I had never read before that that Farrell asked for a power-sharing arrangement. The only thing I read was that she wanted to coach dancers in the ballets that had been created for her, and that Martins refused. What d'Amboise describes is a different story, a direct challenge to the position to which he had been chosen and appointed by the board.
I don’t know what to tell you, Helene. That’s what I read somewhere, so what he said wasn’t really a surprise to me. I don’t take quite the same view of it you do, although I understand Martins’ position, at least what I know of it, but that ‘s going beyond the bounds of this thread.
Again, I was referring to Villella’s comment in his book about the d’Amboise’s partnership with Farrell and that he felt d’Amboise’s stock was rising in the company as a result. I am aware of d’Amboise’s CV.
I think there's quite a difference between an interview in "Elusive Muse", where the subject was Farrell, and a memoir in which he went back to decades of notes and diaries that reflected his opinion and state of mind at the time. (The descriptions of Farrell's ultimatum was narrative, but he quotes from a diary entry from the day after recording his conversation with Farrell.) The various Balanchine companies and enterprises had already gone through bouts of Balanchine's obsession with other ballerinas, but after NYCB became a big institution, he never gave the kind of power to any of the others that he did Farrell, and his obsession with her affected far many more people.
I never brought up “Elusive Muse,” someone else did. No, I’d not expect him to dish on Farrell in a documentary devoted to her story. Farrell did indeed break the mold.
In his description of the conversations he had with Balanchine after returning from staging "Mediation" for Farrell and Jorge Donn in Brussels, he raved about her to Balanchine, and he was willing to serve as a go-between, which he really didn't have to do, if he didn't respect her as an artist and person.
As I noted earlier, d’Amboise praises her dancing in his book. Yes, he came back from Brussels and told Balanchine she was in great shape (Farrell reported this herself in her book, also). He also notes that Bejart “caters” to Farrell, notes that her poster is all over Brussels, etc....
All I said was that d’Amboise was consistently unflattering in his portrayal of Farrell personally, which will be plain to any reader, that it was lacking in some context, and that I was surprised some of it was coming from an ex-partner for whom she’s had nothing but good things to say for public consumption. And by me it’s a little tacky, even though as I also said earlier, candor is one of the things we read these books for. Sorry to have to repeat myself, but it all seems to have got lost in the shuffle.
One tidbit I hadn't heard before was that John Taras promoted Farrell as Adams' understudy for Movements. Not surprising, since she'd danced for him in Arcade, but that was news to me.