Suzy Pilarre in La Source. Photo by Martha Swope, 1973. Listen to our podcast episode where Susan Pilarre speaks about her life in...

“Every ballet, I believe, is individual. It sets up its own world, its own society and mores; it has its own life. The approach,...

Kyra Nichols on the kiss at the end of the ballet: “You don’t really touch your face, you just reach up and feel the heat of the kiss on...

THE Donizetti grande pas de chat as shown by 5 NYCB icons. (top left) Merrill Ashley. Photo by Martha Swope, 1979. (top center) Patricia...

No commentary today, just Gelsey and Helgi in La Source. Gelsey Kirkland & Helgi Tomasson. Photos by Martha Swope, 1974.

When you watch Robbins' Afternoon of a Faun in the audience, you become aware that the opening of the proscenium is actually the mirrored...

These photos show Concerto Barocco at London's Covent Garden during NYCB's second tour to London in 1952. The company's first trip to...

When Balanchine choreographed La Source in 1968 it seemed to confuse everyone including the critics. Although they didn't dislike it,...

When Square Dance was choreographed in 1957, the cast included popular square dance caller, Elisha Keeler. The ballet featured his whitty...

“In many ways, the stars of 'Kammermusik' are the eight men in the corps. They have the first word and the last. […] The point about...

Suzanne Farrell on Concerto Barocco: "It is a simple ballet, but one of profoundly spiritual origins and intentions. Dancing it, one’s...

"The first ballet I ever did on stage was in Paris, and it was Afternoon of a Faun, and I was 15 and didn't realize how extraordinary...

On Raymonda Variations, Balanchine wrote: "The music itself, its grand and generous manner, its joy and playfulness, was for me more than...

“Here they are, outstanding simply because they have been malleable to genius.” This is how Anna Kisselgoff, described Colleen Neary,...

"The three hallmarks of the American classic style are poetry, athleticism, and musicality, and these three graces are exquisitely...

In 1890, at the age of 23, Italian ballerina, Carlotta Brianza originated the role of Aurora in Petipa's Sleeping Beauty. Thirty-one...

(left) Judith Fugate as Aurora in the Rose Adagio. Photo by Martha Swope, 1991. (right) Judith Fugate and Philip Neal. Photo by Martha...

I usually find solo or partnering shots more engaging than full-stage photos, but this one deserves to be seen just for the immaculate...

Colloquially known as the "Finger Fairy,” in Martins' staging she is known as the "Fairy of Courage", in Petipa's she was known as...

Balanchine describing the Garland Dance as he performed in it at the Mariinsky Theater as a child: "The waltz with the garlands was begun...