Genée format and music

An outline of the format for the Genée competition

Dancer’s Own

Candidates perform a variation of 1.00 – 1.30 minutes duration (in pointe shoes for females), choreographed by themselves, their teacher or a peer, to a piece of music of their choice.

Classical Repertoire Variation

Candidates select one variation from the combined (19th and 20th century) Classical Repertoire Variation list to be performed at the Semi-finals and Final.

Into the Unknown

Each year we commission a choreographer to create two (male and female) exclusive variations for the Genée candidates. This section has been entitled Into the Unknown. The commissioned variations have their world premiere at the final, although all candidates work with the choreographer, rehearsing the variations throughout the five days of coaching.

The format is programmed as follows:

Semi-finals

  • Classical class
  • Dancer’s Own and Classical Repertoire variations

Final

  • Into the Unknown, commissioned variation
  • Dancer’s Own variation
  • Classical Repertoire variation

Competition schedule
Day 1 Evening Welcome reception and briefing for candidates
Day 2 All day Intensive coaching for candidates
Day 3 All day Intensive coaching for candidates
Day 4 All day Intensive coaching for candidates
Day 5 All day Intensive coaching for candidates
Day 6 All day Intensive coaching for candidates
Day 7 All day Semi-finals day 1
Day 8 All day Semi-finals day 2
Day 9 All day All day rehearsals for finalists (semi-finalists will be otherwise occupied on this day)
Day 10 All day Dress rehearsals and competition Final

Music information for the Genée International Ballet Competition

The Genée competition is in three sections: classical repertoire, dancer’s own, and commissioned variation (see above).

Music details for the classical repertoire section of the competition are given below. The titles will help you to identify the correct music in musical scores and recordings. The information in brackets after each solo indicates the key, time signature and tempo markings as given in most published scores.

See also:

Female variations

Sleeping Beauty by Tchaikovsky

  • Prologue Fairy Variation 3: Act 1 No. 3, Pas de six, Variation 3 ‘Miettes qui tombent’ (Falling crumbs), 2/4 (D major, 2/4, allegro moderato)
  • Prologue Fairy Variation 5: Act 1 No. 3, Pas de six, Variation 5 ‘Violente ‘ (F major, 2/4, Allegro molto)

Raymonda by Glazunov

  • Act 1, Scene 8, Variation 1 (D flat major, 2/4, allegretto)
  • Act 1, Scene 8, Variation 2 – (A major, 6/8, allegretto)
  • Act 2 Variation 2 – Act 2, Grand pas d’action, Variation 2 (B major, 6/8, allegretto)
  • Act 3 Variation 1 – Act 3, Grand pas Hongrois, Variation I (D major, 6/8, prestissimo)

La Bayadère (Kingdom of the Shades section) by Minkus

  • 1st Girl (D Major, 2/4, allegro)
  • 2nd Girl (G major, 6/8, allegro)
  • 3rd Girl (D Major, 2/4, allegretto)

Danses Concertantes (chor. MacMillan) by Stravinsky

  • Principal female variation

Cinderella (chor. Ashton) by Prokofiev

  •  Summer Variation. Act 1 No. 13

Male variations

Sleeping Beauty by Tchaikovsky

  • Prince Désiré (Florimund) Act 3 No. 28 Variation 1 (A minor, 6/8 tarantella)

Swan Lake by Tchaikovsky

  • Pas de Trois male variation – Act I No. 3, Variation 4 (C minor, 6/8)
  • Siegfried variation from Black Swan’ Act 3 pas de deux. NB: in the original score, it is in Act 1 Scene 1, No. 5 Pas de Deux. (A major, 2/4).

Coppélia by Delibes

  • Act III Franz (Act III No. VI, Marche des Guerrières).

Raymonda

  • Act 3 (Jean de Brienne) variation (Music: Act 2, Grand pas d’action, Variation 3 2/4 allegro moderato, A flat major. Although this is usually seen in Act 3, it is in Act 2 of the musical score.

Le Corsaire pas de deux by Riccardo Drigo & others

  • Male Variation (A flat 3/4, in some manuscripts written as 6/8)

Don Quixote by Ludwig Minkus

  • Don Quixote Act 5 No. 8 Pas de Deux (Variation 2) C major, 3/4, though also Act 3 in other versions, or found in stand-alone pas de deux.

Danses Concertantes (chor. MacMillan) by Stravinsky

  • Principal male variation

Les Patineurs (chor. Ashton) by Constant Lambert after Meyerbeer

  • Blue Boy’s Variation