La Valse

Unlike traditional ballet narratives where a young woman attends a ball and falls in love, La Valse presents a darker, more ominous vision. The ballet unfolds in a grand yet unsettling ballroom, where couples waltz in a hypnotic and increasingly chaotic dance. A woman in white becomes mesmerized yet horrified by a mysterious figure—Death itself. As her fascination deepens, Death gains control over her, stripping away her innocence with each piece of dark clothing she dons. Ultimately, she succumbs entirely, and the ballet ends with her demise. 

Ravel’s La Valse is not just a tribute to the waltz but also a haunting reflection of a world unraveling, mirroring the devastation and disillusionment left in the wake of World War I. 

George Balanchine (1904-1983) was a Russian-American choreographer, widely regarded as the “Father of American Ballet”. He revolutionized the art form, and co-founded the New York City Ballet in 1948, creating over 465 ballets. 

Balanchine Technique emphasizes athleticism, speed, and expressiveness, shaping a style that highlights the dancer's individual artistry.

Some of Balanchine’s most iconic ballets include Serenade, Agon, Jewels, Firebird, George Balanchine’s The Nutcracker®, and of course, A Midsummer Night’s Dream. 

At Miami City Ballet, Balanchine’s legacy is at the core of who we are. As one of the few companies to have performed the majority of his works, we are deeply rooted in his innovative vision and timeless choreography. 

Maurice Ravel (1875–1937), born in France, was one of the most sophisticated musicians of the early 20th century. He composed over 85 works, spanning operas, piano concertos, string quartets, and songs. 

At just 14 years old, while studying at the Paris Conservatoire, he composed some of his best-known works, including Pavane pour une infante défunte, Sonatine for piano, and the String Quartet. 

La Valse began as a piece titled Vienne in 1906, originally intended as an orchestral tribute to the waltz and to Johann Strauss II. Over the years, Ravel revised the score, and after serving in World War I, it transformed into La Valse. He began composing it in 1919, and after a full year of work, it premiered in 1920. 

"We are dancing on the edge of a volcano." — Maurice Ravel 

Fun Fact: The score of La Valse calls for 2 flutes and piccolo (doubling third flute), 2 oboes and English horn (doubling third oboe), 2 clarinets and bass clarinet, 2 bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, triangle, tambourine, side drum, bass drum, cymbals, castanets, tam-tam, crotales, 2 harps, and strings. 

Varvara Andryevna Zhmoudsky, later known as Karinska, was born in Ukraine in 1886. She learned Victorian embroidery from German and Swiss governesses before studying law at Kharkiv Imperial University. After moving to Moscow in 1916, she became deeply involved in the arts, hosting influential salons attended by leading figures of the Russian cultural scene. 

Karinska eventually relocated to Paris, where she began designing costumes for Ballet Russe de Monte Carlo, including works by George Balanchine. Their collaboration flourished, leading to more than 75 ballets together, including Serenade and Jewels. 

One of her most revolutionary contributions was the “powder puff” tutu, created for Balanchine’s Symphony in C in 1950. This softer, fuller tutu allowed for greater movement and became a defining element of ballet costume design. 

"I attribute to (Karinska) fifty percent of the success of my ballets to those that she has dressed." — George Balanchine 

Choreography
George Balanchine © The George Balanchine Trust

Music
Maurice Ravel, Valses Nobles et Sentimentales (1911, orchestrated 1912); La Valse (1920)

Company Premiere  
February 11, 2005

Costume Designs
Karinska

Set and Lighting Design
Jean Rosenthal

Scenic Supervision
Arnold Abramson

Scenery Build
Jupiter Scenic