d'Amboise's comments just come as a surprise because they were partners for so long, that one would think he would feel some loyalty towards Suzanne too, and see the difficult situation Balanchine created for the entire company, and that he wasn't helping matters either.
You might think it, but why? He's giving facts that we didn't know, and why shouldn't we want to if we can? Which doesn't mean Balanchine was 'innocent'; there's no such thing as an urbane, sophisticated man being 'innocent'. In that part, you are right, and it was normal for Suzanne to use her charms as far as she wanted to and could (whether unconsciously or consciously, either way it's normal in my book). But he wasn't all that 'guilty' either. I don't think 'loyalty to a partner' has a thing to do with it. It's much stranger that it's taken this long to find out some of the facts, as far as I'm concerned; it's not like anybody's 'privacy has been invaded'. And it's very interesting, and doesn't change the artistry of anybody a whit. They all still have much to offer, alive or dead, since it's art and continues.
Helene has quite incisively pointed out the difference in what we thought were the facts with Martins in the 90s and what we now know. Farrell is a strong-minded woman, and I like her. I think she's funny even. If some people are more respectful than fond of her, as Bart suggested, then that's no big deal. Nobody can have all ranges in anything, and if Farrell danced 'imperiously' in her 70s period at NYCB, that's all the better for one aspect of what one admires, but it doesn't cover everything. That's why when she was really dominating the atmosphere at NYCB in the late 60s, it was perfectly natural that she wouldn't exactly be 'loved' by her fellow dancers, there's always a trade-off. And if Croce, as Bart also indicates, suggested that what she gave was 'ultimate', that doesn't mean we can't agree to disagree with her too. There are some who don't admire Farrell at all, think she was only 'mannered' and one ballet dancer even said 'she's the biggest bore in the world'. I'm a big fan, and long have been, but I can see some of what she was up to, and I'm glad d'Amboise said it out loud: It was high time, and Villella already alluded to it strongly in the old post I resurrected. She's a strong person, with a not inconsiderable ego, and I look forward to seeing what her company does. I even admire her 'ultimatums', they showed guts, which doesn't mean I think anybody ought to have said 'well, sure, whatever you want'. She's tough and can take it just like Hillary Clinton can, and they both get reversals, although it's true that Farrell does tend to project some aspect of the 'good, pretty schoolgirl' well into her 60s. That's cool, it's part of her personality. I can't wait to see if she really lets Toni Bentley write her next biography!
And Bart, your quote of Haggin:
Hayden is a very efficient dancer, but -- lacking the exquisiteness of changing bodily configuration, the poetic aura that one can see Fonteyn's dancing has -- Hayden is not what one can see Fonteyn is, a ballerina. And for anyone who judges not by names and words but by what he sees, the "inexperienced young dancers" Mimni Paul and Suzanne Farrell whom the company has been offering occasionally in place of Hayden are not only amazingly strong in technique but equally amazing in the qualities of exquisite style and poetry that make them more fascinating to watch than Hayden. But I agree that is should be possible for anyone who prefers Hayden to Paul or Farrell to see Hayden.
we can see that we can disagree with professional critics all we want. Just that one performance that I find totally unforgettable makes me totally ignore such phrases as 'lacking a poetic aura' or that 'Hayden is not...a ballerina'. I frankly think neither assessment is further from the truth. If Hayden wasn't a ballerina, then I've never seen one.
The thing about 'poetic aura' is that it's not finite, or anybody's owned property, it's various. Hayden and Farrell and McBride and Fonteyn all had it, as fas as I can see.