“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

To end this week of Serenade exploration, conversation, and celebration, I wanted to leave you with some parting thoughts on the final...

Below is the program note that accompanied Serenade at its second performance in December, 1934 performance in Hartford, CT: “Without an...

(32/50) "Upon this costume of so little visible substance, Karinska dripped rhinestone dewdrops around the neck and hip. And with the...

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

[44/50] Of Mimi Paul, Clive Barnes wrote: “Her musicality was precise and yet not so precise as to be ungracious, her manner was regal...

Mimi Paul in Symphony in C Photos by Martha Swope, 1964.

(11/12) Here are a few miscellaneous photos that didn’t fit a specific topic, but were too beautiful not to share. (top left) Kyra...

(1/4) The beauty of these photos gives me chills. Jerome Robbins working with two casts of dancers on Afternoon of a Faun in 1964. Edward...

Although Serenade’s meaning has been subject to endless speculation since it was created 87 years ago—Mr. B himself even giving...