EARLY YEARS
Europe. The son of a composer, Balanchine early in life gained a knowledge of music that far exceeds that of most of his fellow choreographers. He began studying the piano at the age of five and following his graduation in 1921, from the Imperial Ballet School (the St. Petersburg academy where he had started his dance studies at the age of nine), he enrolled in the state’s Conservatory of Music, where he studied piano and musical theory, including composition, harmony and counterpoint, for three years. Such extensive musical training made it possible for Balanchine as a choreographer to communicate with a composer of such stature as Igor Stravinsky; the training also gave Balanchine the ability to reduce orchestral scores on the piano, an invaluable aid in translating music into dance.
Balanchine made his own dancing debut at the age of 10 as a cupid in the Maryinsky Theatre Ballet Company production of The Sleeping Beauty. He joined the company as a member of the corps de ballet at 17 and staged one work for them called Enigmas. Most of his energies during this period, however, were concentrated on choreographic experiments outside the company.
PROMISE OF THE WEST
In the summer of 1924, Balanchine was one of four dancers who left the newly formed Soviet Union for a tour of Western Europe. The others were Tamara Geva, Alexandra Danilova and Nicholas Efimov, all of whom later became well known dancers in Europe and the United States. All four dancers were invited by impresario Sergei Diaghilev to audition for his Ballets Russes in Paris and were accepted into the company.
PROFESSIONAL CHOREOGRAPHER
Diaghilev also had his eye on Balanchine as a choreographer as well, and after watching him stage a new version of the company’s Stravinsky ballet, Le Chant de Rossignol, Diaghilev hired him as ballet master to replace Bronislava Nijinska. Shortly after this, Balanchine suffered a knee injury which limited his dancing and correspondingly bolstered his commitment to full-time choreography. Balanchine served as ballet master with Ballets Russes until the company was dissolved following Diaghilev’s death in 1929. After that, he spent the next few years on a variety of projects which took him all over Europe: choreographing for the Royal Danish Ballet; making a movie with former Diaghilev ballerina Lydia Lopokova (then the wife of British economist John Maynard Keynes) in England; staging dance extravaganzas for Britain’s popular Cochran Musical Theater Revues; and working with DeBasil’s Ballet Russe de Monte Carlo (where he discovered young Tamara Toumanova).
THEN THERE WAS LINCOLN
Returning to Paris, Balanchine formed his own company, Les Ballets 1933, collaborating with such leading artistic figures as Bertolt Brecht and Kurt Weill (The Seven Deadly Sins), artist Pavel Tchelitchew, and composers Darius Milhaud and Henri Sauguet. During this period a meeting occurred which was to change the history of 20th century dance.
Boston-born dance connoisseur Lincoln Kirstein harbored a dream: He wanted to establish an American school of ballet that would equal — even rival — the established European schools, and he wanted to establish an American ballet company. Through Romola Nijinsky, whom Kirstein had assisted in her research for a biography of her husband, Kirstein met Balanchine and saw in him the means by which this dream could be realized, if only the choreographer could be persuaded to relocate to the United States. Balanchine agreed to come to America that very year, and the first product of the Balanchine-Kirstein collaboration was the School of American Ballet, founded in 1934 (the first day of class, in fact, was January 2 of that year). The School remains in operation to this day, training students for the New York City Ballet and companies throughout the United States and the world. The first ballet Balanchine choreographed in this country — Serenade to music by Tschaikovsky — was created as a workshop for students at the School and had its world premiere outdoors on the estate of a friend near White Plains, New York.
THE ROAD TO PERMANENCE
In 1935, Kirstein and Balanchine set up a touring company of dancers from the school and called it the American Ballet. That same year the Metropolitan Opera invited the Company to become its resident ballet, with Balanchine as the Met’s ballet master. Tight funding, however, permitted Balanchine to mount only two completely dance-oriented works while with the Met, a dance-drama version of Gluck’s “Orfeo and Eurydice” and an all-Stravinsky program, featuring a revival of one of Balanchine’s first ballets, Apollo, plus two new works, Le Baiser de la Fee and Card Game. In 1937 these three ballets formed the program when Balanchine directed his first (of three) Stravinsky Festivals; paving the way for the later, larger efforts in 1972 and 1982.
Despite the popular and critical success of the latter program, Balanchine and the Met parted company in early 1938, and Balanchine spent his next years teaching at the school and working in musical theater and films. In 1941, he and Kirstein assembled the American Ballet Caravan, sponsored by Nelson Rockefeller, which toured South America with such new Balanchine creations as Concerto Barocco and Ballet Imperial (later renamed Tschaikovsky Piano Concerto No. 2). Then from 1944 to 1946 Balanchine was called in as artistic director to help revitalize the Ballet Russe de Monte Carlo; he created Raymonda and La Sonnambula for them.
DREAM REALIZED
In 1946, Balanchine and Kirstein collaborated again to form Ballet Society, a company which introduced New York subscription-only audiences over the next two years to such new Balanchine works as The Four Temperaments (1946) and Stravinsky’s Renard (1947) and Orpheus (1948). Morton Baum, chairman of the City Center finance committee, saw Ballet Society during one of their subscription programs at City Center. Baum was so highly impressed, that he initiated negotiations that led to the company’s being invited to join the City Center municipal complex (of which at the time the New York City Drama Company and the New York City Opera were a part) as the “New York City Ballet.” Balanchine’s talents at last had found a permanent home. On October 11, 1948, the New York City Ballet was born, dancing a program consisting of Concerto Barocco, Orpheus and Symphony In C (a ballet which Balanchine had created for the Paris Opera Ballet under the title Le Palais de Cristal the previous year).
BALLET MASTER
From that time until his death, Balanchine served as artistic director for the New York City Ballet, choreographing (either wholly or in part) the majority of the productions the company has introduced since its inception. Among them were Firebird (1949; restaged with Jerome Robbins, 1970); Bouree Fantasque (1949); La Valse (1951); The Nutcracker (his first full-length work for the Company), Ivesiana and Western Symphony, (1954); Allegro Brillante (1956); Agon (1957); The Seven Deadly Sins (a revival of the original Les Ballets 1933 production) and Stars and Stripes, (1958); Episodes (1959); Monumentum Pro Gesualdo and Liebeslieder Walzer (1960); A Midsummer Night’s Dream (1962); Movements for Piano and Orchestra and Bugaku, (1963); Don Quixote (in three acts) and Harlequinade (in two acts), (1965); Jewels — his first and only full-length plotless ballet — (1967); and Who Cares?, (1970). In June 1972, Balanchine staged the New York City Ballet’s first festival, an intensive one-week celebration of the music of his longtime friend and collaborator, Igor Stravinsky. Of the 20 works that received their world premieres during the Festival, he choreographed eight: Stravinsky Violin Concerto, Duo Concertant, Choral Variations (on Bach’s “Vom Himmel Hoch,” Scherzo A La Russe, Symphony in Three Movements, Divertimento from “Le Baiser De La Fee,” and new versions of Pulcinella (with Robbins) and Danses Concertantes.
A LIFETIME ON MANY STAGES
An authoritative catalogue of his works lists 465 works created by Balanchine in his lifetime, beginning with a pas de deux in 1920 (LA NUIT) and ending with a solo, Variations for Orchestra (though he had used the Stravinsky score for a 1966 ballet, this work was entirely re-choreographed), in 1982. In between he created a body of work as extensive as it is diverse, ranging from the expansive Symphony in C and the lavishly theatrical Orpheus to such small-scale gems as Pavane. Though it is for his ballet choreography that Balanchine is most noted, he also worked extensively in theater and movies. He choreographed numerous musical comedies, including On Your Toes, Cabin in the Sky, Babes in Arms, Where’s Charly?, Song of Norway, I Married an Angel, The Boys from Syracuse, The Merry Widow and The Ziegfeld Follies of 1935 and his film credits include Star Spangled Rhythm, I Was an Adventuress and Goldwyn Follies. Balanchine also choreographed numerous opera-ballets throughout his career. He staged many of his ballets (or excerpts) for television, as well as creating works especially for the medium: in 1962 he collaborated with Stravinsky on the original television ballet, Noah and the Flood, and in 1981 redesigned his 1975 staging of L’enfant et les Sortileges to include a wide range of special effects, including animation. Through television medium, millions of people have been able to see the New York City Ballet in their own homes. “Choreography by Balanchine,” a four-part “Dance in America” presentation on the PBS series “Great Performances” began in December 1977. Included on the programs have been The Four Temperaments, Tzigane, Prodigal Son, Allegro Brillante, and segments of Jewels and Ballo Della Regina. Balanchine travelled to Nashville with the Company for the video tapings in 1977 and 1978 and personally supervised every shot, in some cases revising steps or angles to be compatible with the camera. The series has been broadly applauded by critics and audiences all over the country and was nominated for an Emmy. In January 1978, the New York City Ballet participated in the acclaimed PBS series “Live from Lincoln Center” for the first time. Coppelia, choreographed by Balanchine and Alexandra Danilova in 1974, was seen live from the stage of the New York State Theater at Lincoln Center. This presentation also netted Balanchine an Emmy. The Company worked again with “Live from Lincoln Center” eight years later, this time performing Balanchine’s A Midsummer Night’s Dream.
ARTISTIC APPROACH
Balanchine’s style has been described as neoclassic, a reaction to the Romantic anti-classicism, (which had turned into exaggerated theatricality) that was the prevailing style in Russian and European ballet when he had begun to dance. As a choreographer, Balanchine generally de-emphasized plot in his ballets, preferring to let “dance be the star of the show,” as he once told an interviewer. Nevertheless, tantalizing hints of story color works ranging from Agon to Liebeslieder Walzer, and such ballets as La Valse, Apollo, Scotch Symphony, La Sonnambula, Harlequinade and Prodigal Son — as well as the full-length Nutcracker, A Midsummer Night’s Dream, and Coppelia — integrate the elements of dancing and narrative.
