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

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...

“Mr. B used to close up the pianos in the theater or the studios before leaving. He would always clean up the pianos, take away the...

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

Although Balanchine never mounted a production of Sleeping Beauty himself, the ballet holds a significant place in the history of NYCB....

This morning we have a student matinée. NYCB’s tradition of inviting NYC school children to the ballet began with Mr. B: “Balanchine, who...

Violette Verdy's thoughts on Firebird: “What I love about Firebird is the quality of entombed independence of that bird who has a...

Martha Graham recalled watching Balanchine choreograph his section of Episodes, which they jointly created in 1959: “It was like watching...

(left & right) Suki Schorer in Donizetti Variations. Photo by Martha Swope, 1968. (center Suki Schorer and Balanchine in rehearsal for...

Merrill Ashley in Valse Fantaisie Photo by Martha Swope, 1977

“The leading dancer of the work follows the piano in the cadenza, but her cavalier also has his important part, as do the supporting...

Balanchine on Gelsey in his 1970 revival of Firebird: “She’s still a baby, just coming out of the awkward stage. But I didn’t want a...

Donizetti Variations was originally choreographed in 1960 as "Variations from Don Sebastian" with music by Gaetano Donizetti. Ten years...

“The novelty of the program was Violette Verdy making her debut, strangely enough, in George Balanchine’s 'Allegro Brillante.' One says...

Of Heather Watt's solo in Walpurgisnacht, Anna Kisselgoff wrote: “There was a breathtaking instant when she seemed suspended in slow...

(1/2) “There is no future anyhow, it’s always the present, forever.” —George Balanchine in a 1963 interview for New York Public Radio....

“The ballet was made for Maria, and she went after it like a demon, as if possessed, with ferocity. That is certainly one of Balanchine’s...

Balanchine on Haieff Divertimento: “The piece was composed originally for piano, which was the form in which I first heard Haieff play...