Variation finder
Eligibility follows published repertoire lists. Difficulty, popularity, and element tags are editorial coaching guidance.
Also known as Little Radish · Cipollino Radish Variation
The Radish Variation is a lively character solo from Karen Khachaturian’s story ballet Cipollino, choreographed by G. Maiorov after Gianni Rodari’s children’s tale. Radish is one of Cipollino’s bright vegetable-garden friends, and the solo combines sprightly petit allegro with playful storytelling for young dancers.
Also known as Lise Variation Act 1 · Lise Act One · Victoria Carrillo Lise
A playful Act I Lise solo presented here through Victoria Carrillo’s 2023 YAGP Finals performance. Bright phrasing, clear footwork, and expressive upper-body coordination bring Lise’s confident village character to the stage.
Don Quixote · Act II · Dream Scene
Also known as Amour variation
The Cupid Variation (also known as the Amour variation) is a famous, lively solo from Act II of the classical ballet Don Quixote. The solo takes place during the ballet’s famous “Dream Scene.” In this scene, Don Quixote envisions a magical garden overseen by the Queen of the Dryads and Cupid himself.
Also known as Coppelia Doll Variation · Coppélia Doll · Mechanical Doll Variation
The Ballerina Doll Variation portrays one of Dr. Coppélius’s enchanting mechanical creations. The dancer combines precise classical placement with stylized doll movements, creating the illusion of a toy that has suddenly come to life inside the inventor’s workshop.
The Sleeping Beauty · Prologue · Christening
A compact, bright fairy variation with fluttering arms and petite, articulate footwork. It suits a naturally quick dancer who can project a distinct character immediately.
The Sleeping Beauty · Prologue · Christening
Also known as Candide · Candor · Candid Fairy · Candide Fairy · Fairy of Candor
Also known as Candide, Candor, Candid Fairy, Candide Fairy, or the Fairy of Candor, this poised Prologue solo favors clean balances, precise foot articulation, and transparent port de bras over showy virtuosity.
The Sleeping Beauty · Prologue · Christening
Also known as Coulante · Fleur de Farine · Coulante Fairy · Fairy of Flowing Flour
Also known as Coulante, Coulante Fairy, Fleur de Farine, or the Fairy of Flowing Flour, this brief, flowing fairy variation uses delicate traveling steps and soft port de bras to create an effortless garden quality.
A joyful village variation with buoyant footwork, playful gestures, and clear storytelling. Its youthful character and adaptable demi-pointe presentation make it an appealing less-common choice for a musical Pre-Competitive dancer.
La Fille mal gardée · Act I · Harvest Scene
A rarer Lise solo from the Act I harvest scene pas de deux in La Fille mal gardée. The variation combines bright classical footwork, buoyant traveling phrases, and Lise’s playful village character, with an emphasis on musicality, clarity, and an easy, natural stage presence.
Also known as Chopiniana Variation 3 · Les Sylphides Variation 3 · Les Sylphides · Variation 3
A lyrical sylph solo from Fokine’s plotless Chopiniana, known internationally as Les Sylphides. Variation 3 depends on softness, musical breath, and continuous Romantic phrasing, with the dancer appearing light and suspended rather than displaying overt virtuosity.
Also known as Chopiniana Variation 2 · Les Sylphides Variation 2 · Les Sylphides · Variation 2
A lyrical sylph solo from Fokine’s plotless Chopiniana, known internationally as Les Sylphides. Variation 2 should feel airy and poetic, with soft transitions, sustained musical phrasing, and a calm Romantic upper body rather than overt virtuosity.
Also known as Chopiniana Variation 1 · Les Sylphides Variation 1 · Les Sylphides · Variation 1
A lyrical Romantic solo from Fokine’s plotless Chopiniana, known internationally as Les Sylphides. The variation asks for quiet pointe work, floating musical phrasing, and an effortless, dreamlike quality rather than overt virtuosity.
Also known as Colas Variation Act 1 · Colas Act One · La Fille mal gardée Colas Act I
Colas is the young farmer Lise loves. In Act I, the two seek opportunities to meet while her mother, Widow Simone, plans a more prosperous marriage for Lise with Alain. Colas represents the affectionate, determined sweetheart whose love challenges Simone’s plans.
Also known as Colas Variation Act 2 · Colas Pas de Deux Variation · La Fille mal gardée Colas
Colas is the young farmer Lise loves. In Act II, their courtship comes up against Widow Simone’s plan to marry Lise to Alain. This variation presents Colas as the hopeful, determined sweetheart at the center of the ballet’s comic struggle over whom Lise will marry.
La Fille mal gardée · Act I · Harvest Scene
Also known as Lise Act I Variation · Lise Harvest Variation · La Fille mal gardée Harvest Scene · Lise Act 1
Lise’s Act I Harvest Scene solo celebrates her affection for Colas in the ballet’s sunny countryside setting. This separate version emphasizes lively musical phrasing, light footwork, and expressive coordination of the head, arms, and torso.
Also known as Fairy Doll Drumming Variation
A playful mechanical-toy variation built around crisp rhythm, quick articulated footwork, buoyant petit allegro, and bright character. It rewards a dancer who can stay precise and musical while making the drumming personality unmistakable.
Also known as Spanish Doll Variation
A fiery character variation from The Fairy Doll, shaped by crisp Spanish accents, quick articulated footwork, poised balances, and theatrical musicality.
Also known as Chinese Doll Variation · Chinese Fairy Doll
A crisp character variation from The Fairy Doll built around neat articulated footwork, poised balances, compact musical accents, and controlled doll-like presentation.
Also known as French Doll Variation
A bright character variation from The Fairy Doll that combines neat classical footwork, poised balances, lively musical accents, and polished doll-like presentation with a distinctly French theatrical flavor.
Also known as Japanese Doll Variation · Japanese Fairy Doll
A poised theatrical doll variation shaped by precise fan gestures, delicate footwork, controlled balances, and refined musical detail.
Don Quixote · Competition Edition
No matching YAGP track in the public folder
A distinct competition variation commonly called Cuban Cupid, with different choreography and music from the standard Don Quixote Cupid. It pairs buoyant allegro, crisp beats, and playful character.
Also known as Swanhilda Act I Variation · Swanhilda’s Entrance
The Swanhilda Act I Variation from the classical comedy ballet Coppélia is one of the most celebrated, joyful solos in the classical ballet repertoire. In this variation Swanhilda enters the village square and notices a beautiful girl (Coppélia) reading on Dr. Coppélius’s balcony. She bows, waves, and dances to get her attention. Swanhilda is unaware that the girl is actually a lifelike mechanical doll.
Also known as Coppelia Dawn Variation · Aurora Variation · L’Aurore
The Dawn Variation appears in Coppélia’s festive third act, where allegorical dances celebrate Swanhilda and Franz’s wedding. Dawn brings the first light of day to the stage through serene adagio, expansive lines, and a gentle sense of awakening.
Also known as Coppelia Folly Variation · Coppélia Folly · La Folie
The Folly Variation belongs to the allegorical divertissements in Coppélia’s festive third act. Its quick musical changes and playful gestures give the dancer room to portray a bright, mischievous character while maintaining clean classical technique.
Also known as Coppelia Work Variation · Coppélia Le Travail · Work Variation · Le Travail
Le Travail, or the Work Variation, is one of the allegorical dances in Coppélia’s third-act celebration. Its purposeful rhythms and carefully shaped gestures ask the dancer to suggest diligence and industry while preserving an elegant classical line.
Also known as Coppelia Prayer Variation · Coppélia La Prière · Prayer Variation · La Prière
La Prière, or the Prayer Variation, is one of the allegorical dances in Coppélia’s third-act celebration. Its serene adagio and devotional port de bras ask the dancer to communicate stillness, sincerity, and inner calm through refined classical placement.
Also known as Coppelia Spanish Variation · Coppélia Spanish Dance · Spanish Dance
The Spanish Dance Variation appears in Dr. Coppélius’s workshop during Act II, when Swanhilda—disguised as the doll—performs a vivid boléro. Its proud épaulement, rhythmic accents, and sharply shaped port de bras ask the dancer to combine theatrical confidence with clean classical technique.
A stylized doll character with delicate articulation, neat balances, and controlled changes of direction. The choreography favors precision and polish.
Also known as Peasant Pas Variation 1 · Giselle Peasant Pas Act I Variation 1
The first female variation from the Act I Peasant Pas de Deux combines sunny ballon, neat turns, quick pointework, and open Romantic épaulement. It is a strong choice for a dancer whose jump and musicality are more developed than extension.
Also known as Peasant Pas Variation 2 · Giselle Peasant Pas Act I Variation 2
A lyrical female solo from the Act I Peasant Pas, combining floating attitudes, traveling classical lines, buoyant jumps, and a turning finish. Variation 2 asks the dancer to make its broader phrasing feel spontaneous and joyful while keeping every transition clean.
Also known as Peasant Pas Variation 3 · Giselle Peasant Pas Act I Variation 3
A bright Act I solo from the Peasant Pas de Deux, shaped by buoyant allegro, crisp pointework, neat traveling steps, and warm village character. Variation 3 rewards a dancer who can keep the phrasing generous while maintaining precise feet and quiet landings.
Also known as Peasant Pas First Male Variation · Giselle Peasant Pas Act I Male Variation 1
A buoyant male solo from the Act I Peasant Pas de Deux, combining crisp batterie, traveling allegro, clean turns, and an open village-stage presence. The choreography asks for elevation and clarity while preserving the relaxed warmth of Giselle's harvest celebration.
Also known as Peasant Pas Second Male Variation · Giselle Peasant Pas Act I Male Variation 2
A bright second male solo from the Act I Peasant Pas, combining traveling allegro, crisp batterie, turns, and buoyant elevation. Its larger movement and quick directional changes still belong to the warm, communal spirit of Giselle's harvest celebration.
Le Corsaire · Act III
A lyrical yet technically clear variation known for arabesque lines, controlled balances, and flowing travel. It offers elegance without relying on fouettés.
La Bayadère · Act III · Kingdom of the Shades
Calm classical purity with measured balances, arabesques, and restrained port de bras. It reveals placement immediately and suits a naturally lyrical dancer.
Don Quixote · Act III · Wedding
Also known as First Bridesmaid Variation · Don Quixote Bridesmaid Variation
A bright wedding-divertissement solo from Don Quixote, combining buoyant pointe work, neat turns, and gracious classical presentation. The First Bridesmaid variation suits a musical dancer who can make detailed footwork look effortless and celebratory.
Don Quixote · Act III · Wedding
Also known as Second Bridesmaid Variation · Don Quixote Bridesmaid Variation II
A sparkling wedding-divertissement solo from Don Quixote with quick, buoyant phrasing and gracious classical presentation. The Second Bridesmaid variation rewards clean footwork, clear musical accents, and an open celebratory stage presence.
The Sleeping Beauty · Prologue · Christening
Also known as Violente Fairy · Finger Fairy · Golden Vine Fairy
Also known as the Violente Fairy, Finger Fairy, or Golden Vine Fairy, this variation pairs sharp musical accents with quick pointe work and expressive gesture. It favors precision and bold stage clarity.
The Sleeping Beauty · Prologue · Christening
Also known as Miettes qui tombent · Falling Breadcrumbs
Also known as Miettes qui tombent or Falling Breadcrumbs, this buoyant Prologue solo combines quick traveling steps, delicate jumps, and precise scattering gestures.
The Sleeping Beauty · Prologue · Christening
A serene fairy solo built around measured balances, expansive lines, and calm musical authority. It rewards a dancer who can make sustained classical control look generous and effortless.
The Sleeping Beauty · Act III · Wedding Celebration
Also known as Lilac Fairy Act III Variation · Lilac Fairy Act 3 Variation · Lilac Fairy Wedding Variation
Also known as the Lilac Fairy Act III Variation, Lilac Fairy Act 3 Variation, or Lilac Fairy Wedding Variation, this distinct Act III wedding-scene solo is shaped by brighter, more celebratory phrasing than her Prologue variation. It combines poised balances, turning passages, open classical lines, and calm fairy authority.
The Sleeping Beauty · Act III · Wedding Celebration
Also known as Silver Fairy Variation · Fairy of Silver
Also known as the Silver Fairy Variation or Fairy of Silver, this sparkling Act III wedding-divertissement solo from The Sleeping Beauty is compact and musically bright, rewarding crisp classical footwork, poised balances, and a light, polished upper body.
The Flames of Paris · Act II · Court Ballet
Also known as Lully's Gavotte · Flames of Paris Gavotte · Gavotte Variation · Mireille Variation
A rare courtly solo for Mireille de Poitiers from the Versailles divertissement. Often called Lully's Gavotte, it replaces Jeanne's revolutionary attack with poised musical detail, elegant port de bras, and the formal charm of an eighteenth-century stage artist.
Also known as Cupid Variation from The Flames of Paris · Flames of Paris Amour Variation · Dance of Amour · Amour · Rinaldo and Armida
Inside the Versailles court entertainment Rinaldo and Armida, Amour enters as the playful force that wounds the lovers' hearts with an arrow. The variation turns that brief story into buoyant traveling jumps, quick footwork, open port de bras, and bright theatrical timing.
Flower Festival at Genzano · One Act
A sunny Bournonville solo with buoyant steps, understated arms, and warm, conversational musicality. It favors coordination and ballon over extreme extension.
Flower Festival at Genzano · One Act
A compact, joyful Bournonville showpiece filled with clear beats, soft ballon, and gentlemanly ease. The short duration makes every musical detail visible.
Also known as Senior Girl · Romantic Girl
In Graduation Ball, the Good Girl is the Senior Girl / Romantic Girl variation. She brings a polished, charming quality to the graduation festivities, with bright youthful energy, elegant carriage, and a more composed social manner than the mischievous Pigtail Girl.
Also known as The Cadet · The Drummer Variation
A spirited cadet variation with crisp allegro, clean beats, and playful ballroom character. It rewards a dancer who can keep military precision light and theatrical.
A courtly Act I solo with flowing travel, clean turns, and open presentation. It offers classical sparkle without the dramatic and technical weight of Odette or Odile.
Also known as Swan Lake Pas de Trois Male Variation · Swan Lake Act I Male Variation · Pas de Trois Male Solo
At Prince Siegfried's birthday celebration, the Act I pas de trois brings courtly sparkle before the story turns toward the lake. Its male solo pairs buoyant allegro and crisp footwork with an elegant, sociable stage manner; unlike the lakeside scenes, the character is celebrating at the palace.
A lyrical yet animated Act I solo that balances sustained classical line with brisk directional changes. It suits a musical dancer who can make refinement feel spontaneous.
Paquita · Act I · Pas de Trois
Also known as Paquita Pas de Trois Variation 2 · Paquita Second Girl Variation · Paquita Act I Pas de Trois · Paquita Pas de Trois Second Female Variation
The second girl's solo from Paquita's Act I pas de trois, danced by one of the trio's two female soloists. This bright classical divertissement belongs to the ballet's early festivities, before Paquita uncovers the plot against Lucien. Clear pointe work, neat turns, and buoyant musical phrasing give the solo its charm.
Also known as Siegfried Variation · Prince Siegfried Act I · Swan Lake Siegfried Act 1 Solo · Blake Metcalf Swan Lake
In Act I, Prince Siegfried is surrounded by birthday festivities while facing his mother's expectation that he choose a bride. His solo gives the prince an individual voice within the court celebration, balancing noble classical bearing with youthful energy and a sense of longing beyond palace life. This entry follows the supplied Blake Metcalf reference and is separate from Siegfried's Act III Black Swan pas de deux variation.
Swan Lake · Act III · Black Swan Pas de Deux
Also known as Siegfried Variation · Prince Siegfried · Black Swan Pas de Deux Male Variation · Swan Lake Male Variation 2 · Swan Lake Act 3 Male Solo
At the royal ball in Act III, Prince Siegfried dances with Odile, believing her to be Odette. His solo in the Black Swan pas de deux expresses princely confidence and exhilaration within the scene that leads to his mistaken pledge of love. Expansive jumps and controlled turns should carry a noble, generous presence, with the exact choreography depending on the production.
La Sylphide · Act II · Forest Scene
Also known as The Sylph Variation 2 · La Sylphide Female Variation 2 · Sylph Variation Two · La Sylphide Variation 2
The Sylph is an elusive spirit of the air whose beauty draws James away from his ordinary life. Presented here as Variation 2, this solo calls for the lightness and delicate musical phrasing of the Bournonville tradition: quick feet beneath a soft upper body, buoyant jumps, and gestures that suggest a creature always just beyond reach.
La Sylphide · Act II · Forest Scene
Also known as James Variation 1 · La Sylphide James Variation 1 · La Sylphide · James Variation 1
James’s first male variation from La Sylphide belongs to the Act II forest world, after he has followed the Sylph away from his wedding and into the supernatural realm. The solo combines buoyant elevation, quick footwork, and restrained Romantic expression, keeping James youthful, searching, and completely absorbed by the world he has chosen to enter.
The Awakening of Flora · One Act
Also known as Harp Variation · Flora Harp Variation · Awakening of Flora Variation · Flora's Variation
Flora's lyrical solo from The Awakening of Flora, also known in studio use as the Harp Variation. The choreography asks for sustained classical line, delicate pointe transitions, floating port de bras, and calm musical phrasing.
The Awakening of Flora · One Act
Also known as Hebe Variation from The Awakening of Flora · Awakening of Flora Hebe Variation · Hebe Solo · Hebe Youth Variation
Hebe's bright solo from The Awakening of Flora represents the goddess of youth as she arrives with Ganymede to bring divine nectar and the gift of eternal youth. The variation asks for sparkling musical precision, buoyant pointe work, quick articulated feet, and an effortless upper body.
The Awakening of Flora · One Act
Also known as Pizzicato Variation · Aurora Variation · Eos Variation · Goddess of the Dawn Variation · Goddess of Dawn Variation · Dawn Variation from The Awakening of Flora · Awakening of Flora Dawn Variation
Dawn's sparkling solo from The Awakening of Flora is also widely known in studio use as the Pizzicato, Aurora, Eos, or Goddess of the Dawn variation. As the personification of dawn, the role should feel like first light: clear, buoyant, radiant, and musically precise.
The Awakening of Flora · One Act
Also known as Diana Variation · Moon / Diana Variation · Goddess of the Hunt and the Moon Variation · Diana, Goddess of the Hunt and the Moon · Goddess Diana Variation · Moon Variation from The Awakening of Flora · Awakening of Flora Moon Variation
Moon's luminous solo from The Awakening of Flora is also known as the Diana Variation, representing Diana, goddess of the hunt and the moon. The choreography calls for serene classical control, clear line, poised balances, and an expansive, moonlit quality rather than overt speed or attack.
The Awakening of Flora · One Act
Also known as Zephyrus Variation · West Wind Variation · God of the West Wind Variation · Zephyr Variation from The Awakening of Flora · Awakening of Flora Zephyr Variation
Zephyr's male solo from The Awakening of Flora represents Zephyrus, the god of the West Wind and Flora's husband. The variation should feel airborne and effortless, combining buoyant classical allegro with clean attack, elegant line, and a light wind-swept quality.
Don Quixote · Act III · Wedding
Also known as Basil · Basilio Variation · Basilio Act III · Wedding Grand Pas de Deux
A charismatic male bravura solo from the Act III wedding grand pas de deux in Don Quixote. Basilio combines large jumps, turns, batterie, clean landings, and confident theatrical ease.
Le Talisman · Concert Pas de Deux
Also known as Female Variation · Niriti Variation · Talisman Pas de Deux
A lyrical, polished female solo from the familiar Talisman Pas de Deux competition tradition. The variation balances elegant classical line and épaulement with poised pointe work, controlled turns, and bright musical detail.
Also known as Swanhilda Act III Variation · Swanhilda Act 3 Variation · Swanhilda Wedding
Swanhilda’s Wedding Variation comes from the celebratory third act of Coppélia, after the misunderstandings surrounding the mysterious doll have been resolved. The solo pairs bright classical technique with the warmth and composure of a joyful bride, asking the dancer to look polished, musical, and generous rather than merely showy.
Also known as Giselle Albrecht Variation · Albrecht Act II Variation · Giselle Act II Male Variation
Albrecht's Act II solo transforms bravura technique into an expression of grief and remorse. Expansive jumps, clear batterie, controlled turns, and suspended Romantic lines must feel noble and haunted within the moonlit world of the Wilis.
La Bayadère · Act I · Temple Scene
Also known as Nikiya's Entrance Variation · Nikiya Entrance · La Bayadère Nikiya Entrance · Nikiya Temple Entrance
Nikiya’s Entrance Variation introduces the sacred temple dancer in La Bayadère. Her arrival should feel ceremonial and deeply composed, establishing Nikiya’s spiritual world before the ballet’s conflict between love, duty, jealousy, and power takes over.
La Bayadère · Act II · Engagement Celebration
Also known as Nikiya's Death Variation · Nikiya Death · La Bayadère Nikiya Death · Nikiya Flower Basket Variation · Nikiya Snake Bite Variation
Nikiya dances at Solor and Gamzatti’s engagement celebration while grieving Solor’s betrayal. A flower basket briefly restores her hope, but a hidden snake bites her. She refuses the High Brahmin’s antidote rather than renounce Solor, transforming the solo from public sorrow into tragedy.
La Bayadère · Act III · Kingdom of the Shades
Also known as Solor's Variation · La Bayadère Solor Variation · Solor Male Variation · Solor Kingdom of the Shades Variation
Solor’s variation presents the warrior as noble and athletic, combining expansive jumps, turns, beaten steps, and precise landings. The solo should balance heroic attack with classical restraint and clear musical phrasing.
La Bayadère · Act III · Temple Wedding
Also known as Gamzatti Temple · Temple Variation · Gamzatti Temple Solo · La Bayadère Temple Variation
Gamzatti's Temple variation from Natalia Makarova's staging is a regal, technically exposed solo. It asks for sustained classical line, controlled balances and extensions, and a calm, ceremonial presence.
La Bayadère · Act II · Engagement Celebration
Also known as Gamzatti Entrance · Gamzatti’s Entrance Variation · La Bayadère Gamzatti Entrance · Gamzatti Act II Entrance Variation
Gamzatti’s entrance variation is a regal classical solo shaped by poised balances, controlled turns and extensions, precise pointe work, and a calm sense of authority.
La Bayadère · Act II · Grand Pas d’Action
Also known as Gamzatti · Princess Gamzatti Variation · Gamzatti Wedding Variation
Gamzatti dances at the palace as a proud princess and Solor’s future bride. The solo combines clear balances, strong turns, large jumps, and a calm, royal presence.
Paquita · Act III · Grand Pas Classique
A polished classical showpiece with quick footwork, clean turns, and a proud upper body. Paquita rewards exact geometry and confident attack.
Don Quixote · Act II · Dream Scene
A grand, spacious variation centered on sustained balances, Italian-style fouetté lines in some versions, and commanding classical presence.
Don Quixote · Act II · Dream Scene
Also known as Dulcinea · Don Quixote Dulcinea · Kitri as Dulcinea
A refined dream-scene solo that presents Kitri as Don Quixote's idealized Dulcinea. Its delicate pointe work, buoyant phrasing, and noble classical lines favor a dancer who can combine technical clarity with serene, courtly expression.
Also known as Mercedes Act I Variation · Don Quixote Mercedes
A stylish Spanish character solo for Mercedes, combining classical pointe technique with fan work, proud épaulement, and sharply accented musical phrasing. It suits a mature performer who can project confidence without sacrificing clean placement.
The Sleeping Beauty · Act I · Birthday Celebration
Youthful radiance paired with exposed classical technique: balances, directional changes, and musical authority. The dancer must look spontaneous while remaining exact.
The Sleeping Beauty · Act II · Vision Scene
Also known as Aurora Act II Variation · Aurora Act 2 Variation · Aurora Vision Scene Variation · Sleeping Beauty Vision Variation
The Act II Vision Scene variation presents Aurora as an idealized apparition shown to Prince Désiré by the Lilac Fairy. Long classical lines, suspended balances, delicate pointe work, and lyrical phrasing demand calm control and a sense of weightlessness rather than overt bravura.
The Sleeping Beauty · Act III · Bluebird Pas de Deux
A compact virtuoso variation filled with sharp batterie, elevation, and quick directional changes. It favors a dancer with natural ballon and clean beats.
The Sleeping Beauty · Act III · Wedding Celebration
Also known as Prince Desire Variation · Prince Florimund Variation · Sleeping Beauty Prince Variation
Prince Désiré’s Act III wedding variation combines noble classical line with demanding jumps, batterie, and turns. It suits a dancer who can make bravura technique look effortless, courtly, and fully connected to the grandeur of the grand pas de deux.
The Sleeping Beauty · Act III · Wedding Celebration
Also known as Diamond Fairy Variation · Fairy of Diamonds
Also known as the Diamond Fairy Variation or Fairy of Diamonds, this brilliant Act III wedding-divertissement solo from The Sleeping Beauty combines sparkling footwork, precise pointe work, buoyant allegro, and regal port de bras to suggest the clarity and brilliance of a diamond.
The Sleeping Beauty · Act III · Bluebird Pas de Deux
A lyrical-bravura solo with delicate hops, expansive lines, and quick directional changes. It needs both lightness and a serene upper body.
La Bayadère · Act III · Kingdom of the Shades
An exposed adagio variation with long développés, deep musical phrasing, and sustained balances. It highlights line and composure rather than speed.
La Bayadère · Act III · Kingdom of the Shades
A demanding sequence of traveling hops and arabesque shapes that tests pointe stamina, coordination, and calmness under pressure.
Le Corsaire · Act III
A poised, sparkling variation that combines clean pirouettes, quick directional changes, and a proud classical carriage.
Le Corsaire · Act III
A lively, rhythmically detailed variation with brisk pointe work, little jumps, and fleet changes of direction. It showcases speed without requiring oversized tricks.
Also known as Kitri’s Entrance · Kitri Act I Entrance
Kitri’s theatrical first entrance establishes her immediately: proud, playful, and completely in command of the square. The variation combines crisp classical footwork, directional changes, fan work, and bold character phrasing without losing clean placement.
A technically demanding Romantic variation whose hops, turns, and diagonal must remain innocent and spontaneous. Dramatic truth is inseparable from the steps.
Also known as Giselle Pas de Deux · Giselle Classical Pas de Deux Variation · Giselle Act I Pas de Deux Variation
A refined Act I solo built around delicate pointe articulation, precise petit battement, sustained classical lines, and softly shaped turns. The exposed phrasing rewards a dancer who can make exact technique feel innocent, natural, and completely musical.
La Sylphide · Act II · Forest Scene
Romantic lightness expressed through buoyant jumps, delicate footwork, and soft, forward épaulement. It favors elevation and musical ease over showy extension.
La Sylphide · Act II · Forest Scene
Also known as James Variation 2 · La Sylphide James Variation 2 · La Sylphide - James Variation 2
James’s second male variation from La Sylphide belongs to the Act II forest world, after he has abandoned his wedding and followed the Sylph away from ordinary life. In the Bournonville tradition, the solo combines buoyant elevation, intricate footwork, and a light, understated upper body, keeping James youthful and impetuous rather than overtly heroic.
The Flames of Paris · Act IV · Wedding Pas de Deux
Also known as Flames of Paris Male Variation · Philippe Variation · Philippe Male Variation · Male Variation from The Flames of Paris
Philippe's bravura solo from The Flames of Paris turns revolutionary confidence into classical virtuosity. The variation is built around soaring elevation, batterie, turns, quick allegro, and expansive stage presence, with technique serving the character's heroic momentum rather than looking like isolated tricks.
The Flames of Paris · Act IV · Wedding Pas de Deux
An exuberant revolutionary showpiece with fleet footwork, jumps, turns, and direct audience connection. It rewards fearless musical attack and stamina.
La Bayadère · Act II · Engagement Celebration
Also known as Golden Idol · Golden Idol Variation
A golden statue evoking Shiva comes to life during the engagement celebration. This sculptural solo pairs still, stylized poses with explosive jumps, compact beats, and quick footwork.
Raymonda · Act I · Dream Scene
A noble, lyrical variation with sculpted poses, musical restraint, and refined Hungarian-inflected épaulement. It favors line, control, and mature phrasing.
Harlequinade · Act II · Wedding Celebration
A buoyant comic-classical variation with fleet footwork, neat turns, and a sparkling sense of play. It rewards charm anchored by meticulous technique.
A joyful classical male variation with generous jumps, beats, turns, and openhearted presentation. It suits a dancer with ballon and an easy, unforced stage manner.
Also known as Franz First Variation · Coppelia Franz First Variation · Coppélia Franz Variation
Franz’s First Variation is a bright, buoyant male solo from Coppélia’s wedding festivities. It combines expansive jumps, clean batterie, turns, and gallant presentation in a compact showcase of classical technique.
Also known as Franz Second Variation · Coppelia Franz Second Variation · Coppélia Franz Second Variation
Franz’s Second Variation is a bright, celebratory male solo from Coppélia’s wedding festivities. Its crisp allegro, buoyant jumps, and expansive presentation call for both technical clarity and an open, joyful stage presence.
Napoli · Act III · Pas de Six
Fast Bournonville footwork, buoyant jumps, and warm theatrical ease. It is an excellent match for a musical dancer with natural ballon and clean batterie.
Also known as Junior Girl · Pigtail Girl
In Graduation Ball, the Naughty Girl is the Junior Girl / Pigtail Girl variation. She brings a mischievous, playful energy to the ball, breaking through the school’s polished manners with cheeky character, lively musicality, and comic troublemaking.
Harlequinade · Act II · Wedding Celebration
A brilliant comic-classical solo with fast beats, turning jumps, and Harlequin's quicksilver theatrical energy. It is the male counterpart to Columbine already in the catalog.
Swan Lake · Act III · Black Swan Pas de Deux
Also known as Odile Black Swan Variation · Black Swan Pas de Deux Variation 2 · Swan Lake Odile Act III · Odile Variation 2
At Prince Siegfried’s royal ball, Odile appears with Rothbart and deceives the prince by resembling Odette. In the Black Swan pas de deux, her brilliant, commanding dancing draws Siegfried into a promise of love that betrays Odette. This second variation calls for regal poise, polished virtuosity, and a bold theatrical presence.
Le Talisman · Concert Pas de Deux
Also known as Le Talisman Male Variation · Noureddin Variation · Talisman Pas de Deux Male Variation
A polished bravura male solo from the familiar Le Talisman Pas de Deux competition tradition, combining buoyant jumps, clean batterie, turns, and an elegant lyrical upper body.
The Sleeping Beauty · Act III · Wedding Celebration
Also known as Aurora Act III Variation · Aurora Act 3 Variation · Aurora Wedding Variation · Sleeping Beauty Wedding Variation
Also known as the Aurora Act III Variation or Aurora Wedding Variation, this principal solo from The Sleeping Beauty’s wedding pas de deux presents Aurora at her most mature and regal. The choreography combines poised balances, precise pointe work, turning passages, expansive classical line, and refined musical phrasing rather than relying on speed alone.
La Esmeralda · Act II
A bold, theatrical showpiece combining balances, turns, tambourine coordination, and commanding character. It is as exposed artistically as it is technically.
Swan Lake · Act II · Lakeside Scene
An iconic lyrical variation where breath, back, and musical phrasing matter as much as pointe technique. It demands mature artistry and seamless control.
A fiery entrance variation driven by bold jumps, turns, fan work, and fearless musical attack. It demands technical power and an unmistakable Kitri personality.
Don Quixote · Act III · Wedding
One of the best-known bravura variations: proud balances, sharp accents, and a turning finale that must look celebratory rather than survival-driven.
Paquita · Act III · Grand Pas Classique
A principal-level variation balancing grandeur, exposed adagio, turns, and sustained classical authority. It requires refinement across every technical area.
Diana and Acteon · Concert Pas de Deux
A high-velocity virtuoso solo built around large jumps, tours, and forceful stage presence. It is appropriate only when elevation and landings are equally secure.
Le Corsaire · Act II
A signature male bravura variation of powerful jumps, turns, and dramatic kneeling finishes. The best performances pair spectacular elevation with nobility and control.
Grand Pas Classique · Concert Pas de Deux
A crystalline test of academic ballet: long balances, exact développés, difficult turns, and formal grandeur with no narrative to soften technical exposure.
Swan Lake · Act III · Black Swan Pas de Deux
The Black Swan variation combines seductive dramatic control with balances, turns, and sharply focused classical line. Its power comes from precision, not speed alone.
Laurencia · Act I · Wedding
A passionate, folk-inflected virtuoso variation combining bold turns, expansive jumps, and forceful dramatic commitment. It needs a dancer who can command the stage.
Preparation studio
Foundational · Female role · 11 key elements · 0:59 shortest music
Watch and read the story of Don QuixoteStep breakdown
Break the solo into phrases that can be coached and repeated. Exact steps, music, and transitions vary by production, so this map supports—not replaces—the dancer's selected choreography.
Establish mischievous, sparkling, precise from the first pose. Mark the opening with exact musical counts and a clear eye line.
Rehearse sharp head and eye coordination, clean fifth positions, light pas de bourrée, and still balances that land exactly on the musical accents.
Connect Quick footwork and Petit allegro without changing the posture or rushing the musical phrase.
Rehearse the final approach, pose, breath, and exit as one complete performance. Coach watch-out: The speed can make shoulders rise and feet blur. Keep the upper body calm while the lower legs stay articulate.
Rehearse sharp head and eye coordination, clean fifth positions, light pas de bourrée, and still balances that land exactly on the musical accents.
Designed for coach-led preparation
Eligibility and technical fit shape a realistic repertoire shortlist.
Break the variation into phrases, exercises, and purposeful rehearsal weeks.
Track consistency while musicality, character, and confidence become the focus.