Maria Tallchief in her autobiography Maria Tallchief: America's Prima Ballerina: George Balanchine (left) Maria Tallchief & Jerome Robbins. Photo by Walter E.Owen, 1950. "Balanchine believed New York City Ballet needed a story ballet in its repertory and hoped Prodigal Son would serve the purpose. The ballet was a success at its premiere in 1929 and had never been seen in America. The Original Ballet Russe had presented David Lichine's version of the Prokofiev score, but it w

In 1950, Balanchine felt that NYCB needed a story ballet in its repertoire, so he revived his 1929 ballet Prodigal Son . He was not especially fond of the ballet because he was obliged to create it on Serge Lifar, who was Diaghilev's favored dancer in the Ballet Russe at the time. Balanchine didn't care for his dancing, but he also felt more personally inspired to create ballets that showcased women rather than men. Prodigal Son was the antithesis of his normal inclination: f

André Eglevsky and Maria Tallchief. Photo by Radford Bascome, 1954 “The chief novelty of the occasion was the first performance by Diana...

To celebrate the end of the winter season, a season full of homage to Maria Tallchief and her 100th birthday I thought I’d share this...

“In [the final] scene [of Firebird], the music swells to a glorious finish, but since there’s no movement, and all is still, it’s as if...

“In [the final] scene [of Firebird], the music swells to a glorious finish, but since there’s no movement, and all is still, it’s as if...

"George had been serious when he told me the ballet would be difficult. He had me doing everything – turns, balances, jumps, and...

"When we started the pas de deux, I felt secure. Standing up stage, I took an extra breath, and then made the flying leap into Frank’s...

Maria Tallchief on Scotch Symphony: “One effect in the adagio was inspired by the way goddesses, sylphs and fairies were made to fly...

Celebrating 100 Years of Maria Tallchief! In this 1959 footage originally posted by Kurt Froman, we see André Eglevsky and Maria...

“Balanchine’s Sylvia Pas de Deux was designed around Tallchief’s technical virtuosity. Although Nicholas Magallanes was her original...

Maria Tallchief and Francisco Moncion. Photo by Martha Swope. New York Public Library “It was Maria Tallchief’s performance in...

Diana (left) in arabesque. Maria Tallchief teaches cir. 1974-5 Celebrating 100 Years of Maria Tallchief! In this episode, Diana White, a...

Maria Tallchief: “In Allegro Brillante George extended aspects of classical technique beyond anything I had done before. Rather than...

Photo by Martha Swope [39/50] Counting down 50 NYCB Nutcrackers this year with stories from NYCB dancers past and present! Today we hear...

Back in August, I discovered several photos of a very young Suzy Pilarre in the corps of Serenade: Photos by Fred Fehl, 1964 Harry Ransom...

In Balanchine's Bourrée Fantasque, Maria Tallchief was the second movement ballerina. She wrote, "Increasingly, the roles George created...

“The night was mild, a star glittered somewhere in the distance, the water of the plaza fountain soared and splashed, and a brass quintet...

“During the day we rehearsed both ballets [Serenade & Symphony in C], and it was painful. The Covent Garden stage took getting used to....

The day after Balanchine’s Firebird premiered in London, 1950, The Times wrote: “Firebird, for which London has waited long, was also in...