George Balanchine (1904–1983) staged hundreds of ballets during his long and productive life, worked for Hollywood and Broadway, and created choreographies even for elephants. The Russian-born American master’s greatest innovation was the symphonic ballet. His choreographies were inspired by the pieces of music themselves––he sought to translate the structure and the atmosphere of music into the language of dance. The choreographer was a great admirer of women, especially of ballet dancers. All his choreographies were centred around ballerinas, and he staged a number of ballets for his four wives, several loves and muses. Each of his productions has a crystal clear structure with a pure and elegant stage design. Movements include elements from classical ballet, but they are always enriched with new elements and ideas.
Debate continues as to whether there is a special Balanchine dance technique. It is certain though that Balanchine’s style requires a considerable flair for music and exceptional swiftness and gracefulness from the dancers. George Balanchine was one of the most prominent figures in the world of ballet. Dance was everything for him; he always looked ahead and strove for novelty. For the preface to the book The Classic Ballet of 1951 he attached the following quotation: “The only way to get to like ballet is going to the theatre frequently, and as frequently as possible.”
The Balanchine-evening, a Balanchine Ballet®, is presented by arrangement with The George Balanchine Trust™ and has been produced in accordance with the Balanchine Style® and the Balanchine Technique® Service Standards established and provided by the Trust.
It has been 25 years since a student of the Music Academy first walked the boards of the Erkel Theatre in 1989 in the role of Juliette in Gounod's Romeo et Juliette. The perfromance of Andrea Rost created a huge sensation and soon set her off on a campaign of international conquests that took het to the opera houses of Vienna, Paris, London, Milan, Munich, Berlin, Los Angeles, Chicago and New York. The soprano now takes to the stage in her always favoured surroundings of the Erkel Theatre to sing a programme of works she has compiled herself, in the company of some of her closest colleagues.
It has been 40 years since one of the most outstanding figures in Hungarian ballet, Gyula Harangozó Sr. (1908 – 1974). He is acknowledged as a genius character dancer even four decades after his death. His characteristic esay steps, his facial expressions and ideas were all engraved in the memories of those who were lucky enough to see him. Coppelia, Promenade Music, Shéhérazade and The Miraculous Mandarin are all treasures in the history of Hungarian ballet that must be preserved. The company of the Hungarian National Ballet wishes to commemorate the Master, who passed away 40 years ago, with the Coppelia series of the 2014/15 season.