whose compositions for the instrument still survive. The majority of these musical-religious works are contemplative evocations of nature and the seasons.
The ballet itself is influenced by the music and theater of the East; however, its world, people, and events are not construed as Oriental. | ||