Posted 01 November 2002 - 08:09 AM
How did Farrell and Tallchief differ in the way in which each inspired Balanchine?
Posted 01 November 2002 - 10:37 AM
The friend's response: "George who?"
Posted 01 November 2002 - 04:12 PM
Posted 15 November 2002 - 07:37 AM
Posted 01 November 2002 - 07:52 AM
Nicky was Nicholas Magallanes, a long-time stalwart of NYCB and its predecessor companies.
Posted 01 November 2002 - 01:43 PM
Mary Ellen Moylan
Karin von Aroldingen
The front-jacket photograph is of Farrell and Balanchine. A different photo of them adorns the title page. The Farrell chapter begins: "Suzanne Farrell is the paradigm of the Balanchine ballerina, in her size and speed, her physical proportions and beauty, the spontaneity and musical sensitivity of her performances. Arlene Croce called her 'probably the most important dancer who ever entered Balanchine's life.'"
Posted 01 November 2002 - 02:16 PM
Posted 01 November 2002 - 05:07 PM
Posted 02 November 2002 - 09:26 AM
These are the numbers: Danilova 18; Geva 12; Doubrovska 10; Toumanova 9; Boris 12; Reiman 13; Marie-Jeanne 11; Moylan 7; Tallchief 31; Hayden 23; Adams 24; Kent 8; Verdy 13; McBride 21; Farrell 23; Mazzo 10; von Aroldingen 18; Ashley 4.
According to the Tracey book, these are the ballets in which Balanchine created roles for Maria Tallchief:
Danses Concertantes -- pas de trois
Le Bourgeois Gentilomme -- danse Indienne
Night Shadow -- Coquette
Raymonda -- pas classique Hongrois
Divertimento (Haieff) -- ballerina
Symphonie Concertante -- allegro maestoso; andante; presto
Symphony in C -- first movement
Orpheus -- Eurydice
Carmen: Act II Tavern Scene Ballet -- lead
Aida: Act II, Scene 2, Triumphal Ballet -- lead
Princess Aurora -- Bluebird pas de deux
Don Quixote and Swan Lake (Black Swan) Pas de Deux -- ballerina
Firebird -- firebird
Bourree Fantasque -- prelude
Prodigal Son -- siren
Jones Beach -- hot dogs
Sylvia pas de deux -- ballerina
Music and Dance -- waltz from Naila
Pas de Troix (Minkus)
Capriccio Brillant (Mendelssohn) -- ballerina
A la Francais -- winged sylph
Apollo -- Terpsichore
Swan Lake -- Swan Queen
Caracole -- one of five ballerinas
Scotch Symphony -- sylph
Harlequinade Pas de Deux -- Columbine
The Nutcracker -- Sugar Plum Fairy
Pas de Dix (Glazunov) -- ballerina
Allegro Brillante -- ballerina
Gounod Symphony -- ballerina
Panamerica -- Section VIII: Cuba
Obviously, some listings (Prodigal Son and Apollo) are for their NYCB premieres. I have no idea what's meant by "Don Quixote and Swan Lake," nor can I imagine what dancing hot dogs looked like. Does anyone remember? Anyhow, I'm sorry I never saw Tallchief dance. The subtitle of her autobiography, "America's Prima Ballerina," is more than justified.
Posted 02 November 2002 - 12:11 PM
Posted 02 November 2002 - 05:15 PM
But in her book The Lives of the Muses: Nine Women & the Artists They Inspired, Francine Prose differentiates Farrell from the other women in her book. "Perhaps uniquely in the lives of the muses, the partnership of Suzanne Farrell and George Balanchine suggests that the roles of inspired and inspirer CAN be divided and shared between a man and a woman, two artists collaborating to produce work that neither could accomplish alone."
Alexandra, forgive me for playing dumb: What is a Farrellism?
Posted 02 November 2002 - 07:45 PM
Posted 15 November 2002 - 06:03 PM
Her 1982 NYCB experience seems not to have been a happy one. In her 1986 autobiography, "Zorina," she wrote: "Once I stood in the wings to watch a performance, and a tall man stepped directly in front of me. It was Peter Martins. Not a word was uttered. It wasn't even rude -- I simply didn't exist. Finally I too stopped smiling and saying 'good morning' or 'hello' to the dancers. I was in the middle of the most brilliantly disciplined cult, a foreign object who was tolerated only because of Mr. B."
Posted 18 November 2002 - 02:45 PM
That said, not all the muses have written adoringly of Mr. B. Isn't it so that that Gelsey Kirkland was, however briefly, regarded as a muse? And there is at least one very good book by a former wife, his first: "Split Seconds," by Tamara Geva. The recollections edited by Francis Mason under the title "I Remember Balanchine," mentioned by dirac, also contain many of the "he picked out perfume" sort of pieces. But the book includes nine pages by William Weslow which amount to the most stinging rebuke of Balanchine I've ever read.
Okay, now I can go curl up and get all teary-eyed again with the paperback of "Holding on to the Air." ;)
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