Maria Tallchief‘s importance in classical dance is one of the reasons why ballet is so culturally important: one of the first dancers of Osage origin in history, she was a muse of George Balanchine and one of the most revered ballerinas of the 20th century. January 27, 2025, marks the centennial of her birth. That’s why NYC Ballet will be reprising one of the most important ballets of Maria’s career: The Firebird.

In addition to Stravinsky’s classic, the company will perform other Balanchine works created for Maria Tallchief in the January season: Scotch Symphony, which pays homage to the dramatic landscape and atmosphere of the Scottish Highlands, as well as a revision of the pas de deux from Sylvia, which had been out of the repertoire for 30 years. We will talk about each one separately, but it is worth celebrating in particular the rescue of The Firebird, which features sets and costumes by Marc Chagall that were the result of many discussions behind the scenes. Above all, The Firebird is one of the pieces that contributed to the legend of Maria Tallchief in dance.

Maria: exoticism and talent

Maria Tallchief, who passed away in 2013, is synonymous with excellence in classical ballet. She was born in 1925 in Fairfax, Oklahoma, the daughter of a mother of French origin and a father of Osage origin, an indigenous Amerindian tribe. Baptized as Elizabeth Marie Tallchief, she changed her name on stage to sound more European, which was common at the time. She began her ballet studies at a young age and later went to Paris and London to perfect her technique, which drew attention from an early age for her majestic bearing and her talent for dramatic expression.

At the age of 21, she became the NYCB’s first ballerina and married Balanchine, who was the director. As he always did with his muses, he created numerous iconic pieces based on Maria’s skills.

In addition to being one of the most famous ballerinas of her time, Maria Tallchief was also the first Native American ballerina to achieve this level of international notoriety. She helped open doors for many other ballerinas and artists of diverse backgrounds.

After separating from Balanchine and leaving the NYCB, she performed alongside important ballet companies and dancers around the world.

The relevance of The Firebird in such a creative setting as Balanchine’s in the 1940s and 50s is incredible, which is why its revival in 2025 is so interesting. Its premiere in 1949 was one of the fundamental milestones in the history of classical ballet, both for its innovative approach and for its cultural importance, combining Stravinsky’s music with Balanchine’s choreography and Tallchief’s extraordinary performance, immediately becoming one of the most influential and admired productions of all time.

Although the ballet is not performed every year, The Firebird has been an important part of the NYCB tradition and, as Maria Tallchief herself recalled years later, it was the first great success of the New York City Ballet and, with pride, she recalls that years later, the choreographer commented to her daughter: “your mother was wonderful in it”. No one could deny it, right?

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