"Yes, there is something of the Paris Opera Ballet and the 19th‐century about the ensembles in the New York City Ballet's 'La Source.' With so many pretty girls in pink tutus waving their arms and kicking their legs to Leo Delibes's music, one can just hear a Comte de Cambriolage looking the field over from his box and asking about the third one from the left. "But if there is a touch of decadence about George Balanchine's musings on the 19th century French music from two Del

"George Balanchine is very fond of referring to himself as a carpenter. At the New York State Theater Source," he showed his skill at joinery. 'La Source' is a work that combines his new 'Delibes' Pas de Deux with salient parts of the earlier 'Sylvia' Pas de Deux and Divertissement. The results are never less than interesting, but never more than agreeable. Violette Verdy. Photos by Fred Fehl, 1968. Harry Ransom Center. "The original pas de deux has been amplified by the olde

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

Merrill Ashley in Donizetti Variations. Photo by Martha Swope, 1979. Said one dancer of Donizetti Variations, ‘It’s like an endless...

Violette Verdy and Conrad Ludlow. Photo by Martha Swope, 1960s. "Though the New York City Ballet's season at the City Center closes...

On Balanchine’s Act II pas de Deux in Midsummer Nights Dream: “But brief as it was, the change from many dancers to just two gave a...

Balanchine’s Sonatine premiered on the gala night of the Ravel Festival celebrating the 100th anniversary of the French composer’s birth....

Violette Verdy: "The Tschaikovsky Pas de Deux, which became practically my signature piece, was not meant for me at all. It was for Diana...

Robbins’ "In the Night" is a collection of 3 duets and 1 ensemble movement at the end. Deborah Jowitt describes the ballet: “The first...

Jerome Robbins' "In the Night" features 3 couples in various stages of romantic relationship. Walter Terry: "The touchings, the...

(35/50) Violette Verdy and Jonathan Watts. Photos by Fred Fehl, 1959. Harry Ransom Center. (36/50) Violette and Conrad Ludlow. Photos by...

(6/50) Violette Verdy as Dewdrop. Photo by Fred Fehl, 1962. Harry Ransom Center. From left to right down the line: Patricia Neary, Leslie...

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....

Three Balanchine Duets* Part 1 *commissioned for the Vail Dance Festival This week, Vail’s International Evenings of Dance performances...

When Balanchine choreographed La Source in 1968 it seemed to confuse everyone including the critics. Although they didn't dislike it,...

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

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

[13/50] “Miss Verdy, all sweet French delicacy, is a charmer of a Sugar Plum” — Clive Barnes, New York Times, 1968 Violette Verdy and...