Violette Verdy. Photo by Fred Fehl, 1967. "Gems may or may not improve with age, but there was no mistaking the enduring luster of George Balanchine's "Jewels" last night at the State Theater at Lincoln Center. "'Jewels,' the ballet that was born last season without a name, occupied the place of honor, opening the New York City Ballet's 45th season, which was a benefit for the Women's Division of the Federation of the Handicapped. "Like any product with vintage qualities, 'Je

“Drifting past us on air currents, rather than meter, Emeralds seems to happen partly out of view, as though a shifting cloud cover separates the dancers from the audience. The atmosphere is one of restraint. The two principal women hold their arabesques low, while the ensemble raises their legs not once. Lifts end in deep pliés, like sighs. The women swoon. They hold dialogues with themselves. All is quiet, sometimes hushed. Sometimes one dare not breathe, lest one violate t

The following is a chapter from Merrill Ashley's autobiography Dancing for Balanchine . In this chapter she recalls the making of the...

Mimi Paul & Francisco Moncion in Emeralds. Photos by Fred Fehl, 1967. Harry Ransom Center In this video from the Foundation’s Video...

Balanchine choreographed a unique solo for Violette Verdy in Emeralds. She said that Balanchine was inspired by Michel Fokine’s style of...

Today begins a year-long celebration of the 75th Anniversary of New York City Ballet and George Balanchine's impact on the ballet world....