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bouquet. As the music goes faster, Death forces the ballerina to dance faster and faster, "almost mindlessly", as Le Clercq described. She ultimately dies, while Death disappears. Le Clercq remarked, "the dramatic mood grew completely out of the steps." The corps de ballet resumes their waltzing. The ballerina's partner carries her dead body, before she is lifted by a group of men, who turn around and around at the centre of the stage.
151:, which features eight waltzes, with the first used as an overture. The second waltz features three female soloists, while the third, fourth and fifth waltzes are each danced by a couple. The woman from the fifth waltz then dances a solo during the sixth waltz. In the seventh waltz, her partner returns to the stage, joined by the three soloists from the second waltz and the woman exits.
163:, who originated the ballerina role, recalled, "the atmosphere was lovely, it was like going to a party. There wasn't anything terribly hard in the variation, and yet you could work within what you had and make it different. Balanchine said to think of German-style contractions for it – a feeling for 'plastique.'"
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that he had "always wanted to have the figure of Death somewhere in the first section as a premonition." Therefore, as
Moncion put it, "there is a special place for him in the Eighth Waltz. The figure appears from nowhere in the spotlight, suddenly and only for a moment, just as she is going off, and
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of eight men and sixteen women waltzes, and the fifth waltz couple also returns. Then the ballerina in white and her partner enters and dances. Balanchine described, "Their dance is slow at first; the ballerina's movements are retarded and she seeks to move more freely as the waltz attempts to resume
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commented, "There was a challenge in the music for
Balanchine is not to be denied; in accepting it he has been forced to extend himself in new directions, and the result is a ballet which, though still characteristically Balanchinian, has many exciting variations from that norm. Under the surface,
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previously choreographed to for Ballet
Caravan, Balanchine's former company. Moncion's character was not named in the program notes. However, Moncion specifically recalled Balanchine asking him to portray a figure of Death, and the latter had also referred the role as "Death". Le Clercq did not
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Then, a figure of Death, in black, emerge alongside his servant. The women kneels before him while the men looks away. The white ballerina is terrified but attracted to Death. He forces her to put on black necklace, gloves and dress, as she becomes more fascinated, before presenting her with a
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section follows. At first, dancers search for each other under the spotlight. Balanchine wrote, "All the dancers seem to be waiting for the waltz to emerge through the weird music that holds it in abeyance." As the stage brightens, a
340:, originally written for the piano, was orchestrated for the ballet. At the time, the New York City Ballet Orchestra was incapable of performing a score this large in scale. However, after being pressured by conductor
158:
described, "They do backbends and at first seem not to know each other. They dance with a ceremonial and slightly depraved elegance." At the end of the waltz, the man lifts the ballerina and they exit the stage.
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premiered on
February 20, 1951, at the City Center of Music and Drama, with Barzin conducting. It was removed from the company's repertory in 1956, when Le Clercq became paralysed after contracting
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While the role was not named in the program, Balanchine called the role "Death." Francisco
Moncion, who originated the role, specifically recalled that Balanchine asked him to portray "Death".
383:. Moncion and Nicholas Magallanes were the only original cast members to reprise their roles at this revival, though Jillana took over the role that was originated by Diana Adams.
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allowed the company to add a dozen more musicians. The costumes, ball gowns for women and evening suit for men, took inspiration from France, and were designed by
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Thirty Years: Lincoln
Kirstein's The New York City Ballet : Expanded to Include the Years 1973–1978, in Celebration of the Company's Thirtieth Anniversary
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In 1974, Balanchine made a revision to the ballet, so Death would make a brief appearance in the Eighth Waltz. Balanchine told dancer
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its previous intensity." But, as the music intensifies, "The girl turns with despairing speed to her partner's arms."
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was then not performed until 1962, after Le Clercq, who had avoided ballet for some years, taught her role to
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In the eighth waltz, a ballerina in white enters and dances. A man then enters. Dance critic
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indeed, is the fundamental quality of a different
Balanchine altogether."
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915:"CBS Launches Regular Color Television Broadcast Service To Public"
858:"Review: Los Angeles Ballet thrills with second Balanchine program"
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receive any notes about acting or reactions from
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was filmed during the New York City Ballet's appearances at
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315:. Ravel wrote the score as a ballet for ballet impresario
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In 1951, Balanchine decided to choreograph to a ballet to
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Repertory in Review: 40 Years of the New York City Ballet
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744:"Film Review: 'Afternoon of a Faun: Tanaquil Le Clercq'"
782:"Kirov Ballet: Balanchine, Royal Opera House, London"
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Herbert Bliss, Vida Brown, Edwina
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129:. It premiered on February 20, 1951, at the
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145:The first part of the ballet is set to
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1679:List of ballets by George Balanchine
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839:"Passion, grace in dramatic ballets"
722:"Balanchine Dance Has Premiere Here"
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837:Macdonald, Moira (March 18, 2006).
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894:Martin, John (February 25, 1951).
742:Scheib, Ronnie (October 4, 2013).
720:Martin, John (February 21, 1951).
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1582:Tschaikovsky Piano Concerto No. 2
1323:Movements for Piano and Orchestra
962:on New York City Ballet's website
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856:Bleiberg, Laura (May 12, 2013).
780:Anderson, Zoë (August 1, 2005).
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929:"New York City Ballet in Paris"
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50:February 20, 1951
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631:Reynolds, Nancy (1977).
541:Buckle, Richard (1988).
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481:Footage of Le Clercq in
404:Pacific Northwest Ballet
190:it's very frightening."
1316:Monumentum pro Gesualdo
820:"Dutch National Ballet"
696:Balanchine: A Biography
693:Taper, Bernard (1987).
69:Original ballet company
1568:Le Tombeau de Couperin
1160:Divertimento Brillante
412:Suzanne Farrell Ballet
1698:1951 ballet premieres
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1527:Symphonie Concertante
1453:The Seven Deadly Sins
1367:Pas de Trois (Minkus)
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1230:The Four Temperaments
1118:Le chant du rossignol
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1561:Theme and Variations
1258:Hungarian Gypsy Airs
1184:Donizetti Variations
637:. pp. 117–119.
589:. pp. 659–661.
547:. pp. 186–188.
348:, managing director
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1292:Liebeslieder Walzer
1246:Haieff Divertimento
1171:Divertimento No. 15
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935:. January 30, 2017
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408:Los Angeles Ballet
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204:Principal dancers
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272:Eight Waltz
259:Diana Adams
256:Sixth Waltz
245:Fifth Waltz
220:Third Waltz
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141:Choreography
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1178:Don Quixote
436:Videography
429:John Martin
350:Morton Baum
342:LĂ©on Barzin
249:Diana Adams
1692:Categories
1660:Who Cares?
1620:Variations
1601:Union Jack
1554:Tarantella
1385:Pulcinella
1357:Pas de Dix
1330:Mozartiana
1298:Meditation
1136:Concertino
939:October 5,
517:References
301:Production
54:1951-02-20
1516:Swan Lake
1481:La source
1131:Clarinade
461:In 2015,
456:Sol Hurok
1608:La Valse
1474:Sonatine
1446:Serenade
1402:Ragtime
1392:Ragtime
1264:Ivesiana
1211:Episodes
1149:Coppélia
1111:Chaconne
967:La Valse
959:La Valse
483:La Valse
463:La Valse
447:Premiere
442:La Valse
388:La Valse
377:La Valse
369:La Valse
354:Karinska
329:, which
321:La Valse
312:La Valse
287:La Valse
201:Section
169:La Valse
126:La Valse
106:La Valse
83:Karinska
46:Premiere
21:La Valse
1667:Zenobia
1595:Tzigane
1351:Orpheus
1065:Ballade
1005:Ballets
748:Variety
427:critic
214:Jillana
52: (
1372:Pavane
1278:Jewels
1197:Élégie
1104:Bugaku
1060:Le Bal
1047:Apollo
703:
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410:, and
344:, the
79:Design
1547:Tango
1078:Bayou
497:Notes
373:polio
93:Genre
36:Music
1033:Agon
941:2021
701:ISBN
671:ISBN
639:ISBN
591:ISBN
549:ISBN
166:The
123:and
1007:by
933:PBS
471:PBS
452:CBS
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