Question: Gelsey Kirkland created the lead role in Balanchine's revival of what ballet by Igor Stravinsky?

full_context: Document 1: Nina Ananiashvili: Nina Ananiashvili (born: "Nino Ananiashvili", Georgian: ნინო ანანიაშვილი ; born March 28, 1963) is a Georgian ballerina and artistic director of the State Ballet of Georgia. She has been described by the Daily Telegraph as one of the twelve greatest ballerinas of all time, and in 2002 was named Best Ballerina of the Year by the US "Dance Magazine". Ananiashvili has been a prominent fixture of the Soviet, Russian and Georgian ballet scene for decades. Shortly before the fall of the Iron Curtain, in 1987 the New York Magazine critic praised Nina Ananiashvili as "the best thing about the Bolshoi's Giselle whether she appeared in the title role or as the queen of the wilis." In 2014, a film of her 1991 performance in Giselle with the Bolshoi ballet was released.
Document 2: Monumentum pro Gesualdo: The ballet premiere was part of a special Salute to Italy, which also included the premiere of "Variations from Don Sebastian", called the "Donizetti Variations" since 1961, and performances of Balanchine's "La Sonnambula" and Lew Christensen's "Con Amore". It was first performed in conjunction with "Movements for Piano and Orchestra" in 1965, and this practice has been followed almost consistently since 1966, with the same leading female dancer in both in most performances. The ballet has three parts, each of just over two minutes duration. NYCB principal dancer Darci Kistler chose to include "Monumentum pro Gesualdo" in her farewell performance, Sunday, June 27.
Document 3: Circus Polka: Igor Stravinsky and George Balanchine first met in 1925, as Balanchine, who just had started working for Sergei Diaghilev's "Ballets Russes", choreographed the ballet version of Stravinsky's "Le chant du rossignol". This was the start of a long friendship and many years of collaboration, which continued after both emigrated to the United States in the 1930s.
Document 4: The Dying Swan: The Dying Swan (originally "The Swan") is a solo choreographed by Mikhail Fokine in 1905 to Camille Saint-Saëns's "Le Cygne" from "Le Carnaval des animaux" as a "pièce d'occasion" for the ballerina Anna Pavlova, who performed it about 4,000 times. The short ballet (4 minutes) follows the last moments in the life of a swan, and was first presented in St. Petersburg, Russia in 1905. The ballet has since influenced modern interpretations of Odette in Tchaikovsky's "Swan Lake" and has inspired non-traditional interpretations and various adaptations.
Document 5: The Firebird: The Firebird (French: "L'Oiseau de feu" ; Russian: Жар-птица , "Zhar-ptitsa") is a ballet by the Russian composer Igor Stravinsky, written for the 1910 Paris season of Sergei Diaghilev's Ballets Russes, with choreography by Michel Fokine. The scenario by Alexandre Benois and Fokine is based on Russian fairy tales of the magical glowing bird that can be both a blessing and a curse to its owner. Premiered in Paris on 25 June 1910, the work was an instant success with both audience and critics.
Document 6: The Goldberg Variations (ballet): The Goldberg Variations is a ballet made by New York City Ballet's ballet master Jerome Robbins to Johann Sebastian Bach's eponymous music from 1742, BWV 988, his only work in the form of theme and variations; the theme is a sarabande he wrote for his second wife. The premiere took place on May 27, 1971 at the New York State Theater, Lincoln Center, with costumes by Joe Eula and lighting by Thomas Skelton.
Document 7: The Rite of Spring: The Rite of Spring (French: Le Sacre du printemps ; Весна священная, "Vesna svyashchennaya", "sacred spring" ) is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1913 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Vaslav Nijinsky, with stage designs and costumes by Nicholas Roerich. When first performed, at the Théâtre des Champs-Élysées on 29 May 1913, the avant-garde nature of the music and choreography caused a sensation and a near-riot in the audience. Although designed as a work for the stage, with specific passages accompanying characters and action, the music achieved equal if not greater recognition as a concert piece, and is widely considered to be one of the most influential musical works of the 20th century.
Document 8: Heather Watts: Heather Watts (born September 27, 1953), was a principal ballerina with New York City Ballet. A native of California, Ms. Watts was born as Linda Heather Watts in Long Beach on September 27, 1953. As a little girl, she was a troublemaking child. She had always wanted to be an actress. An acting coach advised her taking ballet classes, seeing as she was incredibly dramatic (and clumsy). She started dancing at the age of 10, came to New York at the age of 13 on a Ford Foundation summer scholarship to attend the School of American Ballet, the official school of the New York City Ballet. She moved permanently to New York at age 15, again on a Ford Foundation scholarship to the School of American Ballet. Watts joined the New York City Ballet in 1970 and was promoted to principal dancer by company founder George Balanchine in 1979. George Balanchine took Watts into his companies "because he would not let such a talent disappear." During Ms. Watts's tenure with the company, she had numerous principal roles created for her by George Balanchine, Jerome Robbins, and Peter Martins among others. Mr. Balanchine gave Ms. Watts the principal roles in many of his existing masterpieces, including "Agon", Concerto Barocco, "Apollo", Symphony in C, "Theme and Variations" and "Serenade". Ms. Watts performed around the world and starred in numerous "Dance in America" television programs, and she performed opposite frequent partner Mikhail Baryshnikov at the White House in a national televised performance of Balanchine's "Rubies" for President and Mrs. Carter. Ms. Watts retired from the stage in a gala performance at Lincoln Center in 1995.
Document 9: Sara Mearns: Sara Ann Mearns (born 19 January 1986) is an American ballerina who is a principal dancer with New York City Ballet. She was born in Columbia, South Carolina, where she began dance training at the age of three. As a teenager Mearns continued her studies with Patricia McBride and Stanislav Issaev, before entering the School of American Ballet in 2001. She joined the New York City Ballet as an apprentice in 2003, and became a member of the corps de ballet in 2004. She made her debut in a leading role just 18 months later in the dual roles of Odette/Odile in "Swan Lake" at the age of 19. Mearns was promoted to soloist in 2006 and to principal in 2008.
Document 10: Petrushka (ballet): Petrushka (French: "Pétrouchka" ; Russian: "Петрушка" ) is a ballet burlesque in four scenes. It was composed in 1910–11 and revised in 1947. Igor Stravinsky composed the music, and, with Alexandre Benois, fashioned the libretto. Michel Fokine choreographed the ballet; Benois designed the sets and costumes. "Petrushka" was first performed by Sergei Diaghilev's Ballets Russes at the Théâtre du Châtelet in Paris on 13 June 1911. Vaslav Nijinsky portrayed Petrushka with Tamara Karsavina as the Ballerina. Alexander Orlov portrayed the Moor, and Enrico Cecchetti the Charlatan.
Document 11: Gelsey Kirkland: Gelsey Kirkland (born December 29, 1952) is an American ballerina. Kirkland joined the New York City Ballet in 1968 at age fifteen, at the invitation of George Balanchine. She was promoted to soloist in 1969 and principal in 1972. She went on to create leading roles in many of the great twentieth century ballets by Balanchine, Jerome Robbins, and Antony Tudor including Balanchine's revival of "The Firebird", Robbins' "Goldberg Variations", and Tudor's "The Leaves are Fading". Balanchine re-choreographed his version of Stravinsky's "The Firebird" specifically for her. She left the New York City Ballet to join the American Ballet Theatre in 1974.
Document 12: Les biches: Les biches (] , "The Hinds" or "The Little Darlings") is a ballet choreographed by Bronislava Nijinska to music by Francis Poulenc, premiered by the Ballets Russes on 6 January 1924. Some consider this piece a milestone in ballet history. The composer, who was at the time relatively unknown, was asked by Serge Diaghilev to write a piece based on Glazunov's "Les Sylphides", written seventeen years earlier. Poulenc, however, chose to base his work on the paintings of Watteau that depicted Louis XV and various women in his "Parc aux biches". The word "biche" is usually translated as "doe," an adult female deer. "Does" was used as a slang for coquettish women. Poulenc described his work as a "contemporary drawing room party suffused with an atmosphere of wantonness, which you sense if you are corrupted, but of which an innocent-minded girl would not be conscious."
Document 13: Nora Kimball: Nora Koito Kimball-Mentzos or simply Nora Kimball is a ballet teacher and former American ballerina, who is often overlooked for being one of the first African American female soloists—the second -- [at American Ballet Theatre (ABT). She danced with the ABT in the mid 1980s and as an African American who is also Asian American, preceded Misty Copeland, who is often credited as the first. ABT has been described as one of the three great American-style classical ballet companies on the world stage today (along with New York City Ballet and San Francisco Ballet).
Document 14: The Firebird and Princess Vasilisa: The Firebird and Princess Vasilisa is a Russian fairy tale collected by Alexander Afanasyev in "Narodnye russkie skazki". It is one of many tales written about the mythical Firebird.
Document 15: Patricia Wilde: Patricia Wilde (born 1928 in Ottawa, Ontario) is a former principal ballerina of New York City Ballet, where she danced every major role in the repertoire, many of them created especially for her by George Balanchine. Following her retirement from NYCB she would become a famed ballet mistress and teacher. In 1982 she was appointed artistic director of Pittsburgh Ballet Theatre where she served until 1997. She is a recipient of the Dance Magazine Award and the 56th Inductee into the National Museum of Dance Hall of Fame. Her biography "Wilde Times: Patricia Wilde, George Balanchine and the Rise of New York City Ballet", by Joel Lobenthal was published in 2015 by the University Press of New England.
ground_truth: The Firebird