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Neoclassical ballet is the style of 20th-century classical ballet exemplified by the works of George Balanchine. The term "neoclassical ballet" appears in the 1920s with Sergei Diaghilev 's Ballets Russes, in response to the excesses of romanticism and post-romantic modernism. [ 1 ]
During his time in Europe, Balanchine had begun to develop his neoclassical style, partially as a reaction to the Romantic anti-classicism that had led to increased theatricality in ballet. His style focused more on dance movement and construction in relation to music than on plot or characterization.
Liebeslieder Walzer is a two-part neoclassical ballet choreographed by George Balanchine to Johannes Brahms' Liebeslieder Waltzes, Op. 52 and Neue Liebeslieder, Op. 65, with original sets and lighting designed by David Hays, and costumes designed by Barbara Karinska.
It's provocative to aspire to slip into the mind of one of ballet's great masters, but Lincoln Jones sees it as a progression in his long devotion to George Balanchine's art.
Balanchine's father Meliton. Balanchine was born Georgiy Melitonovich Balanchivadze in Saint Petersburg, Russian Empire, son of Georgian opera singer and composer Meliton Balanchivadze, one of the founders of the Tbilisi Opera and Ballet Theatre and later the Minister of Culture of the Georgian Democratic Republic, which became independent in 1918 but was later forcibly incorporated into the ...
However, Balanchine created the choreography a few years later. The ballet, The Four Temperaments was the first work Balanchine made for the Ballet Society, the forerunner of the New York City Ballet, and premiered on November 20, 1946, at the Central High School of Needle Trades, New York, during the Ballet Society's first performance. Though ...
This is a list of ballets by George Balanchine (1904–1983), New York City Ballet co-founder and ballet master. Chronological. 1928 Apollo; 1929 Le Bal;
Concerto Barocco is a neoclassical ballet choreographed by George Balanchine to Bach's Concerto for Two Violins.Danced by a cast of eleven, the ballet is completely plotless, and according to Balanchine, "has no "subject matter" beyond the score which it is danced and the particular dancers who execute it". [1]