Iconic ballet by George Balanchine.

Get ready for a journey in a brilliant ballet set to powerful music when Jewels is danced in Norway for the very first time!

‘Unique’ and ‘iconic’ are words that are often used to describe George Balanchine’s full-length ballet Jewels. Each of the three acts is inspired by a different jewel and audiences get to experience three different worlds with music by Fauré, Stravinsky and Tchaikovsky.  

The Norwegian National Ballet has been dancing Balanchine’s choreographies for years, but this is the first time that the dancers and musicians of the Opera Orchestra are undertaking the endurance test that is Jewels. When the company danced the last part of the ballet, Diamonds, in 2024, many in the audience were entranced by the virtuosic choreography.

Three ballets in one 
Jewels is considered the first full-production abstract ballet, but has three distinct and different acts: Emeralds, Rubies and Diamonds. 

Balanchine was inspired by the work of jewellery designer Claude Arpel. He wanted to conjure up the essence of three different jewels and create three different moods through dance, colours and music. It starts with the elegant music of Fauré, continues with the fresh tones of Stravinsky and concludes with the grandeur of Tchaikovsky. 

Only dance and music 
Balanchine is famous for cultivating the classic movements of ballet. In his ballets, the steps and music shine in their own right, without any action or unnecessary frills. “See the music, hear the dance” is one of Balanchine’s many famous quotes.

Rental production from the Royal Opera House

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."