George Balanchine
George Balanchine (1904–1983) was a revolutionary figure in the world of ballet, widely regarded as one of the most influential…
George Balanchine (1904–1983) was a revolutionary figure in the world of ballet, widely regarded as one of the most influential choreographers of the 20th century. He co-founded the New York City Ballet (NYCB) and is often credited with reshaping ballet as we know it today. His innovative style, often referred to as neoclassical ballet, streamlined traditional ballet’s ornate, narrative-driven style into something more abstract, emphasizing the purity of movement and musicality.
Early Life and Training
Balanchine was born Georgi Melitonovich Balanchivadze in St. Petersburg, Russia, on January 22, 1904. His father was a composer, which contributed to Balanchine’s lifelong deep connection to music. He began his ballet training at the Imperial Ballet School (now the Vaganova Academy) in 1914 and also studied music at the Petrograd Conservatory.
His early years as a dancer were shaped by the Russian Revolution and its aftermath. After the upheaval of 1917, many artists, including Balanchine, sought opportunities outside Russia. In 1924, he left the Soviet Union for Europe, joining the famous ballet company Ballets Russes in Paris, led by the impresario Sergei Diaghilev.
Work with Ballets Russes and Transition to Choreography
With the Ballets Russes, Balanchine first became involved in choreography, where he quickly gained prominence. Diaghilev recognized his talent and commissioned him to create original works for the company. Some of his early notable ballets include:
“Apollo” (1928): A ballet set to Igor Stravinsky’s music, it is often considered one of Balanchine’s first major masterpieces. “Apollo” marks a pivotal moment in his transition to his signature neoclassical style, characterized by clarity, simplicity, and a focus on form over narrative.
“The Prodigal Son” (1929): Another collaboration with Stravinsky, this ballet demonstrated Balanchine’s ability to tell a story through dance, though still with the abstract elements that would define his later work.
His time with Ballets Russes allowed him to work with some of the greatest composers of the time, such as Igor Stravinsky, and he developed a deep understanding of how music and dance could complement and enhance one another.
Move to America and Founding of New York City Ballet
In 1933, after the death of Diaghilev and the disbanding of Ballets Russes, Balanchine moved to the United States at the invitation of Lincoln Kirstein, an American arts patron. Together, they co-founded the School of American Ballet (SAB) in 1934, laying the foundation for what would later become the New York City Ballet (NYCB) in 1948.
With NYCB, Balanchine had a platform to create and experiment with his ideas on ballet. His work was characterized by:
Neoclassicism: Balanchine’s neoclassical style focused on form, structure, and musicality, moving away from the traditional narrative ballets. His dancers were known for their speed, precision, and musicality, with less emphasis on elaborate costumes and sets. He famously said, “Ballet is woman,” reflecting his belief in showcasing the beauty and strength of the female dancer.
Musicality: Balanchine’s deep understanding of music set him apart. He often choreographed directly to the score, allowing the music to guide the movement. His collaborations with Stravinsky were particularly significant, but he also choreographed to music by composers like Tchaikovsky, Ravel, and Brahms.
Abstract Ballets: While classical ballet was often narrative-driven, Balanchine preferred to create “plotless” or abstract ballets that emphasized the beauty of movement and form over storytelling. His ballets often let the music and choreography speak for themselves, rather than relying on dramatic plots.
Some of his most famous works include:
“Serenade” (1934): Balanchine’s first ballet choreographed in America. Set to Tchaikovsky’s “Serenade for Strings,” it is one of his most enduring works and a prime example of his neoclassical style.
“The Nutcracker” (1954): Balanchine’s production of this Tchaikovsky ballet became an American holiday tradition, performed annually by NYCB. His version helped popularize “The Nutcracker” in the United States.
“Jewels” (1967): A full-length ballet without a narrative, “Jewels” is often regarded as the first abstract, plotless ballet. It consists of three acts: “Emeralds” (set to music by Fauré), “Rubies” (set to Stravinsky), and “Diamonds” (set to Tchaikovsky), each act reflecting a different style and mood.
Legacy and Influence
Balanchine’s influence on ballet is immense, and he is often credited with shaping American ballet as it is today. He revolutionized how ballet is performed, focusing on the dancer’s movement and the inherent musicality of dance. His style became known for:
Minimalism in sets and costumes, allowing the audience to focus on the dancer’s movement.
Precision and athleticism: Balanchine emphasized speed, flexibility, and exactness in movement, pushing his dancers to new levels of technical ability.
Musical interpretation: Balanchine’s ballets are often described as “visual music,” with every step reflecting the score’s rhythms and melodies.
Under his leadership, NYCB became one of the most important ballet companies in the world, and his School of American Ballet produced generations of dancers trained in his style.
Personal Life
Balanchine was married several times, mostly to ballerinas. His relationships with his dancers often blurred the lines between professional and personal, and many of his muses, such as Suzanne Farrell, were key to his artistic development.
Later Years and Death
Even in his later years, Balanchine continued to choreograph prolifically, creating works well into the 1970s. His health began to decline in the early 1980s, and he died on April 30, 1983, in New York City.
Enduring Legacy
Balanchine’s work continues to be performed by major ballet companies worldwide. His choreography remains a standard for modern ballet, and his influence can be seen in the work of countless choreographers who followed him. His establishment of the New York City Ballet and the School of American Ballet ensured that his style and teachings would continue to influence future generations.
Advertisement:
- Homans, Jennifer (Author)
- English (Publication Language)
- 784 Pages - 11/07/2023 (Publication Date) - Random House Trade Paperbacks (Publisher)
- Used Book in Good Condition
- Hardcover Book
- McDonagh, Don (Author)
- Gottlieb, Robert (Author)
- English (Publication Language)
- 224 Pages - 02/09/2010 (Publication Date) - Harper Perennial (Publisher)
- Darci Kistler, Damian Woetzel, Kyra Nichols (Actors)
- Emile Ardolino (Director) - Susan Cooper (Writer) - Robert A. Krasnow (Producer) - Kevin Kline (Narrator)
- French (Subtitle)
- 527 pages, index
- Balanchine, George (Author)
- English (Publication Language)
- Hardcover Book
- Meyerowitz, Joel (Author)
- English (Publication Language)
We get commissions for purchases made through links on this website. As an Amazon Associate we earn from qualifying purchases.
Comments