Quiggin, on 24 April 2011 - 12:49 AM, said:
the witholding of generousity towards Suzanne Farrell. Also - probably the same as what Helene is saying - he wanted the position the more he realized he was being passed over for it.
Nearly 15 years has passed since 'Elusive Muse', although I don't know how much that would have to do with it. He was very effusive when talking about her there, of course, not only the talent, but I even remember he said 'this was a beautiful woman', which I found charming. He came across in that as this very jovial, somewhat earthy and likable guy with no pretentiousness, and even called her 'Susan' instead of 'Suzanne', I believe. Thanks for the Garis, Quiggin, although this sort of thing
Melissa Hayden and Patricia Wilde were dependable peformers who capably imitated high style without possessing it
I find to be loathsome dated-highbrow 'criticspeak' (Samuel Lipman used to write similar things in his music criticism). There ought to be a way to search out old reviews to see who got the most 'incomparables', for example. What Mazo said is probably closer to the truth, and does have to do with her uniqueness in
emotional power and acting ability
, which I do see was one of the reasons why the 'Swan Lake' was so ineffable, untouchable, and yes, incomparable. So that that was an understood thing among those who knew her dancing well (I knew nothing at all about it when I saw her.) I saw Farrell many more times, and once she was very theatrical in the performance, but I thought there were very specific, atypical reasons why it came naturally then to express herself so. And while there's something very pristine about 'Diamonds' that might obviously lend itself to being called 'high style', the problem with these terms like this is that, even with the word, that doesn't necessarily make it 'higher' or 'greater' so much as it refers to a kind of impersonal-pure/classical tone, mode, the 'Apollonian' as opposed to something more emotional and romantic in the 19th-century sense. In music, there are some parallels to this, when Mozart is preferred to Beethoven, which doesn't mean much to a lot of us, but more interesting is that Bach doesn't tend to come up. There are many professionals who probably think Bach was 'the greatest', but most of them don't say so, but rather play him all the time. Which doesn't mean I think terms like 'high-style' don't mean anything, but rather may not mean that much and/or sometimes misused.
Perhaps she was more an allegro dancer, like Merrill Ashley?
If she was more of an allegro dancer, she certainly didn't remind me in any way of Merrill Ashley in terms of presence. I saw the latter quite a number of times, and she was never theatrical, although I did enjoy a number of things I saw live, esp. loved her in 'Allegro Brillante' (unlike the taped 'Emeralds', which is the least satisfying thing I've seen of hers.)