In today's world, Scherzo à la Russe (ballet) has captured the attention of millions of people around the world. Its impact covers different areas of society, from politics to popular culture. In this article, we will thoroughly explore the phenomenon of Scherzo à la Russe (ballet) and analyze its influence on our daily lives. From its origins to its relevance today, we will dive into the most important details surrounding Scherzo à la Russe (ballet), and critically examine its role in our society. Through this comprehensive analysis, we hope to provide a more complete and detailed look at Scherzo à la Russe (ballet), and its significance in the modern world.
| Scherzo à la Russe | |
|---|---|
| Choreographer | George Balanchine |
| Music | Igor Stravinsky |
| Premiere | June 21, 1972 New York State Theater |
| Original ballet company | New York City Ballet |
| Design | Karinska Ronald Bates |
| Created for | Karin von Aroldingen Kay Mazzo |
| Genre | neoclassical ballet |
Scherzo à la Russe is a ballet choreographed by George Balanchine to Stravinsky's music of the same name. The ballet was created for New York City Ballet's Stravinsky Festival, a tribute to the composer after his death, and premiered on June 21, 1972, at the New York State Theater, with the two lead roles originated by Karin von Aroldingen and Kay Mazzo.
Stravinsky and Balanchine collaborated for many years until the former's death in 1971.[1] The latter then decided to have the New York City Ballet hold the week-long Stravinsky Festival to honor the composer.[2]: 286 There were at least 20 premieres,[1] seven of which were choreographed by Balanchine.[3]: 317
One of the ballets made for the festival is set to Scherzo à la Russe, which Stravinsky wrote in 1925, for a film project that was abandoned.[4] The four-minute long ballet is performed by an all-female cast, with two principal dancers and a corps de ballet of sixteen. Karin von Aroldingen and Kay Mazzo originated the two lead roles.[2]: 296 The choreography resembles Russian folk dance. Von Aroldingen described, "You feel like a child or a doll when you do it. The whole thing is a smile. It's over so fast. That surprise short ending – it just stops dead – shows Stravinsky's humor."[2]: 296
The costumes were designed by Karinska, with the dancers in white Russian style dresses and crown-like headdress. The original lighting was designed by Ronald Bates.[2]: 296 The choreography of the ballet was revised in 1982.[5]
Scherzo à la Russe premiered on June 21, 1972, at the New York State Theater.[3]: 415 [4] In addition to the New York City Ballet, the ballet had also been performed by students of the School of American Ballet.[6]
Following the premiere, New York Times critic Clive Barnes commented that the ballet "is a slight joke but warm one." He added, "Balanchine has taken this easy, almost succulent music, and made, slightly irreverently, the kind of Nursemaids’ Dance that he feels that Fokine should have contributed to Petrushka. It is brief, clever and lightly betwitching."[4]