|Apollo or Apollon musagète|
|Choreographer||Adolph Bolm, George Balanchine|
|Premiere||27 April 1928 (Bolm), 12 June 1928 (Balanchine) – Washington, D.C. (Bolm), Paris (Balanchine)|
|Original ballet company||Ballets Russes (Balanchine)|
three Muses: Calliope, the muse of poetry
Polyhymnia, the muse of rhetoric
Terpsichore, the muse of dance
Apollo (originally Apollon musagète and variously known as Apollo musagetes, Apolo Musageta, and Apollo, Leader of the Muses) is a ballet in two tableaux composed between 1927 and 1928 by Igor Stravinsky. It was choreographed in 1928 by balletmaster George Balanchine, with the composer contributing the libretto. The scenery and costumes were designed by André Bauchant, with new costumes by Coco Chanel in 1929. The scenery was executed by Alexander Shervashidze, with costumes under the direction of Mme. A. Youkine. The American patron of the arts Elizabeth Sprague Coolidge had commissioned the ballet in 1927 for a festival of contemporary music to be held the following year at the Library of Congress, in Washington, D.C.
The story centres on Apollo, the Greek god of music, who is visited by three muses: Terpsichore, muse of dance and song; Polyhymnia, muse of mime; and Calliope, muse of poetry. The ballet plainly takes Classical antiquity as its subject, though its plot suggests a contemporary situation. It is concerned with the reinvention of tradition, since its inspiration is "classique", or even post-baroque; nevertheless, it uses a chamber orchestra, with only 34 string instruments (184.108.40.206.4).
Stravinsky began Apollo on 16 July 1927, and completed the score on January 9, 1928. He chose to make a ballet blanc, which he composed for a refined instrumental force, manifested as a string orchestra of 34 instrumentalists: 8 first violins, 8 second violins, 6 violas, 4 first cellos, 4 second cellos and 4 double basses. The commission from the Library of Congress and underwritten by Mrs. Elizabeth Sprague Coolidge paid $1,000 for the piece, which was required to use only six dancers, a small orchestra and last not more than half an hour, but he was given a free choice of subject. Stravinsky had for some while been thinking of writing a ballet on an episode in Greek mythology and decided to centre it on Apollo, leader of the muses, reducing their number from nine to three. Stravinsky explained the originally titled Apollon Musagète as meaning “Apollo, conducteur of the Muses”. These three were Terpsichore, personifying the rhythm of poetry and the eloquence of gesture as embodied in the dance, Calliope, combining poetry and rhythm, Polyhymnia, representing mime.
Stravinsky wrote for a homogeneous ensemble of bowed string instruments, choosing to replace the contrasts in timbre that one hears in Pulcinella with contrasts in dynamics. As much later in Agon, this ballet takes its inspiration from the grand tradition of French 17th- and 18th-century music, in particular that of Lully. The prologue begins with dotted rhythms in the style of a French overture. The composer depends on a basic rhythmic cell, presented at the beginning of the work, which he transforms by subdivisions of successive values which are made increasingly complex. Stravinsky slightly revised the score in 1947. His 1963 book of conversations with Robert Craft, Dialogues and a Diary, indicates still more desired changes, particularly with respect to double-dotting many of the dotted-rhythm passages in Baroque style. Stravinsky himself conducted the first San Francisco Symphony performances of this music, in April 1958.
The first ballet version of Stravinsky's Apollon musagète, commissioned especially for the Washington festival, premiered on Friday, 27 April 1928, with choreography by Adolph Bolm, who also danced the role of Apollo. It was Adolph Bolm who put together a company of dancers, in dance-impoverished US for the premiere. Ruth Page, Berenice Holmes (Gene Kelly's ballet teacher), and Elise Reiman were the three Muses, while Hans Kindler conducted.
Unfortunately for Bolm, Stravinsky himself had no interest in the US project. He had reserved the European rights to the score for Serge Diaghilev, whose Ballets Russes production, choreographed by the 24-year-old Balanchine, opened at the Théâtre Sarah Bernhardt, Paris, on Tuesday, June 12, of that same year. This performance was conducted by the composer himself; the violinist was Marcel Darrieux. Balanchine's version for Diaghilev, which is now hailed as a landmark work, quickly superseded Bolm's effort, now practically forgotten.
As the composer had wished, the style of dancing was essentially classical, and Stravinsky thought of "Apollon Musagète" as a ballet blanc. Balanchine, too, later said that when he heard Stravinsky's music, all he could see was this pristine white. Certainly it is the clarity, calm, even serenity of the music which makes it seem almost infinitely remote from the excitements of the earlier ballets. The avoidance of any conflict in the scenario, indeed of any narrative, psychological or expressive intent, was further matched by monochrome costumes for the dancers and the absence of elaborate scenery on stage. In Apollo, Balanchine found the way to unite the traditions of classical Russian ballet and the spare austerity of modernism, which led to the evolution of the new classicism that is the hallmark of New York City Ballet.
Scenery and costumes for Balanchine's production were by French artist Andre Bauchant, with new costumes designed by Coco Chanel in 1929. Apollo wore a reworked toga with a diagonal cut, a belt, and laced up. The Muses wore a traditional tutu. The decoration was baroque: two large sets (some rocks, and Apollo's chariot). One senses in the dance a reappearance of academicism (in the stretching out and upward leaping of the body). But the choreographer George Balanchine bent the angles of the arms and hands. It is therefore a neoclassical ballet. The scenario involved the birth of Apollo, his interactions with the three muses, Terpsichore (dance), Polyhymnia (mime) and Calliope (poetry), and his ascent as a god to Mount Parnassus. The original cast included Serge Lifar as Apollo, Alice Nikitina as Terpsichore (alternating with Alexandra Danilova), Lubov Tchernicheva as Calliope, Felia Doubrovska as Polyhymnia and Sophie Orlova as Leto, mother of Apollo.
Balanchine staged Apollon Musagète for the Royal Danish Ballet in 1931. Following his move to the United States two years later, the work was performed by his American Ballet in 1937 with Lew Christensen in the title rôle and subsequently became a feature of Balanchine's New York company and of many other companies around the world. In 1978 Balanchine made major changes to the piece, discarding the ballet's prologue which depicts Apollo's birth.
For a revival with Mikhail Baryshnikov as Apollo in 1979, he also omitted Apollo's first variation and rechoreographed the ending of the ballet. This revision saw the piece concluding not with Apollo's ascent to Mount Parnassus but rather with the earlier memorable tableau of the muses posing in ascending arabesques beside Apollo. In the 1980 staging for the New York City Ballet, Apollo's first variation was restored. Suzanne Farrell restored the birth scene for her company in 2001, as did Arthur Mitchell for his Dance Theatre of Harlem performance at Symphony Space's Wall to Wall Balanchine in conjunction with City Ballet's Balanchine centennial.
The characters are Apollo and three Muses: Calliope, the muse of poetry; Polyhymnia, the muse of rhetoric; and Terpsichore, the muse of dance. The theme is: Apollon musagetes ("director of the Muses") instructs the muses in their arts and leads them to Parnassus. The ballet is divided into two tableaux:
- First tableau
- Prologue: The birth of Apollo
- Second tableau
- Variation of Apollo
- Pas d'action (Apollo and the three Muses)
- Variation of Calliope (the Alexandrine)
- Variation of Polyhymnia
- Variation of Terpsichore
- Second variation of Apollo
- Pas de deux
- ABT first premiered the ballet in 1943 in New York City at the Metropolitan Opera House.
- The Stravinsky score was used by Margaret Scott in creating her version of Apollon Musagete for the Ballet Guild in 1951, by Charles Lisner in his 1962 version for the Queensland Ballet, and by Robin Grove in his 1967 production for the Victorian Ballet Company.
- The Royal English Ballet premiere was on 15 November 1966, with Robert Mead as Apollo, Georgina Parkinson[obituaries 1][obituaries 2] as Terpsichore, Monica Mason as Polyhymnia and Vyvyan Lorrayne as Calliope.
- The first performance of the Balanchine work in Australia was by the Australian Ballet on 3 May 1991, when it was staged for the company by Karin von Aroldingen, former leading artist of New York City Ballet. On opening night, Steven Heathcote danced the role of Apollo with Justine Miles as Calliope, Miranda Coney as Polyhymnia and Lisa Pavane as Terpsichore. Lighting was by William Akers. A 1997 Australian Ballet staging again saw Heathcote in the title role, with Justine Summers dancing as Terpsichore, Lucinda Dunn as Polyhymnia and Simone Goldsmith as Calliope.
- First performance by Birmingham Royal Ballet was on 24 September 2003 at the Birmingham Hippodrome.
- The New York City Ballet premiere was 15 November 1951, at City Center of Music and Drama, New York.
February 2008, Nikolaj Hübbe farewell
Balanchine shortened the title to Apollo in the 1950s, which Stravinsky himself came to prefer. Despite the popularly considered Balanchine-Stravinsky Greek link due to Balanchine's later work with Stravinsky scores in Orpheus and Agon, the music for Apollo was commissioned by the Library of Congress. Orpheus may be considered a sequel to Apollo but Agon is a formal plotless ballet whose title in Greek evokes a contest.
- "No-frills ballet". The Age (Australia). 16 June 2007.
- "AN AMAZING CREATIVE OUTBURST: Four Ballets by Stravinsky". Archived from the original on 25 October 2009.
|Wikimedia Commons has media related to Apollo (ballet).|
- Sunday NY Times by John Martin, 4 November 1934
- Ballet Magazine, by Eric Taub, February–March 2004
- NY Times by Jack Anderson, 5 January 1980
- NY Times by Alastair Macaulay, 12 February 2008