George Balanchine’s “Serenade” Sustains

The critical moment when the “newcomer” joins the other dancers at the conclusion of George Balanchine’s choreography of the first movement of Pyotr Ilyich Tchaikovsky’s Opus 48, the “Serenade for Strings” in the key of C major (from the Great Performances video of New York City Ballet in Madrid)

Once again I find myself waxing lyrical over “Serenade,” the first ballet that George Balanchine created in the United States. This was his first major effort after his move to the United States. It was first performed by students of his School of American Ballet. The venue was not in New York City. Rather, the premiere took place on the estate of Felix M. Warburg in White Plains on June 9, 1934. By the end of that year, the School had a producing company; and the first public performance was held in the Avery Memorial Theatre in Hartford, Connecticut.

It would probably not be an exaggeration to say that the choreography for “Serenade” spread like wildfire to schools of ballet and performing companies associated with them. The venues included San Francisco, and I have lost count of the number of times I have seen it performed on Public Television (PBS). It was also one of the ballets that sustained me through the pandemic during the “Digital Spring Season” of the New York City Ballet.

The most recent Great Performances broadcast of “Serenade” on PBS will discontinue streaming at the end of this month. The abstract classicism of this ballet was coupled with the “earthier” “Square Dance” (originally performed with a caller) for the full video program. In many ways this program couples the Russian tradition with American “folk roots.” Nevertheless, Balanchine provided the choreography for both of these works; and the visual experience continues to be consistently engaging. The program has the usual 90-minute duration; and there would be much to be gained from finding an available 90-minute slot prior to midnight!