With his purist approach, George Balanchine led ballet into the modern age and, through his impeccable taste, became a style icon of neoclassical ballet. In his choreographies, he plays with the dancers' virtuosity and skills; the ballerina's flair; the music's structure and mood. Understatement and elegance are trademarks of his choreographic style.

The window display of a legendary jeweller on New York's Fifth Avenue sparked the idea for George Balanchine's 1967 ballet JEWELS. The opulent arrangements of jewellery inspired the titles of all of his choreography's three parts: EMERALDS, RUBIES and DIAMONDS. Each of the three gems evoked different associations which Balanchine translated into brilliant dance compositions that have found their way into repertories across the globe. Balanchine's personal notes on the development and meaning of his creation are habitually laconic and make his priorities clear: the music's flavour is his point of origin.

EMERALDS is based on music by Gabriel Fauré whose composition Balanchine associated with an ethereal French dance style. As energetic, vital and athletic, he interprets RUBIES through a composition by Igor Stravinsky. DIAMONDS puts the imperial brilliance of the Russian ballet tradition in focus from which he himself originated and which he closely connects to the compositions of Peter I. Tchaikovsky. His Third Symphony inspired Balanchine to contribute his own interpretation of "grandeur and clarity."

First performed on 13 April 1967 in New York, Jewels represents the first full-length “abstract ballet” by George Balanchine. The three parts of the ballet, „Emeralds“ (to music by Gabriel Fauré), „Rubies“ (to music by Igor Stravinsky) and „Diamonds“ (to music by Peter Ilich Tchaikovsky) are loosely connected by the idea of gems or jewels; a meeting with the jeweller Claude Arpels was a significant stimulus to Balanchine to create the work. Through the choice of the different composers, the ballet also forms a kind of geographical retrospective of the life of George Balanchine, who spent periods of time in France, the United States and Russia. Manuel Legris’ time as director is also closely connected with the work: after „Rubies“ (2010/2011) and „Diamonds“ (Pas de deux, 2017/2018), the complete work now appears on the programme as his period of office in Vienna draws to a close.

Jewels is a three-act ballet created for the New York City Ballet by co-founder and founding choreographer George Balanchine. It premièred on Thursday, 13 April 1967 at the New York State Theater, with sets designed by Peter Harvey and lighting by Ronald Bates.

Jewels has been called the first full-length abstract ballet. It has three related movements: Emeralds, Rubies, and Diamonds (usually separated by intermissions). It can also be seen as three separate ballets, linked by their jewel-colored costumes. Balanchine commented: "The ballet had nothing to do with jewels. The dancers are just dressed like jewels." Each of the three acts features the music of a different composer: Emeralds is set to the music of Gabriel Fauré, Rubies to the music of Igor Stravinsky and Diamonds to music by Pyotr Ilyich Tchaikovsky.

Costumes

The costumes were created by Balanchine's long-time collaborator Barbara Karinska, who created a distinct look for each different act: romantic, calf-length tulle skirts for Emeralds, fabric that flared at the hips of both men and women in Rubies, and the flat, classical tutu of the Imperial Russian Ballet for Diamonds. The costumes were such finely crafted pieces of art in their own right that some of them have been exhibited in museums and in theatre lobbies. Even Claude Arpels of Van Cleef & Arpels, who suggested the idea of a ballet based on gems to the choreographer, was impressed with her attention to finding the finest trim that would accurately represent the true glitter of genuine gemstones. Additionally, Karinska's painstaking work is credited with making the costumes last despite the sweat and strain of dancing in them. Her designs, needlework and choice in fabrics made them both durable and danceable, illustrating that the bodies inside the costumes were deserving of her utmost respect. When questioned about her attention to her almost extravagant detail she replied, "I sew for girls and boys who make my costumes dance; their bodies deserve my clothes."