 |
||
|
| ||
|
Browse by Title Browse by Genre Browse By Year |
2 & 3 Part Inventions | ||
| Composer | Johann Sebastian Bach | |
| Music | Inventions & Sinfonias (in performance order)
Inventio 1, BWV 772 Inventio 4, BWV 775 Sinfonia 4, BWV 790 Sinfonia 6, BWV 792 Inventio 12, BWV 783 Inventio 6, BWV 777 Sinfonia 11, BWV 797 Inventio 8, BWV 779 Inventio 15, BWV 786 Sinfonia 15, BWV 801 Sinfonia 9, BWV 795 Inventio 1, BWV 772 | |
| Dancers | Kristina Fernandez, Benjamin Millepied, Eliane Munier, Amaury Lebrun, Riolama Lorenzo, Alex Ketley, Jennifer Chipman, Seth Belliston | |
| Scenery | Jean Rosenthal | |
| Lighting | Jennifer Tipton | |
| 1 | ||
| Genre | BALLET | |
| Premiere | June 4, 1994, Juilliard Theater, The School of American Ballet | |
| Casting Requirements | 8 dancers: 4 women, 4 men | |
| Requirements | pianist | |
| Running Time | 27′ | |
| Notes | J. S. Bach wrote these piano studies, Inventions & Sinfonias, between 1720 and 1723 to help instruct his son in the playing and handling of 2- and 3-part pieces. There are as many interpretations as there are pianists, as one can conclude by those recorded. Glenn Gould has even rearranged the order, mixing the 2 and 3 parts alternately. Mr. Robbins selected a dozen of all the pieces for this ballet. | |
3 X 3 | ||
| Composer | Georges Auric | |
| Music | Trio in G Major for Oboe, Clarinet and Bassoon | |
| Dancers | Joan Van Orden, Tom Abbott, Erin Martin, Gene Gavin, Beryl Towbin, James Moore | |
| Costumes | Irene Sharaff | |
| 1 | ||
| Genre | BALLET | |
| Premiere | September 4, 1958, Alvin Theatre, Ballets: U.S.A. | |
A Funny Thing Happened on the Way to the Forum | ||
| Book | Burt Shevelove & Larry Gelbart | |
| Composer | Stephen Sondheim | |
| Lyrics | Stephen Sondheim | |
| Director | George Abbott | |
| Choreographer | Jack Cole | |
| Leads | Zero Mostel (Pseudolus)
David Burns (Senex) John Carradine (Lycus) Brian Davies (Hero) Jack Gilford (Hysterium) Ron Holgate (Miles Gloriosus) Ruth Kobart (Domina) Preshy Marker (Philia) Raymond Walburn (Erronius) | |
| Scenery | Tony Walton | |
| Costumes | Tony Walton | |
| 1 | ||
| Genre | SHOWS DOCTORED | |
| Premiere | May 8, 1962, Alvin Theatre; New York City | |
A Sketch Book: Works in Progress | ||
| Composer | George Frederic Handel; Heinrich von Biber; Gioacchino Rossini; Georg Philipp Telemann; Giuseppe Verdi | |
| Music | 1. Fencing Dances and Exercises: Music by Handel & Biber; Choreography by Jerome Robbins
2. Pas De Deux: Music by Gioacchino Rossini; Choreography by Peter Martins 3. Solo: Music by Georg Philipp Telemann; Choreography by Jerome Robbins 4. Verdi Variations: Music by Giuseppe Verdi; Choreography by Jerome Robbins | |
| Choreographer | Peter Martins, Jerome Robbins | |
| Dancers | 1. Fencing Dances & Exercises:
Joseph Duell, Daniel Duell, Laurence Matthews, Peter Naumann, Peter Frame, Jean-Pierre Frohlich, Bryan Pitts, Kipling Houston, Bruce Padgett, Timothy Fox, Paul Boos, Francis Sackett, Paul Sackett, Hermes Conde, Gerard Ebitz, Ulrik Trojaborg 2. Pas De Deux: Heather Watts, Sean Lavery 3. Solo: Daniel Duell 4. Verdi Variations: Kyra Nichols, Peter Martins, Timothy Fox, John Bass, Paul Boos, Douglas Hay | |
| Lighting | Ronald Bates | |
| 1 | ||
| Genre | BALLET | |
| Premiere | June 8, 1978, New York State Theater, New York City Ballet | |
| Notes | The ballet, a series of sketches, ideas and preliminary plans for future works, is in reality pages from the choreographers′ note books. Some of the dances were begun in other seasons, some this season. All are parts of works-in-progress. | |
A Suite of Dances | ||
| Composer | Johann Sebastian Bach | |
| Music | selected movements from The Suites for Solo Cello.
Prelude & Gigue (from Suite I in G Major, BWV 1007) Sarabande (from Suite V in C Minor, BWV 1011) Prelude (from Suite VI in D Major, BWV 1012) | |
| Dancers | Mikhail Baryshnikov | |
| Cast | Cellist: Wendy Sutter | |
| Costumes | Santo Loquasto | |
| Lighting | Jennifer Tipton | |
| 1 | ||
| Genre | BALLET | |
| Premiere | March 3, 1994, New York State Theater, White Oak Dance Project | |
| Casting Requirements | 1 Dancer: man | |
| Requirements | cellist (female) on stage | |
| Running Time | 16′ | |
A Tree Grows in Brooklyn | ||
| Book | Betty Smith & George Abbott | |
| Composer | Arthur Schwartz | |
| Lyrics | Dorothy Fields | |
| Director | George Abbott | |
| Choreographer | Herbert Ross | |
| Leads | Shirley Booth (Cissy)
Johnny Johnston (Johnny Nolan) Marsha Van Dyke (Katie) Dody Heath (Hildy) | |
| Scenery | Jo Mielziner | |
| Costumes | Irene Sharaff | |
| 1 | ||
| Genre | SHOWS DOCTORED | |
| Premiere | April 19, 1951, Alvin Theatre; New York City | |
Afternoon of a Faun | ||
| Composer | Claude Debussy | |
| Music | Prelude a l′Après-midi d′un Faune (1892-94) | |
| Dancers | Tanaquil LeClercq, Francisco Moncion | |
| Scenery | Jean Rosenthal | |
| Costumes | Irene Sharaff | |
| Lighting | Jean Rosenthal | |
| 1 | ||
| Genre | BALLET | |
| Premiere | May 14, 1953, City Center of Music and Drama, New York City Ballet | |
| Casting Requirements | 2 Dancers: 1 principal man, 1 principal woman | |
| Requirements | orchestra | |
| Running Time | 10′ | |
| Notes | Debussy′s music, Prelude a l′Après-midi d′un Faune, was composed between 1892 and 1894. It was inspired by a poem of Mallarme′s which was begun in 1876. The poem describes the reveries of a faun around a real or imagined encounter with nymphs. In 1912 Nijinsky presented his famous ballet, drawing his ideas from many sources, including Greek sculpture and painting. This pas de deux, choreographed by Jerome Robbins, is a variation on these themes. It was first performed in 1953 by the New York City Ballet Company and is dedicated to Tanaquil Le Clercq for whom the ballet was choreographed. | |
Afterthoughts | ||
| Composer | Igor Stravinsky | |
| Music | Valse from Trois Pieces Faciles pour Piano a Quatre Mains | |
| 1 | ||
| Genre | BALLET | |
| Premiere | January 1, 2007 | |
Age of Anxiety | ||
| Composer | Leonard Bernstein | |
| Music | Symphony No. 2 for Piano and Orchestra, "Age of Anxiety" | |
| Dancers | Tanaquil LeClercq, Todd Bolender, Francisco Moncion, Jerome Robbins | |
| Scenery | Oliver Smith | |
| Costumes | Irene Sharaff | |
| Lighting | Jean Rosenthal | |
| 1 | ||
| Genre | BALLET | |
| Premiere | February 26, 1950, City Center of Music and Drama, New York City Ballet | |
| Casting Requirements | 44 Dancers: 1 principal woman, 3 principal men; 4 solo women; 5 women, 5 men; 16 women; 5 women, 5 men | |
| Requirements | piano and orchestra | |
Allegro con Grazia | ||
| Composer | Peter Ilyich Tchaikovsky | |
| Music | 6th Symphony, second movement | |
| Dancers | Patricia McBride, Helgi Tomasson | |
| Costumes | Ben Benson | |
| 1 | ||
| Genre | BALLET | |
| Premiere | June 14, 1981, New York State Theater, New York City Ballet | |
| Casting Requirements | 12 Dancers: 1 principal woman, 1 principal man; 10 women | |
| Running Time | 8′ | |
American Theatre Laboratory | ||
| 0 | ||
| Genre | WORKSHOPS | |
| Notes | In 1966, disenchanted with the pressures of commercial theatre and influenced by the ideas of visionary directors like Peter Brook and Jerzy Grotowski, Jerome Robbins founded the American Theatre Lab to explore what his grant proposal called “total theatre”: a “poetic,” non-realistic meld of acting, dance, singing, performed by a group of actors and dancers in a closed workshop setting. For three years, with the help of seed money from the fledgling National Endowment for the Arts and assisted by Anna Sokolow, Leonard Bernstein, John Guare, and the young Robert Wilson, among others, Robbins worked with this group on a variety of exercises and projects, including a theater piece based on the Warren Commission’s report on the Kennedy assassination, which was presented alternately as a dramatized documentary and as a Noh play, complete with masks. But none of these efforts was given a public airing; and although the idea of a permanent rehearsal had seemed a good idea to Robbins at the beginning, three years without any closure left him “exhausted” and convinced (as he told the critic Clive Barnes) that “I just couldn’t go on that way.” ATL ceased functioning in 1968; but some of the ideas Robbins worked on there can be clearly seen (as he was the first to admit) in his 1972 ballet Watermill. | |
An Evening′s Waltzes | ||
| Composer | Sergei Prokofiev | |
| Music | Suite of Waltzes, Op. 110 (1946) | |
| Dancers | Patricia McBride, Jean-Pierre Bonnefoux, Christine Redpath, John Clifford, Sara Leland, Bart Cook | |
| Scenery | Rouben Ter-Arutunian | |
| Costumes | Rouben Ter-Arutunian | |
| Lighting | Ronald Bates | |
| 1 | ||
| Genre | BALLET | |
| Premiere | May 24, 1973, New York State Theater, New York City Ballet | |
| Casting Requirements | 23 Dancers:
Part I: 2 demi women (later used in corps); 6 corps women, 6 corps men; Part II: 1 principal woman, 1 principal man; 4 corps women, 4 corps men; Part III: 1 principal woman, 1 principal man; Part IV: 1 principal woman, 1 principal man; 4 corps women, 4 corps men; Part V: Entire Cast--3 sets of principals with 17 corps members--9 women, 8 men | |
| Requirements | orchestra | |
| Running Time | 25′ | |
| Notes | Prokofiev assembled many of the waltzes he had written for various theatrical works and formed them into the symphonic Suite of Waltzes, Opus 110. The waltzes, composed mostly for the great ballroom scenes are from the ballet "Cinderella", the opera "War and Peace" and the film "Lermontov". | |
Andantino | ||
| Composer | Peter Ilyich Tchaikovsky | |
| Music | Piano Concerto No. 1 in E Flat major, op. 75, second movement | |
| Dancers | Darci Kistler, Ib Andersen | |
| Costumes | Ben Benson | |
| Lighting | Ronald Bates | |
| 1 | ||
| Genre | BALLET | |
| Premiere | June 4, 1981, New York State Theater, New York City Ballet | |
| Casting Requirements | 2 Dancers; 1 principal woman, 1 principal man | |
| Requirements | piano, orchestra | |
| Running Time | 10′ | |
Antique Epigraphs | ||
| Composer | Claude Debussy | |
| Music | Six Epigraphes Antiques (1897), orchestrated by Ernest Ansermet (1932); Syrinx, for solo flute | |
| Dancers | Kyra Nichols, Stephanie Saland, Maria Calegari, Simone Schumacher, Helene Alexopoulos, Jerri Kumery, Victoria Hall, Florence Fitzgerald | |
| Costumes | Florence Klotz | |
| Lighting | Jennifer Tipton | |
| 1 | ||
| Genre | BALLET | |
| Premiere | February 2, 1984, New York State Theater, New York City Ballet | |
| Casting Requirements | 8 Dancers: 4 principal women, 4 corps women | |
| Requirements | orchestra | |
| Running Time | 20′ | |
| Notes | In 1897 Debussy set to music some newly discovered ancient Greek Sapphic poems called Songs of Bilitis. The poems were published as translations by Pierre Louys, who subsequently admitted writing them himself. Debussy returned to the music material years later and reshaped some of them into piano pieces for four hands called Six Epigraphes Antiques. He wanted to orchestrate them and it was done by Ernest Ansermet in 1932. Syrinx for solo flute completes the score for the ballet. Like the Epigraphes and Afternoon of a Faun, Syrinx was inspired by French poetry about life and myths of Greek antiquity. | |
Ballade | ||
| Composer | Claude Debussy | |
| Music | Six Epigraphes Antiques, piano for four hands, orchestrated by Ernst Ansermet; Syrinx | |
| Dancers | Nora Kaye, Tanaquil LeClercq, Janet Reed, Robert Barnett, Brooks Jackson, Louis Johnson, John Mandia | |
| Scenery | Boris Aronson | |
| Costumes | Boris Aronson | |
| Lighting | Jean Rosenthal | |
| 1 | ||
| Genre | BALLET | |
| Premiere | February 14, 1952, City Center of Music and Drama, New York City Ballet | |
| Casting Requirements | 7 Dancers: 3 principal women, 4 principal men | |
| Requirements | solo flute | |
| Running Time | 13′ | |
Baryshnikov at the White House | ||
| Composer | Jerome Robbins | |
| Dancers | Mikhail Baryshnikov, Patricia McBride | |
| 1 | ||
| Genre | TELEVISION | |
| Premiere | January 1, 2007 | |
| Notes | 1979; Pas de deux from Other Dances with Baryshnikov and Patricia McBride. Solo from Dances at a Gathering with McBride. Premiere of new Chopin dance with Baryshnikov and McBride. | |
Bells Are Ringing | ||
| Book | Betty Comden & Adolph Green | |
| Composer | Jule Styne | |
| Lyrics | Betty Comden & Adolph Green | |
| Director | Jerome Robbins | |
| Choreographer | Bob Fosse & Jerome Robbins | |
| Leads | Judy Holliday (Ella Peterson)
Sydney Chaplin (Jeff Moss) Jean Stapleton (Sue) Peter Gennaro (Carl) George S. Irving (Larry Hastings) | |
| Dancers | Norma Doggett; Phyllis Dorne; Patti Karr; Barbara Newman; Nancy Perkins; Marsha Rivers; Beryle Towbin; Anne Wallace; Doris Avila; Frank Derbas; Don Emmons; Eddie Heim; Kasimir Kokic; Tom O'Steen; Willy Sumner; Ben Vargas; Billy Wilson | |
| Scenery | Raoul Pene du Bois | |
| Costumes | Raoul Pene du Bois | |
| 1 | ||
| Genre | MUSICALS | |
| Premiere | November 29, 1956, Shubert Theatre; New York City | |
| www.tams-witmark.com | ||
Billion Dollar Baby | ||
| Book | Betty Comden & Adolph Green | |
| Composer | Morton Gould | |
| Lyrics | Betty Comden & Adolph Green | |
| Director | George Abbott | |
| Choreographer | Jerome Robbins | |
| Leads | Mitzi Green (Georgia Motley)
Joan McCracken (Maribelle Jones) Danny Daniels (Champ Watson) William Talbert (Rocky Barton) Robert Chisolm (Montague) David Burns (Dapper Welch) Don de Leo (Jerry Bonanza) Emily Ross (Ma Jones) Shirley Van (Esme) James Mitchell (Rocky) | |
| Dancers | Jacqueline Dodge; Helen Gallagher; Virginia Gorski; Maria Harriton; Ann Hutchinson; Cecille Mann: Joan Mann; Virginia Poe; Lorraine Todd; Lucas Aco; Allan Waine; Douglas Deane; Fred Hearne; Joe Landis; James Mitchell; Arthur Partington; Bill Summer | |
| Scenery | Oliver Smith | |
| 1 | ||
| Genre | MUSICALS | |
| Premiere | December 21, 1945, Alvin Theatre, New York City | |
| www.tams-witmark.com | ||
Brahms/Handel | ||
| Composer | Johannes Brahms | |
| Music | Variations and Fugue on a Theme by Handel, op. 24; orchestrated by Edmond Rubbra | |
| Choreographer | Jerome Robbins & Twyla Tharp | |
| Dancers | Merrill Ashley, Ib Andersen, Maria Calegari, Bart Cook | |
| Costumes | Oscar de la Renta | |
| Lighting | Jennifer Tipton | |
| 1 | ||
| Genre | BALLET | |
| Premiere | June 7, 1984, New York State Theater, New York City Ballet | |
| Casting Requirements | 28 Dancers: Blue Principals: 1 woman, 1 man; Green Principals: 1 woman, 1 man; Blue Demis: 2 women, 2 men; Green Demis: 3 women, 3 men; Blue Corps: 4 women, 4 men; Green Corps: 3 women, 3 men | |
| Requirements | orchestra | |
| Running Time | 29′ | |
| www.twylatharp.org | ||
Brandenburg | ||
| Composer | Johann Sebastian Bach | |
| Music | Brandenburg Concerto No. 3 (BWV 1048) Allegro, Adagio (Largo from BWV 1021 Sonata for Violin & Basso cont. in G Major), Allegro;
Brandenburg No. 2 in F (BWV 1047) 2nd Mvt. Andante; Brandenburg Concerto No. 1 in F (BWV 10460 4th Mvt. Menuetto-Trio-Polacca; Brandenburg Concerto No. 6 in Bb (BWV 1051) 3rd Mvt. Allegro | |
| Dancers | Wendy Whelan, Peter Boal, Lourdes Lopez, Nikolaj Hubbe | |
| Costumes | Holly Hynes | |
| Lighting | Jennifer Tipton | |
| 1 | ||
| Genre | BALLET | |
| Premiere | January 22, 1997, New York State Theater, New York City Ballet | |
| Casting Requirements | 20 Dancers: 2 principal couples, 8 corps men, 8 corps women | |
| Requirements | piano | |
| Notes | The Brandenburg Concertos, 6 in number, were written by Bach during the years 1718 and 1720. They are named for and dedicated to Margrave Christian Ludwig of Brandenburg and are very popular among Bach′s pieces. Mr. Robbins selected sections from the pieces to make a suite of dances. | |
Call Me Madam | ||
| Book | Howard Lindsay & Russell Crouse | |
| Composer | Irving Berlin | |
| Lyrics | Irving Berlin | |
| Director | George Abbott | |
| Choreographer | Jerome Robbins | |
| Leads | Ethel Merman (Mrs. Sally Adams)
Paul Lukas (Cosmo Constantine) Alan Hewitt (Pemberton Maxwell) Russell Nype (Kenneth Gibson) Owen Coll (Supreme Court Justice/Grand Duke Otto) Ralph Chambers (Senator Gallagher) E.A. Krumschmidt (Hugo Tantinnin) Henry Lascoe (Sebastian Sebastian) Galina Talva (Princess Maria) | |
| Dancers | Tommy Rall; Muriel Bentley; Arthur Partington; Norma Kauser; Ollie Engebretsen; Richard Fjellman; Shellie Farrell; Nina Frenkin; Patricia Hammerlee; Barbara Heath; Norma Kaiser; Virginia LeRoy; Kirsten Valbor; Fred Hearn; Allan Knowls; Kenneth Leroy; Ralph Linn; Douglas Moppert; Bobby Tucker; William Weslow | |
| Scenery | Raoul Pene du Bois & Mainbocher | |
| Costumes | Raoul Pene du Bois & Mainbocher | |
| 1 | ||
| Genre | MUSICALS | |
| Premiere | October 12, 1950, Imperial Theatre, New York City | |
| Notes | Dances & musical numbers staged by Jerome Robbins. | |
Celebration: The Art of the Pas de Deux | ||
| Choreographer | Gsovsky, Ashton, Martinez, Bruhn, Ulanova, Gorsky, Balanchine | |
| Scenery | Rouben Ter-Arutunian | |
| 1 | ||
| Genre | BALLET | |
| Premiere | June 29, 1973, Teatro Nuovo; Spoleto, Italy | |
| Notes | Robbins arranged this program of ten pas de deux framed by a specially choreographed prologue and epilogue with Victor Gsovsky, Frederick Ashton, Frederick Ashton after Marius Petipa, Enrique Martinez, Erik Bruhn after August Bournonville, Galina Ulanova after Marius Petipa, Alexander Gorsky and George Balanchine | |
| www.balanchine.org | ||
Chansons Madecasses | ||
| Composer | Maurice Ravel | |
| Music | Chansons Madecasses (1926) (3 songs) | |
| Dancers | Patricia McBride, Helgi Tomasson, Debra Austin, Hermes Conde | |
| Lighting | Ronald bates | |
| 1 | ||
| Genre | BALLET | |
| Premiere | May 29, 1975, New York State Theater, New York City Ballet | |
| Casting Requirements | 4 Dancers: 2 women, 2 men | |
| Requirements | mezzo soprano, piano, flute, cello | |
| Running Time | 15′ | |
| Notes | The three poems of this song cycle were written by Evariste-Desire de Parny in 1787. The first describes the night tryst of two lovers. The second, a warning cry, relates the disastrous events of colonization. The third sings of the release of evening′s quiet languorousness. Ravel set them to music in 1926. One of the most striking aspects of the Chansons is the earthy immediacy of the words and how, in contrast, Ravel used such cool, elegant and minimum musical means to transform them into the art song form. | |
Circus Polka | ||
| Composer | Igor Stravinsky | |
| Music | Circus Polka (1942), Dedication: For a Young Elephant | |
| Dancers | Jerome Robbins (Ringmaster) with 48 students of the School of American Ballet | |
| 1 | ||
| Genre | BALLET | |
| Premiere | June 21, 1972, New York State Theater, New York City Ballet | |
| Casting Requirements | 48 small girls, 1 ballet master | |
| Requirements | orchestra | |
| Running Time | 3' | |
Concertino | ||
| Composer | Igor Stravinsky | |
| Music | Concertino (for Twelve Instruments) (originally for string quartet, 1920; orchestrated for 12 instruments in 1952); Three Pieces (for Clarinet Solo) (1919). | |
| Lighting | Ronald Bates | |
| 1 | ||
| Genre | BALLET | |
| Premiere | June 16, 1982, New York State Theater; New York City Ballet | |
| Casting Requirements | 3 Dancers: 2 men, 1 woman | |
| Requirements | orchestra | |
| Running Time | 10′ | |
| Notes | Concertino is one of four ballets from Four Chamber Works. | |
Go to page: 1 2 3 4 5 >>