[Thor Joachim Haga]

Oooh, good topic, Gerate!

It’s hard to say why more film composers haven’t done ballets, since they’re both related as programmatic, narrative forms of music. Maybe because ballet is relatively niche — and I don’t mean the eternal classics like SWAN LAKE, which continues to draw crowds, but new commissions — and so the niche is reserved for concert music composers and ballet specialists. When everything is on the line, with expensive productions, many think it’s safer that way. I don’t know. Perhaps our resident classical experts, like Nick or Sigbjørn, have some theories.

But thankfully, there are SOME. You mentioned Elfman’s RABBIT & ROGUE. Other examples include:

– Elliot Goldenthal’s OTHELLO. A sumptous work that rivals the best of his film music, IMO; it’s even been adapted into symphonic format. His JUAN DARIEN musical has, vice versa, been adapted into a ballet.

– Nino Rota has a couple, including one based on his music for LA STRADA. And an original one named LE MOLIERE IMAGINAIRE, which I haven’t heard.

– Max Richter’s WOOLF WORKS is wonderful

And although technically not ballets, there are also some dance-centered films with lovely scores, like Benjamin Wallfisch’s DESERT DANCER (back when he was really interesting).