The ballet was well-received and was revived by other ballet companies. In 1970, Balanchine incorporated the choreography of Theme and Variations to Suite No. 3 (now titled Tschaikovsky Suite No. 3),[a] performed by the New York City Ballet.
Tempe Ostergren and Kansas City Ballet dancers Theme and Variations
Balanchine's Theme and Variations is set to the final movement of Tchaikovsky's Orchestral Suite No. 3.[2] It was commissioned by Lucia Chase for Ballet Theatre (now American Ballet Theatre).[2] The sets and costumes of the original production were designed by Woodman Thompson.[3]
The ballet is plotless and abstract.[2] Like Ballet Imperial (now titled Tschaikovsky Piano Concerto No. 2),[a] Balanchine made Theme and Variations as a tribute to the Imperial Russian ballet style, and he wrote that the ballet was intended "to evoke that great period in classical dancing when Russian ballet flourished with the aid of Tchaikovsky's music."[4]: 175 [5]: 22 It is also regarded as his tribute to Imperial Russian Theater and the ballet The Sleeping Beauty.[6]: 22
The ballet features a lead couple, created on Alicia Alonso and Igor Youskevitch, plus four soloists and a corps de ballet.[3]Mary Ellen Moylan, who had trained under Balanchine, was offered the female principal role and was asked to join Ballet Theatre, though she opted to rejoin Ballet Russe de Monte Carlo.[7] While making the ballet, Youskevitch and Balanchine disagreed as the former wanted to dance like a prince from Swan Lake or Giselle, but Balanchine wanted him to focus on the steps only.[5]: 22 Alonso previously believed that ballet cannot be abstract, and stated she "always have a feeling of being just behind the music" during rehearsals with Balanchine. She also said Balanchine kept giving her and Youskevitch more "complex steps," hoping to eliminate their personalities.[8]: 68 However, the presence of their personalities remained obvious. In rehearsals, Balanchine neither criticized nor approved them, although Youskevitch was convinced that their "romanticized" interpretations were not accepted by Balanchine.[8]: 112 Alonso nevertheless noted she "learned a lot" through Theme and Variations, especially "to listen to each instrument individually," which became helpful when her eyesight got worse.[8]: 112
PremiereEdit
Theme and Variations premiered on November 26, 1947, at the City Center 55 Street Theater.[5]: 405–406 It was well-received by both critics and the audience.[5]: 22 Lincoln Kirstein, who co-founded the Ballet Society with Balanchine, was pleased that Balanchine achieved success, but jealous that it was with another company.[5]: 22–23 In a letter to Igor Stravinsky on Boxing Day 1947, Kirstein wrote that he and Pavel Tchelitchev both thought Theme and Variations was not Balanchine's best work, "but it appealed madly to the public," and believed that Balanchine had "become recognized" after spending fifteen years in the United States.[5]: 22–23
Balanchine debut as an orchestral conductor during a Ballet Theatre performance of Theme and Variations in December 1947.[10] Months after the world premiere of Theme and Variations, the ballet was performed in Cuba, Alicia Alonso's home country, with her and original cast members Igor Youskevitch, Melissa Hayden and Fernando Alonso, alongside members of Ballet Alicia Alonso (now Cuban National Ballet).[8]: 110
Balanchine's company, the New York City Ballet, performed Theme and Variations for the first time in 1960, with the two lead roles danced by Violette Verdy and Edward Villella respectively. However, Verdy had already danced the ballet with Ballet Theatre before. The costumes of this production were designed by Karinska.[11]
In 1970, when Balanchine made Suite No. 3, (now titled Tschaikovsky Suite No. 3),[a] a ballet to the whole suite, he incorporated the choreography of Theme and Variations.[12][13] At the premiere, the Theme and Variations portion was danced by Edward Villella and Gelsey Kirkland.[12]
^ abcAt the New York City Ballet, the composer's last name is spelled "Tschaikovsky" rather than "Tchaikovsky" as he used the former spelling during a visit to New York in 1891.[1]
ReferencesEdit
^Macaulay, Alastair (September 25, 2014). "A Four-Work Leap Into the Forefront of Classical Ballet". New York Times.
^ abcMarton, John (December 14, 1947). "The Dance: Triumph; A Balanchine Masterpiece For Ballet Theatre". New York Times.
^ abMartin, John (November 27, 1947). "Balanchine Dance in World Premiere; ' Theme and Variations' Wins Approval as Ballet Theatre Offers It at City Center". New York Times.
^Scholl, Tim (September 2, 2003). From Petipa to Balanchine: Classical Revival and the Modernisation of Ballet. ISBN1134873077.
^"American Ballet Theatre – Theme and Variations". American Ballet Theatre. Retrieved December 30, 2020.
^Martin, John (December 18, 1947). "Balanchine Leads Ballet Orchestra". New York Times.
^Martin, John (February 6, 1960). "Ballet: Balanchine Work; ' Theme and Variations' Is Revived by Dance Troupe at City Center". New York Times.
^ abBarnes, Clive (December 4, 1970). "Dance:Duo‐Tchaikovsky". New York Times.
^Barnes, Clive (December 6, 1971). "Dance: A Roller‐Coaster". New York Times.
^Crisp, Clement (October 21, 2010). "Royal Ballet Quadruple Bill, Royal Opera House, London". Financial Times.
^Reynolds, Nancy (March 5, 1989). "The Kirov Claims Its Balanchine Legacy". New York Times.
^Bauer, Claudia (April 9, 2016). "San Francisco Ballet – Continuum, In the Countenance of Kings (premiere), Theme and Variations – San Francisco". DanceTabs.
^Zijp, Isabella (March 30, 2016). "Dutch National Ballet shows beauty and timelessness of Balanchine's choreography in Best of Balanchine". Bachtrack.
^Veale, Sara (October 21, 2015). "Birmingham Royal Ballet – Themes & Variations, Enigma Variations, The King Dances – London". DanceTabs.
^Basco, Sharon (May 18, 2015). "Boston Ballet Caps Season With A Classic Balanchine And Comical Robbins". WBUR.
^Kiraly, Philippa (June 2, 2019). "Balanchine, Limón and an emerging choreographer close PNB season". Bachtrack.
^Glentzer, Molly (January 29, 2016). "Everything's new at Houston Ballet". Houston Chronicle.
^"Theme and Variations – Oxford Reference". Oxford Reference. Retrieved December 30, 2020.
October 21, 2023
theme, variations, ballet, theme, variations, ballet, choreographed, george, balanchine, final, movement, tchaikovsky, orchestral, suite, ballet, made, ballet, theatre, american, ballet, theatre, premiered, november, 1947, city, center, street, theater, with, . Theme and Variations is a ballet choreographed by George Balanchine to the final movement of Tchaikovsky s Orchestral Suite No 3 The ballet was made for Ballet Theatre now American Ballet Theatre and premiered on November 26 1947 at the City Center 55 Street Theater with the two leads danced by Alicia Alonso and Igor Youskevitch Theme and VariationsKansas City Ballet s Tempe Ostergren and Liang Fu in Theme and VariationsChoreographerGeorge BalanchineMusicPeter Ilyitch TschaikovskyPremiereNovember 26 1947 1947 11 26 City Center 55 Street TheaterOriginal ballet companyBallet TheatreCreated forAlicia Alonso Igor YouskevitchThe ballet was well received and was revived by other ballet companies In 1970 Balanchine incorporated the choreography of Theme and Variations to Suite No 3 now titled Tschaikovsky Suite No 3 a performed by the New York City Ballet Contents 1 Production 2 Premiere 3 Original cast 4 Revivals 5 Notes 6 ReferencesProduction Edit nbsp Tempe Ostergren and Kansas City Ballet dancers Theme and VariationsBalanchine s Theme and Variations is set to the final movement of Tchaikovsky s Orchestral Suite No 3 2 It was commissioned by Lucia Chase for Ballet Theatre now American Ballet Theatre 2 The sets and costumes of the original production were designed by Woodman Thompson 3 The ballet is plotless and abstract 2 Like Ballet Imperial now titled Tschaikovsky Piano Concerto No 2 a Balanchine made Theme and Variations as a tribute to the Imperial Russian ballet style and he wrote that the ballet was intended to evoke that great period in classical dancing when Russian ballet flourished with the aid of Tchaikovsky s music 4 175 5 22 It is also regarded as his tribute to Imperial Russian Theater and the ballet The Sleeping Beauty 6 22 The ballet features a lead couple created on Alicia Alonso and Igor Youskevitch plus four soloists and a corps de ballet 3 Mary Ellen Moylan who had trained under Balanchine was offered the female principal role and was asked to join Ballet Theatre though she opted to rejoin Ballet Russe de Monte Carlo 7 While making the ballet Youskevitch and Balanchine disagreed as the former wanted to dance like a prince from Swan Lake or Giselle but Balanchine wanted him to focus on the steps only 5 22 Alonso previously believed that ballet cannot be abstract and stated she always have a feeling of being just behind the music during rehearsals with Balanchine She also said Balanchine kept giving her and Youskevitch more complex steps hoping to eliminate their personalities 8 68 However the presence of their personalities remained obvious In rehearsals Balanchine neither criticized nor approved them although Youskevitch was convinced that their romanticized interpretations were not accepted by Balanchine 8 112 Alonso nevertheless noted she learned a lot through Theme and Variations especially to listen to each instrument individually which became helpful when her eyesight got worse 8 112 Premiere EditTheme and Variations premiered on November 26 1947 at the City Center 55 Street Theater 5 405 406 It was well received by both critics and the audience 5 22 Lincoln Kirstein who co founded the Ballet Society with Balanchine was pleased that Balanchine achieved success but jealous that it was with another company 5 22 23 In a letter to Igor Stravinsky on Boxing Day 1947 Kirstein wrote that he and Pavel Tchelitchev both thought Theme and Variations was not Balanchine s best work but it appealed madly to the public and believed that Balanchine had become recognized after spending fifteen years in the United States 5 22 23 Original cast EditAlicia Alonso Melissa Hayden Paula Lloyd Cynthia Riseley Anna Cheselka Igor Youskevitch Fernando Alonso Fernand Nault Zachary Solov Eric Braun Source 9 Revivals Edit nbsp The Royal Ballet s Darcey Bussell and Carlos Acosta at the curtain call of Theme and VariationsBalanchine debut as an orchestral conductor during a Ballet Theatre performance of Theme and Variations in December 1947 10 Months after the world premiere of Theme and Variations the ballet was performed in Cuba Alicia Alonso s home country with her and original cast members Igor Youskevitch Melissa Hayden and Fernando Alonso alongside members of Ballet Alicia Alonso now Cuban National Ballet 8 110 Balanchine s company the New York City Ballet performed Theme and Variations for the first time in 1960 with the two lead roles danced by Violette Verdy and Edward Villella respectively However Verdy had already danced the ballet with Ballet Theatre before The costumes of this production were designed by Karinska 11 In 1970 when Balanchine made Suite No 3 now titled Tschaikovsky Suite No 3 a a ballet to the whole suite he incorporated the choreography of Theme and Variations 12 13 At the premiere the Theme and Variations portion was danced by Edward Villella and Gelsey Kirkland 12 Other ballet companies that had performed Theme and Variations include The Royal Ballet 14 Kirov Ballet 15 San Francisco Ballet 16 Dutch National Ballet 17 Birmingham Royal Ballet 18 Boston Ballet 19 Pacific Northwest Ballet 20 Houston Ballet 21 Royal Danish Ballet and Les Grands Ballets Canadiens 22 Notes Edit a b c At the New York City Ballet the composer s last name is spelled Tschaikovsky rather than Tchaikovsky as he used the former spelling during a visit to New York in 1891 1 References Edit Macaulay Alastair September 25 2014 A Four Work Leap Into the Forefront of Classical Ballet New York Times a b c Marton John December 14 1947 The Dance Triumph A Balanchine Masterpiece For Ballet Theatre New York Times a b Martin John November 27 1947 Balanchine Dance in World Premiere Theme and Variations Wins Approval as Ballet Theatre Offers It at City Center New York Times Scholl Tim September 2 2003 From Petipa to Balanchine Classical Revival and the Modernisation of Ballet ISBN 1134873077 a b c d e f Taper Bernard 1987 Balanchine A Biography ISBN 9780520060593 Seibert Brian December 15 2005 George Balanchine ISBN 9781404206410 Sulcas Roslyn April 13 2021 Mary Ellen Moylan First Great Balanchine Dancer Is Dead at 94 New York Times a b c d Roca Octavio 2010 Cuban Ballet ISBN 9781423615408 American Ballet Theatre Theme and Variations American Ballet Theatre Retrieved December 30 2020 Martin John December 18 1947 Balanchine Leads Ballet Orchestra New York Times Martin John February 6 1960 Ballet Balanchine Work Theme and Variations Is Revived by Dance Troupe at City Center New York Times a b Barnes Clive December 4 1970 Dance Duo Tchaikovsky New York Times Barnes Clive December 6 1971 Dance A Roller Coaster New York Times Crisp Clement October 21 2010 Royal Ballet Quadruple Bill Royal Opera House London Financial Times Reynolds Nancy March 5 1989 The Kirov Claims Its Balanchine Legacy New York Times Bauer Claudia April 9 2016 San Francisco Ballet Continuum In the Countenance of Kings premiere Theme and Variations San Francisco DanceTabs Zijp Isabella March 30 2016 Dutch National Ballet shows beauty and timelessness of Balanchine s choreography in Best of Balanchine Bachtrack Veale Sara October 21 2015 Birmingham Royal Ballet Themes amp Variations Enigma Variations The King Dances London DanceTabs Basco Sharon May 18 2015 Boston Ballet Caps Season With A Classic Balanchine And Comical Robbins WBUR Kiraly Philippa June 2 2019 Balanchine Limon and an emerging choreographer close PNB season Bachtrack Glentzer Molly January 29 2016 Everything s new at Houston Ballet Houston Chronicle Theme and Variations Oxford Reference Oxford Reference Retrieved December 30 2020 Retrieved from https en wikipedia org w index php title Theme and Variations ballet amp oldid 1121420104, wikipedia, wiki, book, books, library,
