235:
he interpreted the music. He also did not use any "verbal or psychological descriptions", and used some very brief instructions. In some rehearsals, Robbins would dance
Baryshnikov's part and the latter would not dance at all. However, Baryshnikov noted by seeing him dance, he understood what Robbins wanted, and brought him "closest to dancing it the way he wanted". It also helped Baryshnikov learn the ballet quicker than he expected. He called Robbins "stupendous", and the experience of working with him "was a complete revelation".
251:, with pas de deux, two solos and a coda, Baryshnikov noted it could have worked with any order. The pianist is onstage during the ballet. When one dancer performs a solo, the other dancer is offstage rather than watching onstage. Robbins made this choice as he knew Makarova and Baryshnikov would prefer to rest offstage. After each section, the dancers bow to the audience, as Robbins thought the audience should applaud the pair.
411:
without a shudder of notice. It has precisely the original ballet's sense of place and style, of Slavic forms growing in an alien soil, of transposed dance images, character motions and national glints, into an oddly pure form of classic dance. There is no choreography — with its mixture of character
234:
Baryshnikov thought "the most difficult thing for was to find the form – the structure – of the ballet. He approached each section as a musical whole, and then had to work out the sequence in a way that was theatrically sound." Robbins would ask
Baryshnikov to "listen to the music" and explain how
226:
began in spring 1976. At first, Robbins was concerned whether
Baryshnikov, who was careful on the details, was "grasp the nuances". However, by the time the ballet was completed, he felt that "one doesn't begin to say what he can do". He was also impressed with Makarova's "ability to do the most
272:
Baryshnikov added that while the ballet is "very relaxed and harmonious", it is also "quite difficult" due to it being long for a pas de deux, and sometimes "it's harder to be relaxed onstage for that amount of time" than dancing more virtuosic steps. He also found the "calm and benign" tension
231:, the costume designer, found that Robbins "was on his best behavior" due to his admiration for Baryshnikov. However, to ease the burden on the dancers and to avoid conflicts, Robbins also created some of the steps for other dancers beforehand.
265:... the hesitations, the subtle nuances, that fine understatement of movement that for me is the most precious feature of the romantic – and for that matter, of any – ballet." She added that when she and Baryshnikov dance
1346:
1377:
1341:
1030:
277:
as "utterly Slavic" because both he and
Makarova are Russians, and because of the way she moved her arms, which fascinated Robbins. He also noted the use of
162:
123:
309:
191:(ABT). Robbins had seen the two dancing with ABT and admired both of them. Doll had danced with Robbins many years earlier. It is set to
336:
127:
63:
1188:
817:
203:
1382:
731:
509:
687:
1372:
603:
350:
Upon critical acclaim, the
American Ballet Theatre, where Makarova and Baryshnikov were dancing at the time, acquired
1277:
760:
670:
643:
581:
551:
487:
1213:
967:
1241:
1367:
1335:
974:
848:
417:
366:. The costumes were also designed by Loquasto, but in mauve instead of the blue in the original production.
1181:
810:
1153:
1065:
1305:
1298:
988:
946:
320:
314:
303:
297:
247:, there is no story." It is 20 minutes long. While the ballet follows the structure of a classical a
1284:
779:
705:
1319:
1312:
1291:
1270:
1118:
1072:
1326:
1174:
953:
841:
803:
188:
135:
1037:
426:
commented he would be happy to "see both these dancers in this piece every night of my life".
154:
131:
1234:
1227:
1100:
1016:
995:
904:
370:
215:
209:
1220:
1201:
897:
876:
355:
192:
139:
111:
42:
1166:
8:
1044:
918:
184:
167:
119:
89:
195:'s music, including four mazurkas and one waltz, the latter previously used in Fokine's
1145:
1093:
1086:
1002:
855:
412:
fervor and classic grace — quite like it anywhere." In 1977, reviewing ABT performing
176:
171:
to the library's dance collection. It was funded by
Eugenia "Genya" Doll, the wife of
1079:
883:
862:
756:
666:
639:
577:
571:
547:
483:
422:
259:
172:
925:
340:
180:
115:
85:
269:
together, they "always try to convey a certain dramatic message to the audience".
1126:
939:
911:
750:
660:
633:
541:
477:
359:
187:. Both of them are Russians who had defected to the U.S. and are members of the
1023:
826:
395:
228:
107:
75:
32:
1361:
1255:
869:
363:
344:
197:
1058:
960:
932:
890:
787:
400:
158:
407:, another Robbins ballet to Chopin's music, and wrote, "it could fit into
1009:
248:
752:
The Arts on
Television, 1976–1990: Fifteen Years of Cultural Programming
981:
378:
165:. Robbins had previously donated part of his profits from the musical
732:"Natalia Makarova Honoured at The 35th Annual Kennedy Center Honours"
273:"difficult to maintain". In a 2008 interview, Baryshnikov described
335:
premiered on May 9, 1976, at "The Star
Spangled Gala" held at the
795:
278:
227:
difficult adagio dancing with exquisite control and musicality".
1197:
354:
shortly after it premiered. In
November, Robbins' company, the
103:
438:
with
Makarova and Baryshnikov was filmed and released on the
134:, but after receiving critical acclaim, it was soon added to
635:
Baryshnikov at Work: Mikhail Baryshnikov Discusses His Roles
1196:
122:, and premiered on May 9, 1976, at a gala benefitting the
439:
281:, stamping and arms were stem from character dancing.
748:
161:'s "The Star Spangled Gala", which benefited the
1359:
543:Jerome Robbins: His Life, His Theater, His Dance
201:. Robbins had previously used Chopin's works in
163:New York Public Library for the Performing Arts
124:New York Public Library for the Performing Arts
1182:
811:
627:
625:
623:
621:
619:
617:
510:"City Ballet in 'Other Dances,' Robbins Duet"
403:called it a "masterpiece". He compared it to
1149:(1949), "based on an idea by Jerome Robbins"
339:. The same night, Robbins was presented the
631:
381:, a New York City Ballet principal dancer.
1189:
1175:
818:
804:
749:Krafft, Rebecca; O'Doherty, Brian (1991).
614:
479:Dance with Demons: The Life Jerome Robbins
471:
469:
467:
465:
463:
461:
459:
258:, the body seems to be weaving a shawl of
729:
597:
595:
593:
243:Baryshnikov wrote, "There is no idea for
535:
533:
531:
529:
527:
525:
523:
503:
501:
499:
475:
1378:Ballets to the music of Frédéric Chopin
565:
563:
456:
183:, with her partner in the ballet being
1360:
730:Khadarina, Oksana (December 6, 2012).
658:
601:
590:
539:
507:
16:Ballet choreographed by Jerome Robbins
1170:
799:
573:Somewhere: The Life of Jerome Robbins
569:
520:
496:
384:
792:on American Ballet Theatre's website
604:"Stars Shine For Benefit Of Library"
560:
369:In 2012, when Makarova received the
1347:List of compositions by opus number
688:"In the Studio with Jerome Robbins"
508:Barnes, Clive (November 27, 1976).
293:are composed by Chopin, including:
254:In her memoir, Makarova wrote, "In
13:
825:
685:
14:
1394:
784:on New York City Ballet's website
773:
175:and former wife of choreographer
1214:An Evening with the Royal Ballet
358:, debuted the ballet, danced by
742:
723:
662:Jerome Robbins: A Life in Dance
327:
238:
1383:New York City Ballet repertory
698:
679:
652:
602:Barnes, Clive (May 11, 1976).
476:Lawrence, Greg (May 7, 2001).
429:
179:, as a wedding gift to dancer
130:. It was originally made as a
1:
1342:List of compositions by genre
632:Baryshnikov, Mikhail (1976).
570:Vaill, Amanda (May 6, 2008).
449:
145:
7:
10:
1399:
1256:Les Sylphides (Chopiniana)
434:In 1980, a performance of
1373:Ballets by Jerome Robbins
1265:
1208:
1137:
1110:
833:
81:
71:
48:
38:
28:
23:
540:Jowitt, Deborah (2004).
337:Metropolitan Opera House
284:
128:Metropolitan Opera House
64:Metropolitan Opera House
968:The Goldberg Variations
954:Gershwin Piano Concerto
842:2 and 3 Part Inventions
189:American Ballet Theatre
136:American Ballet Theatre
1242:A Month in the Country
1038:N.Y. Export: Opus Jazz
659:Lesser, Wendy (2018).
289:All the music used in
1368:1976 ballet premieres
1228:Dances at a Gathering
1101:West Side Story Suite
905:Dances at a Gathering
686:Scherr, Apollinaire.
409:Dances at a Gathering
405:Dances at a Gathering
371:Kennedy Center Honors
213:, and its follow-up,
210:Dances at a Gathering
53:May 9, 1976
710:New York City Ballet
356:New York City Ballet
310:Waltz, Op. 64, No. 3
140:New York City Ballet
114:. It was created on
1045:Opus 19/The Dreamer
849:Afternoon of a Faun
638:. p. 195-197.
576:. p. 423-426.
546:. p. 432-434.
482:. p. 423-426.
389:On the premiere of
185:Mikhail Baryshnikov
168:Fiddler on the Roof
120:Mikhail Baryshnikov
90:Mikhail Baryshnikov
385:Critical reception
1355:
1354:
1164:
1163:
1080:A Suite of Dances
1066:Requiem Canticles
975:I'm Old Fashioned
863:Antique Epigraphs
423:Dance and Dancers
377:was performed by
260:valenciennes lace
173:Henri George Doll
106:choreographed by
95:
94:
1390:
1200:to the music of
1191:
1184:
1177:
1168:
1167:
989:In Memory of ...
947:The Four Seasons
820:
813:
806:
797:
796:
767:
766:
746:
740:
739:
727:
721:
720:
718:
716:
702:
696:
695:
683:
677:
676:
656:
650:
649:
629:
612:
611:
599:
588:
587:
567:
558:
557:
537:
518:
517:
505:
494:
493:
473:
444:Dance in America
373:, an excerpt of
341:Handel Medallion
321:Mazurkas, Op. 33
304:Mazurkas, Op. 41
298:Mazurkas, Op. 17
264:
181:Natalia Makarova
155:pièce d'occasion
142:'s repertories.
132:pièce d'occasion
116:Natalia Makarova
86:Natalia Makarova
67:
66:
60:
58:
21:
20:
1398:
1397:
1393:
1392:
1391:
1389:
1388:
1387:
1358:
1357:
1356:
1351:
1336:Frédéric Chopin
1261:
1204:
1202:Frédéric Chopin
1195:
1165:
1160:
1154:West Side Story
1133:
1130:(1957), concept
1127:West Side Story
1106:
1073:Suite of Dances
940:Four Bagatelles
829:
824:
776:
771:
770:
763:
747:
743:
728:
724:
714:
712:
704:
703:
699:
684:
680:
673:
665:. p. 134.
657:
653:
646:
630:
615:
600:
591:
584:
568:
561:
554:
538:
521:
506:
497:
490:
474:
457:
452:
432:
387:
360:Suzanne Farrell
330:
315:Mazurkas Op. 63
287:
262:
241:
222:Rehearsals for
193:Frédéric Chopin
177:LĂ©onide Massine
148:
112:Frédéric Chopin
88:
62:
61:
56:
54:
52:
43:Frédéric Chopin
17:
12:
11:
5:
1396:
1386:
1385:
1380:
1375:
1370:
1353:
1352:
1350:
1349:
1344:
1339:
1331:
1330:
1323:
1316:
1309:
1302:
1295:
1288:
1281:
1274:
1266:
1263:
1262:
1260:
1259:
1252:
1245:
1238:
1231:
1224:
1217:
1209:
1206:
1205:
1194:
1193:
1186:
1179:
1171:
1162:
1161:
1159:
1158:
1150:
1141:
1139:
1135:
1134:
1132:
1131:
1123:
1114:
1112:
1108:
1107:
1105:
1104:
1097:
1090:
1083:
1076:
1069:
1062:
1055:
1048:
1041:
1034:
1027:
1020:
1013:
1006:
999:
992:
985:
978:
971:
964:
957:
950:
943:
936:
929:
922:
915:
908:
901:
894:
887:
880:
873:
866:
859:
852:
845:
837:
835:
831:
830:
827:Jerome Robbins
823:
822:
815:
808:
800:
794:
793:
785:
775:
774:External links
772:
769:
768:
761:
741:
722:
706:"Other Dances"
697:
678:
671:
651:
644:
613:
608:New York Times
589:
582:
559:
552:
519:
514:New York Times
495:
488:
454:
453:
451:
448:
431:
428:
418:Peter Williams
396:New York Times
386:
383:
329:
326:
325:
324:
318:
312:
307:
301:
286:
283:
240:
237:
229:Santo Loquasto
153:was made as a
147:
144:
108:Jerome Robbins
93:
92:
83:
79:
78:
76:Santo Loquasto
73:
69:
68:
50:
46:
45:
40:
36:
35:
33:Jerome Robbins
30:
26:
25:
15:
9:
6:
4:
3:
2:
1395:
1384:
1381:
1379:
1376:
1374:
1371:
1369:
1366:
1365:
1363:
1348:
1345:
1343:
1340:
1337:
1333:
1332:
1328:
1324:
1321:
1317:
1314:
1310:
1307:
1303:
1300:
1296:
1293:
1289:
1286:
1282:
1279:
1275:
1272:
1268:
1267:
1264:
1258:
1257:
1253:
1251:
1250:
1246:
1244:
1243:
1239:
1237:
1236:
1232:
1230:
1229:
1225:
1223:
1222:
1218:
1216:
1215:
1211:
1210:
1207:
1203:
1199:
1192:
1187:
1185:
1180:
1178:
1173:
1172:
1169:
1156:
1155:
1151:
1148:
1147:
1143:
1142:
1140:
1136:
1129:
1128:
1124:
1121:
1120:
1116:
1115:
1113:
1109:
1103:
1102:
1098:
1096:
1095:
1091:
1089:
1088:
1084:
1082:
1081:
1077:
1075:
1074:
1070:
1068:
1067:
1063:
1061:
1060:
1056:
1054:
1053:
1049:
1047:
1046:
1042:
1040:
1039:
1035:
1033:
1032:
1028:
1026:
1025:
1021:
1019:
1018:
1014:
1012:
1011:
1007:
1005:
1004:
1000:
998:
997:
993:
991:
990:
986:
984:
983:
979:
977:
976:
972:
970:
969:
965:
963:
962:
958:
956:
955:
951:
949:
948:
944:
942:
941:
937:
935:
934:
930:
928:
927:
923:
921:
920:
916:
914:
913:
909:
907:
906:
902:
900:
899:
895:
893:
892:
888:
886:
885:
881:
879:
878:
874:
872:
871:
870:Brahms/Handel
867:
865:
864:
860:
858:
857:
853:
851:
850:
846:
844:
843:
839:
838:
836:
832:
828:
821:
816:
814:
809:
807:
802:
801:
798:
791:
790:
786:
783:
782:
778:
777:
764:
762:9780160359262
758:
755:. p. 6.
754:
753:
745:
737:
733:
726:
711:
707:
701:
693:
689:
682:
674:
672:9780300197594
668:
664:
663:
655:
647:
645:9780394403458
641:
637:
636:
628:
626:
624:
622:
620:
618:
609:
605:
598:
596:
594:
585:
583:9780767929295
579:
575:
574:
566:
564:
555:
553:9780684869858
549:
545:
544:
536:
534:
532:
530:
528:
526:
524:
515:
511:
504:
502:
500:
491:
489:9781101204061
485:
481:
480:
472:
470:
468:
466:
464:
462:
460:
455:
447:
445:
441:
437:
427:
425:
424:
419:
415:
410:
406:
402:
398:
397:
392:
382:
380:
376:
372:
367:
365:
364:Peter Martins
361:
357:
353:
348:
346:
345:Abraham Beame
342:
338:
334:
322:
319:
316:
313:
311:
308:
305:
302:
299:
296:
295:
294:
292:
282:
280:
276:
270:
268:
261:
257:
252:
250:
246:
236:
232:
230:
225:
220:
218:
217:
212:
211:
206:
205:
200:
199:
198:Les Sylphides
194:
190:
186:
182:
178:
174:
170:
169:
164:
160:
156:
152:
143:
141:
137:
133:
129:
125:
121:
117:
113:
109:
105:
101:
100:
91:
87:
84:
80:
77:
74:
70:
65:
51:
47:
44:
41:
37:
34:
31:
29:Choreographer
27:
22:
19:
1338:}}
1334:{{
1329:}}
1325:{{
1322:}}
1318:{{
1315:}}
1311:{{
1308:}}
1304:{{
1301:}}
1297:{{
1294:}}
1290:{{
1287:}}
1283:{{
1280:}}
1276:{{
1273:}}
1269:{{
1254:
1249:Other Dances
1248:
1247:
1240:
1235:In the Night
1233:
1226:
1219:
1212:
1152:
1144:
1125:
1117:
1099:
1092:
1085:
1078:
1071:
1064:
1059:Piano Pieces
1057:
1052:Other Dances
1051:
1050:
1043:
1036:
1029:
1022:
1017:Mother Goose
1015:
1008:
1001:
996:In the Night
994:
987:
980:
973:
966:
961:Glass Pieces
959:
952:
945:
938:
933:The Firebird
931:
924:
917:
910:
903:
896:
891:Circus Polka
889:
882:
875:
868:
861:
854:
847:
840:
789:Other Dances
788:
781:Other Dances
780:
751:
744:
735:
725:
713:. Retrieved
709:
700:
692:Fjord Review
691:
681:
661:
654:
634:
607:
572:
542:
513:
478:
443:
436:Other Dances
435:
433:
421:
414:Other Dances
413:
408:
404:
401:Clive Barnes
394:
391:Other Dances
390:
388:
375:Other Dances
374:
368:
352:Other Dances
351:
349:
333:Other Dances
332:
331:
328:Performances
291:Other Dances
290:
288:
275:Other Dances
274:
271:
267:Other Dances
266:
256:Other Dances
255:
253:
245:Other Dances
244:
242:
239:Choreography
233:
224:Other Dances
223:
221:
216:In the Night
214:
208:
202:
196:
166:
159:James Lipton
151:Other Dances
150:
149:
110:to music by
99:Other Dances
98:
97:
96:
24:Other Dances
18:
1278:Concertante
1221:The Concert
1146:On the Town
1010:Ives, Songs
898:The Concert
877:Brandenburg
430:Videography
416:in London,
249:pas de deux
204:The Concert
82:Created for
1362:Categories
1306:Polonaises
982:In G Major
919:Fancy Free
450:References
442:broadcast
379:Tiler Peck
146:Production
126:, held at
57:1976-05-09
1299:Nocturnes
1119:Peter Pan
1094:Watermill
1087:Tricolore
1031:Les Noces
1003:Interplay
856:Andantino
736:DanceTabs
343:by Mayor
1320:Scherzos
1313:Preludes
1292:Mazurkas
1271:Ballades
1111:Musicals
884:The Cage
715:April 3,
49:Premiere
1327:Waltzes
1198:Ballets
926:Fanfare
834:Ballets
399:critic
323:, No. 2
317:, No. 2
306:, No. 3
300:, No. 4
279:mazurka
55: (
1285:Études
1157:(1961)
1122:(1954)
912:Dybbuk
759:
669:
642:
580:
550:
486:
263:
104:ballet
72:Design
1138:Films
1024:Moves
285:Music
102:is a
39:Music
757:ISBN
717:2020
667:ISBN
640:ISBN
578:ISBN
548:ISBN
484:ISBN
362:and
157:for
138:and
118:and
440:PBS
420:of
1364::
734:.
708:.
690:.
616:^
606:.
592:^
562:^
522:^
512:.
498:^
458:^
446:.
393:,
347:.
219:.
207:,
1190:e
1183:t
1176:v
819:e
812:t
805:v
765:.
738:.
719:.
694:.
675:.
648:.
610:.
586:.
556:.
516:.
492:.
59:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.