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Serge Diaghilev
Serge Diaghilev is born on March 31, 1872 in Selishchev Barraks, Novgorod Province Russia. Diaghilev was an impresario, first presenting art exhibits in Paris, then a series of concerts in Russian, and finally connecting with Russian dance. -
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Ballet Russe
Twentieth century ballet began when a Russian theater director and entrepreneur named Serge Diaghilev brought his company, Ballet Russe, to Paris in 1909. He hand selected the cast of all star Russian dancers from the Russian Imperial Theatres to present new choreography in his company's premier Paris performance. For the next two decades, Diaghilev's company traveled throughout Europe, the United States, and South America presenting abstract, avant-garde works that shocked audiences. -
Seraphina Astafieva
Seraphina Astafieva is born 1876 in Saint Petersburg, Russia. Astafieva danced with the Ballets Russes from 1909-1911. -
Sophia Fedorova
Sophia Fedorova is born 1879 in Russia. Fedorova joined the Ballets Russes in 1909 and performed regularly with the company until 1913. Thereafter, she appeared from time-to-time with the Ballets Russes, making her last performance in 1928. -
Anna Pavlova
Russian dancer, Anna Pavlova born in Saint Petersburg, Russia. Diaghilev invited Pavlova to appear with his enterprise in Paris in 1909 and she danced in Les Sylphides and Cléopâtra. She performed only once more with the Ballets Russes, during their 1911 London engagement. Partnered by Vaslav Nijinsky, she danced in Giselle; Le Pavillon d'Armide; Cléopâtra; Le Carnaval; L'Oiseau d'Or; and in Petipa's Bluebird pas de deux from The Sleeping Beauty. -
Michel Fokine
Russian dancer and choreographer, Michel Fokine. Fokine's L'Pavillon d'Armide was the opening ballet for Diaghilev's first Paris season in 1909. Fokine becomes the principal choreographer of the Ballets Russes when Diaghilev launches a permanent company in 1911. By producing more than twenty works for Diaghilev between 1909-1912 and 1914-1915, Fokine's choreographies established the base for the repertory of the Ballets Russes until it dissolved in 1929. -
Vaslav Nijinsky
One of the most significant dance celebrities of the twentieth century, Nijinsky joins the Ballets Russes in 1909 and soon establishes himself an international star. As a dancer, he was admired for his outstanding ballet technique and dramatic onstage presence. As a choreographer, he created ground-breaking works for the Ballets Russes, including L'Après-Midi d'un Faune, Le Sacre de Printemps, Jeux, and Till Eulenspeigel. -
Bronislava Nijinska
She becomes one of the most remarkable figures in the development of twentieth-century choreography. Nijinska's work reflected a combination of classical ballet and choreographic innovation. She was the sister of Vaslav Nijinsky and joined the Ballets Russes as a dancer in 1909 and made principal dancer the next year. From 1921-1924, Nijinska was ballet mistress and chief choreographer for Diaghilev's Ballets Russes. During this period she choreographed nine ballets and numerous operas. -
George Balanchine
Balanchine becomes a member of Diaghilev's Ballets Russes as a dancer and begins to choreograph for the company in the 1920s. Wasily de Basil and Rene Blum named their new company Ballet Russe de Monte-Carlo. George Balanchine (a former choreographer for Diaghilev’s Ballet Russe) became the Dance Master and principle choreographer. Today, Balanchine is regarded as one of the principal artists of modern times and the founder of classical ballet in America. -
Tamara Karsavina
One of the most respected ballerinas of Diaghilev's Ballets Russes and famed interpreter of Michel Fokine's choreography, Tamara Karsavina. She created roles in The Firebird; Jeux; Le Tricorne; Pulcinella; Petrouchka; Thamar; Le Coq d'Or; Schéhérazade; Le Spectre de la Rose; and Romeo and Juliet. Karsavina's Ballets Russes repertory also included Les Sylphides; Cléopâtre; and Le Carnaval. -
Lydia Lopokova
Russian-English ballet dancer and actress. She joined Diaghilev's Ballets Russes in 1910 and received acclaim for her work in Le Carnaval and The Firebird, roles that she took on as Tamara Karsavina's substitute. Soon after, Lopokova left the Ballets Russes but returned in 1916, becoming its star ballerina. Except for a short period when she appeared on Broadway, she remained with Diaghilev until 1922. After 1922 she made guest appearances with the company. -
Criticism
Stung by criticism from the Paris critics that claim Diaghilev produces well-danced ballets with exotic décors and costumes, but with no comparable innovative music component, he turns to the young composer Igor Stravinsky. The Firebird represents Stravinsky's first commission from the Ballets Russes and proves to be the catalyst that begins his ascent to international acclaim. Other ballets produced during 1910 included: Le Carnaval; Schéhérazade; Giselle; and Les Orientales. -
Official Ballet Russe Company
The 1909-1910 seasons of the Ballets Russes consisted of a pick-up troupe of dancers on vacation from the Russian Imperial Theater. However, the ballets were so popular with Paris audiences that Diaghilev creates a permanent dance company in 1911 with Michel Fokine as the principal choreographer. -
Matilda Kshessinska
Born at Ligovo, near Saint Petersburg. Generally accepted as the last great Russian ballerina of the imperial age, she danced with Diaghilev's Ballets Russes during the 1911/12 season and appeared in London, Monte Carlo, Vienna, and Budapest. -
Léonide Massine
Dancer and choreographer. Massine joined the Ballets Russes in 1914 as a dancer and was its chief choreographer from 1915-1920 Masssine continued the experiments in movement initiated by Michel Fokine but integrated character and ethnic influences into his choreographies, resulting in highly dramatic ballets. Some of his most notable choreographic works include Contes Russes, Parade, Le Tricorne, Pulcinella, and La Boutique Fantasque. -
Vera Nemchinova
Russian dancer. Nemchinova was a member of the Ballets Russes from 1915-1926 and became one of the company's most respected and legendary ballerinas. Her repertory included roles in Les Sylphides; La Boutique Fantasque; Swan Lake; Pulcinella; Le Astuzie Femminili; The Sleeping Beauty; Les Tentations de la Bergère; Les Biches; and Les Matelots. -
Vera Trefilova
Dancer Vera Trefilova is born on October 8th in Saint Petersburg. Trefilova joined the Ballets Russes in 1921 to dance in The Sleeping Princess. She remained with the company until 1926. -
Serge Lifar
He made his debut at the Ballets Russes in 1923, where he became the principal dancer in 1925. Lifar was considered the successor to Nijinsky in the Ballets Russes. As ballet master of the Paris Opera from 1930 to 1944, and from 1947 to 1958, he devoted himself to the restoration of the technical level of the Paris Opera Ballet, returning it to its place as one of the best companies in the world. -
Alexandra Danilova
Danilova joined the company in late 1924. She created roles in Le Pas d'Acier, The Triumph of Neptune, The Gods Go A-Begging, and Le Bal. Other Ballets Russes repertory included roles in Apollon Musagète, The Firebird, La Boutique Fantasque, Petrouchka, Aurora's Wedding, and Les Biches. -
Alicia Markova
English ballerina. In January 1925, Serge Diaghilev hired Markova-who was only fourteen years old-to dance with the Ballets Russes. Her repertory included Swan Lake; Le Chant du Rossignol; La Chatte; and Cimarosiana. -
Diaghilev brought his company, Ballet Russe, to Paris
In 1909, he made a contract for a summer season of Russian ballet in Paris. He gathered an outstanding cast of dancers to present a diverse repertoire. -
Death of Diaghilev
The Ballets Russes was an itinerant ballet company based in Paris that performed between 1909 and 1929 throughout Europe and on tours to North and South America. When Sergei Diaghilev died of diabetes in Venice on 19 August 1929, the Ballets Russes was left with substantial debts. As the Great Depression began its property was claimed by its creditors and the company of dancers dispersed. -
Original Ballet Russe
The Original Ballet Russe was a ballet company established in 1931 by René Blum and Colonel Wassily de Basil as a successor to the Ballets Russes, founded in 1909 by Sergei Diaghilev. The company assumed the new name Original Ballet Russe after a split between de Basil and Blum. It was a large scale professional ballet company which toured extensively in Europe, Australia and New Zealand, the United States, and Central and South America. -
"Baby Ballerinas"
Balanchine has an idea to make very young dancers the stars of the ballet. At 12-13 years old, and each having a different style from one another, they became known as the “baby ballerinas.” After their first performance critics said “Ballet Russe de Monte-Carlo was the authentic air to Diaghilev’s Ballet Russe.” Tamara Toumanova,Tania Riabouchinska, and Irina Boranova. -
Tamara Toumanova
Russian-born American, prima ballerina and actress. She became known internationally as one of the Baby Ballerinas of the Ballet Russe de Monte Carlo, after being discovered by her fellow émigré, ballet master and choreographer George Balanchine. Dramatic -
Tania Riabouchinska
Russian American prima ballerina and teacher. Famous at age 14 as one of the three "Baby Ballerinas" of the Ballet Russe de Monte Carlo in the 1930s, she matured into an artist whom critics called "the most unusual dancer of her generation." Feather light, with lots of personality. -
Irina Baronova
Russian ballerina and actress who was one of the Baby Ballerinas of the Ballet Russe de Monte Carlo, discovered by George Balanchine in Paris in the 1930s. She created roles in Léonide Massine's Le Beau Danube (1924), Jeux d'enfants (1932), and Les Présages (1933); and in Bronislava Nijinska's Les Cent Baisers (1935). -
Massine Era
Choreographers from Diaghilev’s Ballet Russe returned to work with Basil and Blum. After the first season, Basil and Blum secretly push out Balanchine and replaced him with Leonide Massine. 1933 started the Massine Era of ballet at the Ballet Russe de Monte-Carlo (in London). Massine introduced the symphonic orchestra to ballet and the public loved it. He started creating stronger lead roles for male dancers. -
American Tour
Ballet Russe de Monte-Carlo set sails for America where Sol Hurok (an impresario) booked their first American Tour. Sol Hurok was the most powerful theatrical promoter in the States. (it had been 20 years since Diaghilev’s Ballet Russe sailed to America, and America still didn’t know much about ballet.) By 1935 they had performed for 3 million people.They began to hire American dancers, but made their names sound Russian. (i.e. Marc Plattoff) -
Blum vs Basil
Blum and Basil did not see eye to eye and Blum resigned from the company. After Blum left, Basil’s ego was too much for Massine and he too soon left the company to start his own. -
Basil vs Massine
A war erupted between Massine and Basil over everything connected to the Ballet Russe de Monte-Carlo, including legal fights over the company name and choreography. Massine won the rights to the company name, Ballet Russe de Monte-Carlo so Basil renamed his company The Original Ballet Russe.The each fought over dancers, making dancers take the side of one or the other. -
Ballet Russe de Monte Carlo
Ballet Russe de Monte Carlo was a ballet company created by members of the Ballets Russes in 1937 after Léonide Massine and René Blum had a falling-out with the co-founder Wassily de Basil.
De Basil then renamed his rival company The Original Ballet Russe. -
Lichine vs Massine
Basil’s problem was replacing Massine as principle choreographer, so he hired David Lichine. Lichine and Massine became rivals, trying to steal dancers from the other. Both companies started their season in London, performing blocks from each other. The public love each company, go from one show to another. -
Basil in Australia
At the same time Basil took his company to Australia. For 7 months the filled the theaters. Australia loved ballet. The set the stage for new training facilities to be opened in this part of the world. By 1939 the company was back in London. -
Sol Hurok
Sol Hurok needed another American tour. Hurok chose Massine’s Ballet Russe de Monte-Carlo. Later, Sol Hurok decided to take on the responsibly of providing work for both stranded companies. They spent 9 months touring by train to small towns that had never seen ballet before. -
War
War was declared. Britain and France declare war on Germany in World War II. Panic struck and most Russians did not have the right papers to leave the country. They were able to get on a boat headed to American. Both companies traveled on this boat. Months of no rehearsals or ballet class and Massine has Ballet Russe de Monte-Carlo perform the evening they arrived in American. -
Hurok vs Basil
Tour after tour, for 2 years both companies continued to work, but Horok and Basil (The Original Ballet Russe) started having conflicts. In 1941 Hurok severed his ties with Basil, publically declaring him as one of the most difficult people to work with. Because Sol Hurok had such connections around America, Basil and The Original Ballet Russe found themselves without work. Not being able to return to London yet, Basil took his company on a Latin American tour. -
From Dance to Film
Ballet Russe de Monte Carlo were the toast of the town in Hollywood glamour. They crossed over into dance for film. However, Massine loving the money and attention seemed to lose his choreographic touch and started producing flops. -
Agnes de Mille
Ballet Russes de Monte-Carlo took a chance and hired and American choreographer, Agnes de Mille. And so began the beginning of “true American ballet.” Agnes de Mille choreographed “Rodeo,” a good old fashion American tradition. -
Ballet to Broadway
Ballet crossed over into Broadway, choreographed by George Balachine. The return, after 12 years. -
Original Ballet Russe Last Performance
Able to find work, but the country was very poor and food was scarce.The company was worked hard on this tour and exhausted. Arranged for return to America. Yet, the company was exhausted and not ready for the demands of touring again. It was a disaster. Hurok once again abandoned the company and the dancers begin to leave for better opportunities. In return, Basil hired new dancers, not as qualified or technically proficient, leaving the company in worse shape.
