NYCB Vol. 16 No. 2 - Swan Lake

Violette Verdy and Conrad Ludlow. Photo by Martha Swope, 1960s.

"Though the New York City Ballet's season at the City Center closes tomorrow night, it made a red-letter occasion of its Tchaikovsky program last night by presenting Violette Verdy in her debut in Swan Lake. As was to be expected of Miss Verdy, it was a highly distinguished debut. Here is an artist who never fails to create or to recreate a role—and an old war horse of a role it was in this case entirely in her own terms. Even at such a première as this, when everything (including the speed at which the music is set in this company's production) conspires to induce nervousness, her individual purpose was unfalteringly clear, with never a foggy moment or an uncertainty of phrase. It was, indeed, a brilliant and beautiful achievement. Miss Verdy's approach is primarily dramatic, and she manages to bring a sense of excitement to the situation itself. Out of the mood of the immediate scene, she produces the quality of movement, and the range of dynamics she accomplishes is extraordinary and supremely eloquent.

Violette Verdy and Conrad Ludlow. Photo by Martha Swope, 1960s.

"Because she is a craftsman to her fingertips, she knows the value of the technical aspects of the role; and because she is also a stylist, she is well aware of the fact that, in works of this nature, there are frequently bravura passages that exist totally for their own sakes. How she manages to justify their existence dramatically is exceptionally fine; as if she were actually pulling the justification out of the music itself, phrase by phrase. It is very rare to see virtuosity, music and dramatic values so beautifully unified, and out of this unity what variety is achieved!

Violette Verdy. Photo by Fred Fehl, 1963.

"George Balanchine, who makes changes in the choreography of the role for each of the ballerinas for whom he is staging it, has given her notable support, feeling every subtlety of her personal style. As a result of such team work, the big variation emerges as something of breath-taking beauty and freshness. So for that matter, does the pas de deux. The whole performance, indeed, is fresh and beautiful, and distinctively Miss Verdy's own. Check up another top-notch Odette for the City Ballet."

--John Martin, New York Times, 1961

Edward Villella and Violette Verdy. Photos by Fred Fehl, 1963.

(top row) Conrad Ludlow and Violette Verdy. Photos by Martha Swope.

(bottom row) Edward Villella and Violette Verdy.