Tzigane was the first ballet that Balanchine choreographed for Suzanne after she returned to NYCB. She wrote about the choreographic process in her book. After a 6 year hiatus from the company, she was excited but apprehensive to work with Mr. B again.
"[Balanchine said] 'Now, maybe you can do a big arabesque,' and, always wanting to give him as much as possible, I did a huge, diving arabesque penché. 'We know you can do that,' he countered. 'what else can you do?' and I flipped out of the penché into a deep backbend, head facing upward. His eyebrows rose as I looked to him for comment, and I knew then the fun had begun--we were experimenting again.
"In the opening solo of Tzigane, there were several moments were Balanchine chose not to choreograph specifically and simply told me to 'do something' during the first performance, just before Peter's entrance, I found myself myself with more music than usual before a final series of fast chaine turns. Suddenly 'something' had a new meaning for me. I held out my palm, fingers splayed, and pointed to its center with the forefinger of my other hand – it was the universal image of a fortuneteller, but I thought of it as a very private gesture: I was pointing to my lifeline. It seemed appropriate, not only to the moment, but to my whole reunion with Balanchine."
--Holding on to the Air by Suzanne Farrell
Suzanne Farrell, 1976.
Photos by Martha Swope
New York Public Library
On April 23, 2024, Suzanne Farrell returned to the stage of the New York State Theater for a curtain call after Tzigane was revived for Mira Nadon (under the new title Errante). See her surprise curtain call below, as viewed from the 4th ring of the theater:
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