First performance on 1928, June 12 at the Sarah Bernhardt theatre in Paris by the Diaghilev's "Ballets Russes" with Serge Lifar dancing Apollo.
Photo F. Levieux - Opéra de Paris - 1974 - Francette Levieux
For Nureyev, Apollo – just like Giselle – was the ”ballet of a lifetime”. He danced it continually, from the outset in 1967 (when he made his début in the part at the Vienna Opera) until 1991 on his final “Nureyev and Friends” Tour in Australia. This ballet is the whole of Balanchine’s art in a nutshell and Nureyev considered Balanchine to be the greatest choreographer. It remains a reference in the field of 20th century classical dance : sobriety combined with fantasy; rigour combined with liberty and abstraction combined with expression. All this is expressed in just a few minutes. "Nureyev made his powerful but amusing mark on a role which had had many interpreters before him. The key to this identification was the similarities in character between the dancer and Apollo as seen by Balanchine: Rudolf’s personal charisma meant that he could personify a god on stage in a plausible manner, and act "naturally" without being pompous or solemn (Apollo is a young man, almost a child who is filled with wonder at the world he has discovered). Finally, the ballet, which can be interpreted as the metaphor of change from an old world to a new world, echoes the true trajectory of the dancer Nureyev." A.B.
Music : Igor Stravinski
Choreography : George Balanchine
Learn more « In Apollo, Balanchine found groups, movements and lines demonstrating great nobility and elegant forms, inspired by the beauty of classical shapes, with visible allegories: the chariot, the three horses and the sun disc…
and no sign of superfluity: a sober, white ballet in the classical tradition. A successful attempt to regenerate