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A ballet blanc (French: [balɛ blɑ̃], "white ballet") is a scene in which the ballerina and the female corps de ballet all wear white dresses or tutus. [1] Typical in the Romantic style of ballet from the nineteenth century, ballets blancs are usually populated by ghosts, dryads, naiads, enchanted maidens, fairies, and other supernatural ...
Les Sylphides (French: [le silfid]) is a short, non-narrative ballet blanc to piano music by Frédéric Chopin, selected and orchestrated by Alexander Glazunov.. The ballet, described as a "romantic reverie", [1] [2] is frequently cited as the first ballet to be simply about mood and dance. [1]
Scene from Les Sylphides. The following is a list of ballets with entries in English Wikipedia. The entries are sorted alphabetically by ballet title, with the name of the composer (or the composer whose music the ballet is set to) and the year of the first performance.
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Krassovska, Markova, Riabouchinska, and Danilova in the ballet “Pas de Quatre” Nathalie "Natasha" Krassovska (1918–2005) was a Russian born prima ballerina and teacher of classical ballet most noted for her work with the Ballet Russe de Monte Carlo. Following her decades-long career, she moved to the U.S., where she founded the Krassovska ...
Scene V: "Dance of the Three Messengers" ("There came a messenger.") Dance of the Messengers; Scene VI: "Dance of Job's Comforters" ("Behold happy is the man whom God correcteth.") Dance of Job's Comforters; Job's Curse; A Vision of Satan; Scene VII: "Elihu's Dance of Youth and Beauty" ("Ye are old and I am very young.") Elihu's Dance of Youth ...
This ballet is in five scenes and represents a striking admixture of classical ballet, Spanish-style movement, mime, and freshly invented dramatic dance action. [2] It opened "scandalously and brilliantly, with the fabulously sexy Zizi Jeanmaire in the title role" in London and has been regularly performed ever since. [3]
Raymonda (Russian: Раймонда) is a grand ballet in three acts, four scenes with an apotheosis, originally choreographed by Marius Petipa to the music of Alexander Glazunov (his opus 57) and libretto by Lydia Pashkova.