Created by George Balanchine for New York City Ballet in 1967, Jewels is a landmark of neoclassical ballet and the first full-length abstract ballet. Balanchine, a pioneering force in 20th-century dance, masterfully blends music and movement in this three-act work—Emeralds, Rubies, and Diamonds—each distinct in style and set to a different composer (Fauré, Stravinsky, and Tchaikovsky, respectively). With no continuity between the pieces, the ballet avoids scenery and theatrical properties, relying instead on the dancers to create shifting, geometric patterns that bring the stage to life. While Rubies and Diamonds are often performed separately, experiencing all three together enhances their contrast and interplay, creating a cohesive experience – telling a story without a story. What truly makes Jewels shine is Balanchine’s deep musicality and inventive use of steps, lines, and patterns.
Emeralds
Emeralds embodies French romanticism, a tribute to the elegance and refinement of the French school of dance. Balanchine envisioned it as an evocation of France—its grace, luxury, and artistry. The ballet features two principal couples, a trio, and a corps de ballet, all moving with delicate fluidity.
Yuanyuan Zhang and Jacopo Tissi, as the leading couple, delivered a romantic and expressive performance. The elegance of movement, accentuated by the classical tutus, highlighted the ballet’s soft, ethereal quality. The upper-body expressiveness, refined port de bras, and precise footwork showcased the beauty of Balanchine’s choreography, bringing a sense of poetic grace to the stage.
Rubies
If Emeralds is refinement, Rubies is fire—radiating energy, charm, and playfulness. This act explodes with movement, characterized by turned-in legs, swivelling hips, and sharp, high extensions, all infused with Stravinsky’s jazz-inflected score. It feels spontaneous, cheeky, and undeniably modern.
On February 14th, Salome Leverashvili and Timothy van Poucke were electric in their pas de deux. Their movements were sharp, fast, and full of joy, complementing each other effortlessly while pushing the limits of flexibility and dynamism. Their chemistry infused the performance with freshness and vibrancy.
Diamonds
Diamonds returns to grandeur, evoking the imperial elegance of Russian ballet, where Balanchine himself was trained. Echoes of Raymonda, Paquita, and Swan Lake can be seen in its stately poses, the way the arms are used, and the regal formations of the dancers on stage. For me, this act represents the height of Jewels —grand yet tender, powerful yet intimate.
The February 14th performance featured Maia Makhateli and Jan Spunda in the lead roles. While technically brilliant, their connection felt somewhat lacking. Nonetheless, Makhateli’s performance was captivating—her delicate yet confident movements, impeccable musicality, and airy lightness made her a joy to watch. The corps de ballet and demi-soloists were in perfect harmony, enhancing the act’s imperial grace.
The costumes, nearly identical to the original designs, were more than just supporting elements—they sparkled like jewels themselves, elevating the ballet’s visual elegance. Balanchine famously stated that the ballet Jewels has nothing to do with jewels, the dancers are just dressed like jewels. In Het Nationale’s version, this simplicity extends to the minimalist décor, allowing the dancers and music to take center stage.
Jewels remains a timeless and unique masterpiece—an exquisite fusion of movement, music, and design. Het Nationale Ballet’s performance brought this masterpiece to life with remarkable precision and artistry, reaffirming its brilliance. It proved once again that great ballet, like great jewels, never loses its shine. Cicek Isiksel Sonmez 15th February 2025
Photo by Hugo Thomassen
Jewels continues until 9th March.
