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Poppa Piece

 GenreWORKSHOPS
 PremiereNovember 30, 1990, Lincoln Center Theatre

 Notes1991; Written by Jerome Robbins


 

Pulcinella (with George Balanchine)

 ComposerIgor Stravinsky
 MusicPulcinella
 DancersEdward Villella (Pulcinella); Violette Verdy (Girl); Michael Arshansky (Pulcinella′s Father); Francisco Moncion, Shaun O′Brien (Devil), George Balanchine, Jerome Robbins (Beggars)
 SceneryEugene Berman
 CostumesEugene Berman
 LightingRonald Bates
 GenreBALLET
 PremiereJune 23, 1972, New York State Theater, New York City Ballet

 Casting Reqs12 Dancers: 3 principal men; 3 corps women, 3 corps men
 Requirements1 soprano, 1 tenor, 1 bass
 Running Time37′


 

Quartet

 ComposerSergei Prokofiev
 MusicString Quartet No. 2, Op. 92
 DancersPatricia Wilde, Herbert Bliss, Jillana, Jacques d′Amboise, Yvonne Mounsey, Todd Bolender
 SceneryJean Rosenthal
 CostumesKarinska
 LightingJean Rosenthal
 GenreBALLET
 PremiereFebruary 18, 1954, City Center of Music and Drama, New York City Ballet

 Casting Reqs3 principal couples; 4 couples
 Requirementsstring quartet
 NotesIn 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

 ComposerAaron Copland
 MusicQuiet City (1940)
 DancersRobert LaFosse, Peter Boal, Damian Woetzel
 CostumesBarbara Matera
 LightingJennifer Tipton
 GenreBALLET
 PremiereMay 8, 1986, New York State Theater, New York City Ballet

 Casting Reqs12 Dancers: 3 principal men; 3 corps women, 6 corps men
 Running Time12′
 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

 GenreWORKSHOPS
 PremiereNovember 30, 1986, Lincoln Center Theatre

 Notes1968; With Stephen Sondheim, Leonard Bernstein and John Guare


 

Requiem Canticles

 ComposerIgor Stravinsky
 MusicRequiem Canticles
 DancersMerrill Ashley, Susan Hendl, Robert Maiorano, Bruce Wells
 LightingRonald Bates
 GenreBALLET
 PremiereJune 25, 1972, New York State Theater, New York City Ballet

 Casting Reqs19 Dancers: 2 principal women, 2 principal men; 7 corps women, 8 corps men.
 Requirements1 soprano, 1 bass, chorus
 NotesIn 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

 ComposerWolfgang Amadeus Mozart
 MusicRondo in A Minor
 DancersKyra Nichols, Stephanie Saland
 CastPianist: Gordon Boelzner
 LightingRonald Bates
 GenreBALLET
 PremiereNovember 11, 1980, New York State Theater, New York City Ballet

 Casting Reqs2 Dancers: women
 Requirementspiano on stage
 Running Time10′


 

Salute to Israel

 ChoreographerJerome Robbins
 DancersMikhail Baryshnikov & Gelsey Kirkland
 GenreTELEVISION
 PremiereMay 8, 1978

 Notes1978; New Chopin dance.


 

Scherzo Fantastique

 ComposerIgor Stravinsky
 MusicScherzo Fantastique (1908)
 DancersGelsey Kirkland, Bart Cook, Stephen Caras, Victor Castelli, Bryan Pitts
 LightingRonald Bates
 GenreBALLET
 PremiereJune 18, 1972, New York State Theater, New York City Ballet

 Casting Reqs5 Dancers: 1 woman, 4 men
 Requirementsorchestra
 Running Time16′


 

Silk Stockings

 BookGeorge S. Kaufman, Lelleen McGrath & Abe Burrows
 ComposerCole Porter
 LyricsCole Porter
 DirectorCy Feuer
 ChoreographerEugene Loring
 LeadsDon Ameche (Steve Canfield)
Hildegarde Neff (Ninotchka
George Tobias (Commissar Markovitch)
Gretchen Wyler (Janice Dayton
 SceneryJo Mielziner
 CostumesLucinda Ballard
 GenreSHOWS DOCTORED
 PremiereFebruary 24, 1955


 

Summer Day

 ComposerSergei Prokofiev
 MusicQuartet No. 2, Op.92
 DancersAnnabelle Lyon, Jerome Robbins
 GenreBALLET
 PremiereMay 12, 1947, City Center of Music & Drama, American-Soviet Musical Society


 

The Cage

 ComposerIgor Stravinsky
 MusicConcerto in D for string orchestra "Basler" (1946)
 DancersNora Kaye (The Novice), Yvonne Mounsey (The Queen), Nicholas Magallanes, Michael Maule (The Intruders)
 SceneryJean Rosenthal
 CostumesRuth Sobotka
 LightingJennifer Tipton
 GenreBALLET
 PremiereJune 14, 1951, City Center of Music and Drama, New York City Ballet

 Casting Reqs16 Dancers: Novice: principal woman; 1st Intruder: solo man; The Group: corps of 12 women; Queen: solo woman; 2nd Intruder: principal man
 Requirementsorchestra
 Running Time13′
 NotesThere 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)

 ComposerFrederic Chopin
 MusicPolonaise 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.
 DancersTanaquil LeClercq, Todd Bolender, Yvonne Mounsey, Robert Barnett, Wilma Curley, John Mandia, Shaun O′Brien, Patricia Savoia, Richard Thomas
 ScenerySaul Steinberg; Edward Gorey
 CostumesIrene Sharaff
 LightingJennifer Tipton
 GenreBALLET
 PremiereMarch 6, 1956, City Center of Music and Drama, New York City Ballet

 Casting Reqs21 Dancers
 Requirementspiano on stage; orchestra
 Running Time26′
 NotesOne 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

 ComposerGiuseppe 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".
 DancersJoseph Duell, Heather Watts, Peter Frame, Kyra Nichols, Daniel Duell, Stephanie Saland, Bart Cook, Patricia McBride, Mikhail Baryshnikov, Jean-Pierre Frohlich
 ScenerySanto Loquasto
 CostumesSanto Loquasto
 LightingJennifer Tipton
 GenreBALLET
 PremiereJanuary 18, 1979, New York State Theater, New York City Ballet

 Casting Reqs31 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
 Requirementsorchestra
 NotesWhen 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&#8242;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 &#8243;Venusberg&#8243; ballet at the very beginning of Act I of &#8243;Tannhäuser&#8243;, 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&#8242;s productions, they contain some of the most delightful dance music of the period. For &#8243;I Vespri Siciliani&#8243;, he devised a ballet called &#8243;The Four Seasons&#8243;. His libretto called for Janus, the God of New Year, to inaugurate a series of dances by each of the seasons in turn. Verdi&#8242;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

 ComposerJohann Sebastian Bach
 MusicThe Goldberg Variations or Aria with Thirty Variations (1742)
 DancersRenee 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
 CostumesJoe Eula
 LightingThomas Skelton
 GenreBALLET
 PremiereMay 27, 1971, New York State Theater, New York City Ballet

 Casting Reqs47 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 Time75′
 NotesBach′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

 ComposerMarc Blitzstein
 MusicThe Guests
 DancersMaria Tallchief, Nicholas Magallanes, Francisco Moncion
 CostumesJerome Robbins
 GenreBALLET
 PremiereJanuary 20, 1949, City Center of Music & Drama, New York City Ballet

 Casting Reqs2 principal men, 1 principal woman; First group: 5 couples; Second group: 3 couples


 

The King and I

 BookErnest Lehman, Oscar Hammarstein II, Margaret Landon
 ComposerRichard Rodgers
 LyricsOscar Hammerstein II
 DirectorWalter Lang
 ChoreographerJerome Robbins
 LeadsDeborah Kerr (Anna Leonowens)
Yul Brynner (King Mongkut of Siam)
Rita Moreno (Tuptim)
Martin Benson (Kralahome)
Terry Saunders (Lady Thiang)
 SceneryJohn De Cuir, Lyle R. Wheeler
 CostumesIrene Sharaff
 GenreMOTION PICTURES
 PremiereJune 28, 1956, New York City


 

The King and I

 BookOscar Hammerstein II
 ComposerRichard Rodgers
 LyricsOscar Hammerstein II (based on the novel Anna and the King of Si
 DirectorJohn van Druten
 ChoreographerJerome Robbins
 LeadsGertrude Lawrence (Anna Leonowens)
Yul Brynner (The King)
Doretta Morrow (Tuptim)
Dorothy Sarnoff (Lady Thiang)
Larry Douglas (Lun Tha)
 DancersThe 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
 SceneryJo Mielziner
 CostumesIrene Sharaff
 GenreMUSICALS
 PremiereMarch 29, 1951, St. James Theatre, New York City


 

The Pajama Game

 BookGeorge Abbott & Richard Bissell
 ComposerRichard Adler & Jerry Ross
 LyricsRichard Adler & Jerry Ross
 DirectorGeorge Abbott & Jerome Robbins
 ChoreographerBob Fosse
 LeadsJohn 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)
 DancersCarmen Alvarez; Marilyn Gennaro; Lida Koehring; Shirley MacLaine; Marsha Reynolds; Ann Wallace; Robert Evans; Eric Kristen; Jim Hutchison; Dale Moreda; Augustin Rodriquez; Ben Vargas
 SceneryLemuel Ayers
 CostumesLemuel Ayers
 GenreMUSICALS
 PremiereMay 13, 1954, St. James Theatre; New York City

 NotesBased on the book "7 1/2 Cents" by Richard Bissell.


 

The Pied Piper

 ComposerAaron Copland
 MusicConcerto for Clarinet and String Orchestra with Harp and Piano
 DancersDiana Adams, Nicholas Magallanes, Jillana, Roy Tobias, Janet Reed, Todd Bolender, Melissa Hayden, Herbert Bliss, Tanaquil LeClerq, Jerome Robbins
 Costumessupplied by performers
 LightingJean Rosenthal
 GenreBALLET
 PremiereDecember 4, 1951, City Center of Music and Drama, New York City Ballet

 Casting Reqs5 principal couples; 16 corps women, 7 corps men
 Requirementssolo clarinet


 

The Tender Land

 BookHorace Everett
 ComposerAaron Copland
 DirectorJerome Robbins
 GenreOPERA
 PremiereApril 1, 1954, New York City Opera


 

Tricolore

 ComposerGeorges Auric
 Choreographerwith Peter Martins and Jean-Pierre Bonnefoux
 DancersRenee Estopinal, Jay Jolley, Kyra Nichols, Joseph Duell, Karin von Aroldingen, Nina Fedorova
 SceneryRouben Ter-Arutunian
 CostumesRouben Ter-Arutunian
 GenreBALLET
 PremiereMay 18, 1978, New York State Theater, New York City Ballet

 Running Time24′


 

Two's Company

Two's Company
 BookCharles Sherman & Peter DeVries
 ComposerVernon Duke, Sheldon Harnick
 LyricsOgden Nash, Sammy Cahn, Sheldon Harnick
 DirectorJules Dassin
 ChoreographerJerome Robbins
 LeadsBette Davis; Hiram Sherman; David Burns; Bill Callahan; Stanley Prager; Ellen Hanley; Maria Karnilova; George S. Irving; Nora Kaye; Buzz Miller; Oliver Wakefield; Peter Kelley
 DancersWilliam 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&#8242;s Teen Aces: Robert Orton; Francis Edwards; Henry Mallory; Gilbert Shipley; Armstead Shobey; Norman Shobey.
 SceneryRalph Alswang
 CostumesMiles White
 GenreMUSICALS
 PremiereDecember 15, 1952, Alvin Theatre; New York City

 NotesSKETCHES DIRECTOR: JULES DASSIN. MUSICAL NUMBERS: JEROME ROBBINS


 

Une Barque sur L′Ocean

 ComposerMaurice Ravel
 MusicUne Barque sur l′Ocean (orchestral version)
 DancersVictor Castelli, Daniel Duell, Laurence Matthews, Jay Jolley, Nolan T′Sani
 CostumesParmelee Welles
 LightingRonald Bates
 GenreBALLET
 PremiereMay 29, 1975, New York State Theater, New York City Ballet

 Casting Reqs5 men


 

Watermill

 ComposerTeiji Ito
 MusicWatermill (1971)
 DancersEdward Villella, Penny Dudleston, Colleen Neary, Tracy Bennett, Victor Castelli, Hermes Conde, Bart Cook, Jean-Pierre Frohlich, Deni Lamont, Robert Maiorano
 CastMusicians: Dan Erkkila, Genji Ito, Teiji Ito, Kensuke Kawase, Mara Purl, Terry White
 SceneryJerome Robbins in association with David Reppa
 CostumesPatricia Zipprodt
 LightingJennifer Tipton
 GenreBALLET
 PremiereFebruary 3, 1972, New York State Theater, New York City Ballet

 Casting Reqs24 Dancers: 1 principal man; 1 demi woman, 4 demi men; 7 corps women, 11 corps men
 RequirementsIto′s ensemble (6 musicians)
 Running Time59′
 NotesThe 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.


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