George Balanchine is the father of numerous visionary, neoclassical choreographies, which he created for the New York City Ballet. Balanchine, who had founded the NYCB in the mid-20^th century, was at the helm of this innovative company until his death in 1983. Till today his works are brought to stages all over the world.

Characteristic for Jewels – a full-length ballet from 1967 – is the fact, that is has no story but puts all the focus on the pure dance alone. Rumour has it that Balanchine drew his inspiration from a jeweller’s display on New York’s Fifth Avenue. So each part of the trilogy is named after a jewel, and each comes in a different style, atmosphere, color and shape - true ballet jewels. On top each piece has its own music. Emeralds opens with lyrical music of Gabriel Fauré, characterized by light lifts, playful arms and noble arrangements. Therewith, Balanchine draws a dreamy world of classical ballet. In contrary to that, Rubies represents a contemporary panorama underscored by Igor Strawinsky’s jazzy Capriccio for Piano and Orchestra. The sharpness of the music runs parallel to the dynamic choreography – characterized by speed and precision, high legs and quick turns. Rubies is a winky and flirty play full of strength, in which Balanchine’s knowledge of the Broadway business and show business as such shine through, as does the atmosphere of the wild New York he was living in. The third piece, Diamonds, with music of Peter I. Tchaikovsky’s Third Symphony, is dedicated to the great ballet classics of the Russian tsarist era, which Balanchine knew from his childhood days. Opulence and pomp frame the ballet dancers during a masterpiece marked by solo parts, formations and structures on a high level of technique. Beautiful shapes, elegance, gracefulness and glamour complete the evening.

First performed on 13 April 1967 in New York, Jewels represents the first full-length “abstract ballet” by George Balanchine. The three parts of the ballet, „Emeralds“ (to music by Gabriel Fauré), „Rubies“ (to music by Igor Stravinsky) and „Diamonds“ (to music by Peter Ilich Tchaikovsky) are loosely connected by the idea of gems or jewels; a meeting with the jeweller Claude Arpels was a significant stimulus to Balanchine to create the work. Through the choice of the different composers, the ballet also forms a kind of geographical retrospective of the life of George Balanchine, who spent periods of time in France, the United States and Russia. Manuel Legris’ time as director is also closely connected with the work: after „Rubies“ (2010/2011) and „Diamonds“ (Pas de deux, 2017/2018), the complete work now appears on the programme as his period of office in Vienna draws to a close.

Jewels is a three-act ballet created for the New York City Ballet by co-founder and founding choreographer George Balanchine. It premièred on Thursday, 13 April 1967 at the New York State Theater, with sets designed by Peter Harvey and lighting by Ronald Bates.

Jewels has been called the first full-length abstract ballet. It has three related movements: Emeralds, Rubies, and Diamonds (usually separated by intermissions). It can also be seen as three separate ballets, linked by their jewel-colored costumes. Balanchine commented: "The ballet had nothing to do with jewels. The dancers are just dressed like jewels." Each of the three acts features the music of a different composer: Emeralds is set to the music of Gabriel Fauré, Rubies to the music of Igor Stravinsky and Diamonds to music by Pyotr Ilyich Tchaikovsky.

Costumes

The costumes were created by Balanchine's long-time collaborator Barbara Karinska, who created a distinct look for each different act: romantic, calf-length tulle skirts for Emeralds, fabric that flared at the hips of both men and women in Rubies, and the flat, classical tutu of the Imperial Russian Ballet for Diamonds. The costumes were such finely crafted pieces of art in their own right that some of them have been exhibited in museums and in theatre lobbies. Even Claude Arpels of Van Cleef & Arpels, who suggested the idea of a ballet based on gems to the choreographer, was impressed with her attention to finding the finest trim that would accurately represent the true glitter of genuine gemstones. Additionally, Karinska's painstaking work is credited with making the costumes last despite the sweat and strain of dancing in them. Her designs, needlework and choice in fabrics made them both durable and danceable, illustrating that the bodies inside the costumes were deserving of her utmost respect. When questioned about her attention to her almost extravagant detail she replied, "I sew for girls and boys who make my costumes dance; their bodies deserve my clothes."