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Vienna Waltzes

Music
Johann Strauss II, Franz Lehár, Richard Strauss
Choreography
George Balanchine

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A work of monumental scale with a magnificent finale, the five-part Vienna Waltzes is set in moonlit Austrian forests and the regal ballrooms of Vienna.

The waltz, which became popular in the late 1700s, was a dance form Balanchine revisited and explored often over his career, but never on as grand a scale as he did for the 1977 Vienna Waltzes. Through Rouben Ter-Arutunian’s evolving scenery, the ballet—Balanchine’s homage to an age of imperial grandeur—transforms from a sylvan forest glen to a dance hall to a glittering society café to, at last, a majestic mirrored ballroom. The music for each section of the ballet is associated with the gradual transformation of the waltz across society. The many elaborate costumes are the last that Barbara Karinska, NYCB’s principal costume-maker for many years and Balanchine’s longtime collaborator, created for New York City Ballet.

45 minutes

Anatomy of a Dance

Maria Kowroski on Vienna Waltzes

Maria Kowroski leads us into the inner world she creates to dance the lead ballerina role in the final section of Vienna Waltzes.

Anatomy of A Dance

Mira Nadon on  Balanchine's VIENNA WALTZES

Mira Nadon describes the quietly confident presence and eye contact with her partner she relies on during the dramatic fourth movement in George Balanchine's Vienna Waltzes.

BALANCHINE’S VIENNA WALTZES

Megan Fairchild and Joseph Gordon lead the company in the second movement of George Balanchine's Vienna Waltzes.

BALANCHINE’S VIENNA WALTZES

George Balanchine's enduring love for the waltz is on grand display in the sweeping final movement of his Vienna Waltzes.

BALANCHINE’S VIENNA WALTZES

Unity Phelan and Tyler Angle glide through the grand ballroom, their reflections mirrored by the elegant surroundings designed by Ruben Ter-Arutunian, in George Balanchine's Vienna Waltzes.

The Last Waltz

New York City Ballet dancers reflect on what makes Balanchine's Vienna Waltzes a cherished favorite for both the performers and audience alike.

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