Choreography by Jerome Robbins (1918-1998) Music by Frédéric Chopin (1810-1849) Piano Nocturnes, Opus 27, No. 1; Opus 55, Nos. 1 & 2; and Opus 9, No. 2 Costume Design by Anthony Dowell Lighting Design by Jennifer Tipton , recreated by Nicole Pearce Staged by Anita Paciotti In the Night
Katherine Burkwall-Ciscon , Piano
World Premiere: January 29, 1970 by New York City Ballet at New York State Theatre in New York City, New York.
Houston Ballet Premiere: March 6, 1986 in Jones Hall for the Performing Arts in Houston, Texas.
WHAT YOU’RE WATCHING Jerome Robbins’ In the Night , created a year after his brilliant Dances at a Gathering in 1970, is a poignant exploration of romantic relationships through three distinct pas de deux, each representing a different stage of love. The ballet opens with a youthful, innocent couple whose tender movements express joy and discovery. The second couple, mature and reserved, displays the depth and restraint of a long-established relationship, subtly conveying both elegance and history. The third couple’s passionate and tumultuous interactions contrast sharply with the previous two, their physical and emotional struggles playing out in a fiery pas de deux. The ballet concludes with a brief, polite acknowledgment between the couples. WHAT YOU’RE LISTENING TO The ballet is set to four piano nocturnes by the Polish composer Frédéric Chopin, renowned for their lyricism and emotional depth. Composed between 1831 and 1844, these pieces evoke a range of moods, from tranquil to passionate. The word “nocturne” refers to evening or night, a fitting inspiration for Robbins’ title of the ballet. Each nocturne begins with a delicate melody that gradually evolves into rich emotional landscapes, perfectly complementing Robbins’ exploration of love’s complexities. The music not only shapes the tone and pacing of the choreography but also serves as a narrative voice, guiding the dancers’ emotional journeys.
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“If you’re doing Shakespeare, you really have to (stick to) the script. There’s no ad libbing. … You can only play within the words. There’s such a freedom in that for some artists—for great artists, frankly. They find that liberating. The (set) structure gives you the puzzle from which to find your new way. I think Robbins is like that.”
STANTON WELCH AM FOR ARTS AND CULTURE TEXAS (2024)
Sara Webb and Principal Connor Walsh. Photo by Amitava Sarkar.
HOUSTON BALLET
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