PROgram, Facts and more

Kermesse In Bruges

Jockey Dance

La Ventana

Dying Swan

  • Original choreography by Michael Fokine
  • Premiered in 1905
  • Composed by Camille Saint-Saëns/ Le Cygne from Le Carnaval des les Animaux
  • Performed by Ruth Whitney

Pas de Quatre

Special Thanks goes to...

B. Hall, mariatrou, K.Hess, A. Dambrosio, N. Damaskos, A. Greenway, D. Greeley, Missperio, D. Davidson, P. Burling, Valerie. B, C. Gillis, Reaghan & Norah Brady, M. Vacanti along with a special shout out to our anonymous donors. You guys make these beautiful performances possible.


A very special Thank you to an amazing woman and mother Rachel Whitman. Her keen eye, wit and experience in these choreographic styles has been without a doubt a valuable and wonderful experience for all of us. Love you Mom.

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Did You KNow...

One of Bournonville's distinct choreographic styles can be recognized by his intricate petit allegro (fast footwork & small jumps). There was very little point work for ballerinas in the 1800's. Instead quick effortless jumps were required to give the illusion of lightness. All the petit allegro that Bournonville requires makes it one of the hardest styles to perform and make look effortless.

The notorious Anna Pavlova was the original "Dying Swan". Created for her by Fokine in 1905, she is recorded to have done over 4,000 performances of Dying Swan. Upon her death she stated, "Get my 'Swan' costume ready". In her memory, the next performance she was to perform at went on as scheduled. The curtains opened to reveal an empty stage, lit by a single spotlight, while the music for Dying Swan played...thats some Diva funeral!

The Dance can, with the aid of music, rise to the heights of poetry. On the other hand, through an excess of gymnastics it can also degenerate into buffoonery. So-called "difficult" feats can be executed by countless adepts, but the appearance of ease is achieved only by the chosen few. 
-August Bournonville

Often, Bournonville's works reflected the day to day lives and interests of low and middle class citizens. He was one of the first to bring dance to the underprivileged.

Pas de Quatre brought four of the greatest ballerinas of the 1800's together, Marie Taglioni, Carlotta Grisi, Lucile Grahn, and Fanny Cerrito. Unfortunately the joining of these four divas also brought jealousy and bickering!! Each ballerina was under the impression that she was the greatest dancer of all. Perrot had to resort to showing each dancer in appearance by age to squelch any further confrontations. If audiences look closely they can see the very subtle differences and opinions of each individual ballerina on stage.