"Within a few weeks there was genuine excitement when we premièred a very experimental new ballet. The company had danced the previous July in Montreal at Expo '67, and Balanchine, touring the various exhibitions, first heard the "music" of the Greek mathematical composer lannis Xenakis. It was played in conjunction with a light show that structurally mimicked the sounds, and I think that idea intrigued Mr. B. Xenakis' Mestastaseis & Pithoprakta consisted of sixty-one differe

Susan Hendl and Michael Steele. Photo by Martha Swope, 1968. "Last night at the State Theater the New York City Ballet: presented George Balanchine's 'Metastaseis & Pithoprakta,' which fortunately you don't have to be able to pronounce to enjoy. "Unlike most choreographers who find the pattern of movement the most difficult part of a ballet, Mr. Balanchine gets: hung up on titles. This most recent and startling work takes its name from the two pieces of music by lannis Xenaki

“‘Diamonds’ demonstrates the quintessential Balanchine, down to the last ballerina-worshipping hand kiss by her cavalier. In the ballet’s exquisite pas de deux, Peter Martins, every ince equal to his ballerina, and Suzanne Farrell turned out a truly great, especially well-bred performance.” —Anna Kisselgoff, New York Times, 1975 Suzanne Farrell and Peter Martins (Balanchine center). WNET Filming. Photos by Martha Swope, 1977.

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

“Suzanne Farrell wrote in her autobiography that when she first stepped onto the stage in the pas de deux, her guide was the "lonely" oboe that plays the adagio's major theme. Melancholy does indeed pervade the music, and so the dance. There's another kind of loneliness, too, which is odd considering the ardent attention paid to her by her partner. The ballerina in Diamonds moves in a kind of solitary splendor. She is not self-absorbed like the Paul character in Emeralds, but

Suzanne Farrell in her autobiography Holding on to the Air: "Prodigal Son tells the story of the fall and redemption of the biblical character, and its recent revival had provided Edward Villella with one of the greatest roles of his career. I asked Mr. B if I might dance the Siren who lures the Prodigal Son into the depths of greedy sensuality, a part originally designed for my beloved teacher Mme. Doubrovska . I was curious to explore a darker, more earthy role. Because at

The following text comes from Edward Villella's autobiography, Prodigal Son: Dancing for Balanchine in a World of Pain and Magic. The major breakthrough in my career came in 1960. I was cast in Prodigal Son, and in typical New York City Ballet fashion no one ever talked to me about it officially. I wasn't even aware that Prodigal was being revived. I was standing around waiting for a rehearsal to finish when Diana Adams turned to me and said, "Oh, congratulations." I said, "A

Suzanne: “When I first got back [to NYCB after 5 years in Europe] I did a ballet for Jerry Robbins, and another one for Jacques, both...

Stephanie Saland. Photo by Paul Kolnik “In 1977, at the age of ninety, Karinska gave a magnificent farewell performance with her...

"George Balanchine’s Vienna Waltzes was given for the first time this season, in one of its very best performances, Tuesday night by the...

Jacques d'Amboise with Suzanne Farrell, Gloria Govrin and Patricia Neary in Balanchine's Apollo, 1965. “It was becoming a more and more...

Peter Martins and Suzanne Farrell in Chaconne. Photo by Max Waldman. I’m so happy today begins NYCB’s Spring Season. Back to my daily...

[37/50] Counting down 50 NYCB Nutcrackers this year with stories from NYCB dancers past and present! Today we hear a Jerome Robbins'...

Counting down 50 NYCB Nutcrackers this year with stories from NYCB dancers past and present! Today we hear from Suzanne Farrell, who was...

Robert Maiorano wrote a book Balanchine’s Mozartiana: The Making of a Masterpiece in which he documented just that—the making of this...

In his autobiography I Was a Dancer , Jacques d’Amboise recounts how Balanchine’s Movements for Piano and Orchestra came to be: “Diana...

Edwin Denby, the poet and dance critic wrote the following about Balanchine’s ‘Ballet Imperial’ [Now Tchaikovsky Piano Concerto no. 2] as...

Finding an Audience “Dancers and musicians paraded down Broadway to draw attention to the season. They also made special appearances at...

Suzanne Farrell wrote: “I was cast as one of four tall fairies in Titania's retinue; Diana Adams was Titania. One day while we were...

Tzigane was the first ballet that Balanchine choreographed for Suzanne after she returned to NYCB. She wrote about the choreographic...