+

George Rouault Designed The Prodigal Son for Balanchine, Baryshnikov as The Son

May 27th, 2014

  • (image via)

    B & B
    (Martha Swope/George Balanchine Trust, via New York Public Library)
    George Balanchine demonstrating a movement to a young Mikhail Baryshnikov at New York City Ballet.

    Jerome Robbins, Edward Villella and Baryshnikov danced The Prodigal Son.

    “Balanchine’s choreography upset Prokofiev, who conducted the premiere. The composer had envisioned a production that was ‘real'; his concept of the Siren, whom he saw as demure, differed radically from Balanchine’s. Prokofiev refused to pay Balanchine royalties for his choreography.”

    Rouault and Prokofiev
    Monte-Carlo, 1929

    George Rouault – May 27, 1881

    Fauvist and Expressionist
    n 1907, Rouault commenced a series of paintings dedicated to courts, clowns and prostitutes. These paintings are interpreted as moral and social criticism. He became attracted to Spiritualism and the dramatic existentialism of the philosopher Jacques Maritain, who remained a close friend for the rest of his life. After that, he dedicated himself to religious subjects. Human nature was always the focus of his interest.

    George Balanchine & Arthur Mitchell (An African American Dancer)

    January 22nd, 2014

  • George Balanchine and Arhtur Mitchell

    Mitchell shares interesting stories about Balanchine. (youtube) or whyPad de deux was so controversial (youtube)

    Arthur Mitchell is an African-American dancer and choreographer who created a training school and the first African-American classical ballet company, Dance Theatre of Harlem.
    In 1955 Mitchell made his debut as the first African American with the New York City Ballet
    Mitchell was the only African-American dancer with the NY City Ballet until 1970. Choreographer and director of the NYCB George Balanchine created the pas de deux in Agon especially for Mitchell and the white ballerina Diana Adams. Although Mitchell danced this role with white partners throughout the world, he could not perform it on commercial television in the United States before 1965, because states in the South refused to carry it.

    Arthur Mitchell

    Slim dragon-fly
    too rapid for the eye
    to cage,

    contagious gem of virtuosity
    make visible, mentality.
    Your jewels of mobility

    reveal
    and veil
    a peacock-tail.

    — by Marianne Moore

  • Other related links..
    4 temperaments - Portraits of Paul Hindemith -

  • THe Unknown Balanchine.. (Balanchine’s early years)

    George Balanchine was born on January 22 [O.S. January 9] 1904.

    Igor Stravinsky and Balanchine – An Inspired Partnership

    June 17th, 2013

    Birthday of Igor Igor StravinskyGoogle Igor
    Igor by Pablo Picasso (via)
    See previous post.

    Maria Tallchief, Life with Balanchine, Her Fling with Nureyev

    April 12th, 2013

    R.I.P Maria Tallchief (Chicago Tribune) she was 88.

  • Maria with Mr. B.

    On Balanchine.

    Passion and romance didn’t play a big role…. We saved our emotion for the classroom. And despite his reputation as a much married man obsessed with ballerinas, George was no Don Juan.”

    Under Balanchine, Tallchief changed physically. Her neck grew longer. She dropped 10 pounds. She took on the deportment of the Russian stylist. Her chest was high, her back straight, her instep arched. “What did I learn? I learned to turn out. How to point my toes properly. Where I belonged. Where to place my body. What muscles had to be developed — every one. Otherwise there was no way I was going to dance his ballets.”

  • See Nureyev and Maria Tallchief dance here (Youtube)

  • Nureyve chose Maria to dance with him for his debut in America..
    Nureyev had affairs with the ballerina Maria Tallchief and with Erik Bruhn, long his idol as a dancer and the complicated, often unhappy, love of his life.

    Beaming Balanchine

    May 25th, 2009


    George B and Igor (Early career of G.B on Yourtube)

  • Mr B and Stravinksy Balanchine and Stravinsky

    More on youtube.
    Pacific Northwesat performs George Balanchine’s JEWELS

    What is the Curse of Balanchine?

    Magic spells, poisons, potions and enchantments may be frequent plot devices at the ballet, but the art form itself is under a bewitchment of its own making. It’s the Curse of Balanchine. (Read more here at Washington Post Ballet Must Make Room Onstage for More Than One Genius)