Choreography by Balanchine: Part 1

Choreography by Balanchine opens the mind to the true beauty of a ballet without a story. The four temperaments are all about the music ... and the movements are innovative expressive and amazing. Each section expresses the mood through the movements. However, my most favorite ballet on this program is Tzigane. It has a suggestion of a story; of a gypsy fortuneteller mesmerizing a young gypsy with her spells. This ballet was the first one Balanchine choreographed for Suzanne Farrell after her long absence from his company. She tells of how wonderful it was to work with Balanchine again, as if nothing had happened. The long opening in which she dances to the solo violin shows the way Balanchine utilized his ability to surprise with his 'off-balance' balance and 'unprepared' movements so that by the time the spell of the fortuneteller is cast you are in the palm of her hand.

George Balanchine did not think much of capturing ballet performances before live audiences on film. He thought even less well of doing it with TV cameras. When he agreed to do work for PBS Dance In America series back in the 1970s, he insisted that they be produced as movies, with an adequate stage. Opryland in Nashville TN was chosen. He adapted the dances for his current performers and also adjusted them for the aspect of camera. There was no audience, so he could concentrate on looking good for the lenses.

After the shows were aired, they were available from the PBS store in VHS format. Then, in the mid-1990s, ten years after Balanchine's passing, the original movies were released as a series in VHS format. Finally in 2004, the centenary of Balanchine's birth-date, they were rolled onto DVDs and released again. Parts 1 and 2 are on one DVD and parts 3 and 4 are on another DVD.

Movie fans will probably find these movies too primitive and scenically static for their taste. That is because the dance is the thing. If one lacks much interest in the dances and choreographs, then one is apt to be bored. The close second thing is the music. The sound quality is a bit less glorious than movie fans demand today. The orchestra strings get strident. That is too bad, because Balanchine insisted that the music be played correctly, and even the dancers had to learn it along with the steps and counts. A viewer simply has to adjust the sound down to a comfortable level. But, I repeat, that isn't because the music is a small detail.