Career Timeline of Maria Tallchief: Major Achievements and Milestones

From career breakthroughs to professional milestones, explore how Maria Tallchief made an impact.

Maria Tallchief (Elizabeth Marie Tall Chief) was an Osage and American ballerina, recognized as America's first major prima ballerina and the first Native American to achieve that rank. Her collaboration with choreographer George Balanchine is credited with revolutionizing American ballet. Tallchief's talent and groundbreaking achievements paved the way for future generations of American dancers and brought prominence to ballet in the United States.

Sections (5)

Full Timeline Early Life & Education Career & Achievements Success & Recognition Legacy & Impact

1933: Move to Los Angeles and Training with Ernest Belcher

In 1933, Maria Tallchief's family relocated to Los Angeles, aiming for opportunities in Hollywood musicals. Tallchief began studying with Ernest Belcher, marking a significant step in her ballet education.

1942: Graduation and Move to New York City

In 1942, Maria Tallchief graduated from Beverly Hills High School and, with the encouragement of Tatiana Riabouchinska, moved to New York City to pursue her ballet career. She also had a bit part in the MGM musical "Presenting Lily Mars" that year.

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1942: Krassovska's near departure

Late in 1942, Krassovska nearly quit the company, potentially leading to a sudden promotion for Tallchief. Though Krassovska returned, the incident highlighted the need for Tallchief to prepare for technically difficult roles quickly.

1943: Krassovska Leaves and Tallchief Receives Positive Reviews

In the spring of 1943, Krassovska left the company after an argument with Denham, which thrust Tallchief into a prominent role. She received positive reviews, including praise from The New York Times critic John Martin for her performance in Nijinkska's Chopin Concerto.

1944: Collaboration with George Balanchine and Promotion

In 1944, George Balanchine began working with Ballet Russe de Monte Carlo on "Song of Norway," marking a significant turning point in his and Tallchief's careers. Balanchine gave Tallchief a solo and made her Danilova's understudy. Following the ballet's success, Tallchief's salary was increased to $50 per week, and she was promoted to "soloist."

1945: Balanchine's Tutelage and Transformation

In 1945, while on tour, George Balanchine began to intensely tutor Maria Tallchief, focusing on her basic ballet technique. He helped her transform her weaknesses, particularly her turnout, into strengths, enhancing her overall performance and artistry.

1946: Balanchine Establishes the Ballet Society

In 1946, George Balanchine partnered with Lincoln Kirstein to establish the Ballet Society, a precursor to the New York City Ballet, setting the stage for new opportunities for dancers like Maria Tallchief.

1947: Joins Balanchine at Paris Opera Ballet

In 1947, after her contract with Ballet Russe de Monte Carlo expired, Maria Tallchief joined George Balanchine in France, where he was a guest choreographer at the Paris Opera Ballet. This move was marked by challenges and controversies, particularly due to opposition from supporters of Serge Lifar.

October 1948: Debut with the New York City Ballet

In October 1948, Maria Tallchief became one of the first stars and the first prima ballerina of the New York City Ballet, marking a significant moment in her career and in the history of American ballet.

1949: Stars in The Firebird

In 1949, Maria Tallchief danced the lead role in "The Firebird," choreographed by George Balanchine. The debut was a sensation, launching her to the top of the ballet world and earning her the title of prima ballerina.

1952: Portrays Anna Pavlova in Million Dollar Mermaid

In 1952, Maria Tallchief portrayed Anna Pavlova in the movie musical "Million Dollar Mermaid", marking one of her appearances on screen.

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1954: Performance in The Nutcracker

In 1954, Maria Tallchief performed the role of the Sugar Plum Fairy in George Balanchine's reworked version of "The Nutcracker." Her performance significantly contributed to the ballet becoming an annual Christmas classic and a major box-office success.

1954: Returns to the Ballet Russe de Monte Carlo

In 1954, Maria Tallchief worked for the Ballet Russe de Monte Carlo, earning $2,000 a week, reportedly the highest salary ever paid to a dancer at the time. This marked a significant moment in her career and recognition of her value in the dance world.

1958: Created Lead in Gounod Symphony

In 1958, Maria Tallchief created the lead role in George Balanchine's "Gounod Symphony" before taking a leave of absence to have her first child. This performance was a notable achievement in her career.

February 1960: Leaves New York City Ballet

In February 1960, Maria Tallchief left the New York City Ballet. During her tenure, she also made guest appearances with other companies.

1960: Joins American Ballet Theatre and Performs in Russia

In 1960, Maria Tallchief joined the American Ballet Theatre, later becoming a prima ballerina. That summer, she performed with Erik Bruhn in Russia, becoming the first American dancer to perform at Moscow's Bolshoi Theater. She was recognized for her "aplomb, brilliance, and dignity of the American style."

1962: Expanded Repertoire at American Ballet Theatre

From 1960 to 1962, Maria Tallchief expanded her repertoire at the American Ballet Theatre, taking on more dramatic roles, including the title roles in Birgit Cullberg's "Miss Julie" and "Lady from the Sea," as well as the heroine in Antony Tudor's "Jardin aux Lilas."

1962: Partnership with Rudolf Nureyev

In 1962, Maria Tallchief was Rudolf Nureyev's partner for his American debut, which was broadcast on national television. This partnership was a significant event in both of their careers.

1966: Retirement from Dancing

In 1966, Maria Tallchief retired from dancing after relocating to Germany and briefly becoming the lead dancer of the Hamburg Ballet. One of her last performances was in the title role of Peter van Dyk's "Cinderella".

1966: Final Performance in America

In 1966, Maria Tallchief's final performance in America was on television's "Bell Telephone Hour", marking the end of her stage career in the United States.

1973: Director of Ballet for the Lyric Opera of Chicago

In 1973, Maria Tallchief became the director of ballet for the Lyric Opera of Chicago after moving to Chicago with her husband, Buzz Paschen.

1974: Founded Lyric Opera's ballet school

In 1974, Maria Tallchief founded the Lyric Opera's ballet school, where she taught the Balanchine technique, emphasizing the importance of respecting both the art of ballet and the artist.

1979: End of Directorship at the Lyric Opera of Chicago

In 1979, Maria Tallchief's tenure as the director of ballet for the Lyric Opera of Chicago concluded.

1981: Founded the Chicago City Ballet

In 1981, Maria Tallchief, along with her sister Marjorie, founded the Chicago City Ballet, where she served as co-artistic director.

1987: Demise of the Chicago City Ballet

In 1987, the Chicago City Ballet, co-founded by Maria Tallchief, ceased to exist, though she was credited with increasing the popularity of dance in Chicago.