Next season, The Royal Ballet will once again dance Balanchine’s Ballo Della Regina, an 18-minute whirlwind of virtuosity. The ballerina role is probably one of the hardest in the entire repertoire, and to be approached with grit and determination. The steps for the rest of the ensemble aren’t the easiest either. The score is a divertimento from Verdi’s Don Carlo – this exemplifies one of Balanchine’s talents; mining the classical repertoire for passages that spoke to him, that he could assemble dances to.
Since Balanchine’s demise in 1983, his works have been carefully looked after by the Balanchine Trust. Merrill Ashley has looked after Ballo; apt, as the ballerina role was created on her, and she has overseen its various stagings. The Balanchine bloodline is transmitted through her to the dancers she teaches, every nuance being generously handed down. His ballets are notoriously difficult; they are, for the most part, purely steps, and their impact depends on the choreography being performed with precision and clarity. They are the archetypal abstract ballets and represent a hugely important gateway from his classical past.
In and of themselves, the Balanchine repertoire is one of the most important bodies of 20th century choreography; it represents the birth of neoclassical ballet and it’s resultant development and his work was the launching pad for most ballet choreographers since. The direct effect of his work is obvious in those who worked directly with him or his company (New York City Ballet), for example Jerome Robbins, Peter Martins, Christopher Wheeldon and Benjamin Millepied. Looking further afield, his work is felt in the more contemporary ballets of Jorma Elo and Alexei Ratmansky. Even in those choreographers where there is no discernible link to Balanchine’s work, we can thank him for setting the journey of ballet on a new course, opening up a mine of opportunity for those wishing to express their choreographic identities through non-narrative work.
So the next time you see a ballet that has been choreographed sometime since the middle of the last century, give a nod to Mr. Balanchine, somewhere along the line he probably had something to do with it.