Farrell Fan

There was no mention in the Times, which makes me glad I posted the news on Ballet Alert after I saw it in the Sun. Maybe the Sun would like to think of itself as a conservative counterpoint to the "liberal" Times (they have a regular feature called SmarterTimes) but that would be a case of delusions of grandeur. I would like to see the paper succeed, however. The fact that something is not in the Times doesn't mean it didn't happen.

At the Stravinsky Celebration of 1982, Balanchine invited Zorina to perform the speaking part of Persephone in French. (Text by Andre Gide.) Mr. B was already quite ill and the choreography was officially credited to John Taras, Balanchine, and Zorina. Apparently Balanchine did choreograph a pair of pas de deux for the dancing Persephone, Karin von Aroldingen, and Mel Tomlinson. The production was not well-received, as I recall, but I remember sitting next to a vociferous Zorina fan that night, who kept shouting "Brava Birgitta!" (Her real name was Birgitta Hartwig.) 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."

At the Stravinsky Celebration of 1982, Balanchine invited Zorina to perform the speaking part of Persephone in French. (Text by Andre Gide.) Mr. B was already quite ill and the choreography was officially credited to John Taras, Balanchine, and Zorina. Apparently Balanchine did choreograph a pair of pas de deux for the dancing Persephone, Karin von Aroldingen, and Mel Tomlinson. The production was not well-received, as I recall, but I remember sitting next to a vociferous Zorina fan that night, who kept shouting "Brava Birgitta!" (Her real name was Birgitta Hartwig.) 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."

The original cast of Song of Norway also included Frederic Franklin, Ruthanna Boris, Leon Danielian, and Nicholas Magallanes. In the Peer Gynt ballet, Danilova performed Anitra's Dance. Edwin Denby wrote of Song of Norway: "Balanchine's Broadway choreography does not falsify ballet as most musicals do on the grounds that adulteration is the first principle of showmanship. Balanchine's numbers are simplified ballet, but of the purest water."

As has been pointed out, we're talking about performances six months from now. Personally, I would like to see TBA in many more ballets.

Thanks for this, dirac. Wish I'd been there to see Villella's gangster in Slaughter. I'm also curious about those "fey 1960s poses" in Bugaku.

Your mother has a point, but I doubt Peter Martins would want to be known as a figurehead.

It's not yet Thanksgiving, but already mail-order catalogs announce, "There's still time!" (to buy Christmas gifts). Despite the panicky tone, I admit to enjoying looking at them, but I hate how the catalogs invariably refer to the ballet associated with Christmas. This example is from the Hammacher Schlemmer catalog, but it's typical of most of them. "Each side of the porcelain box is adorned with elaborate scenes from The Nutcracker Suite ballet." I have never seen "The Nutcracker Suite," nor have I ever seen "The Firebird Suite," another "ballet" I keep reading and hearing about, although I've seen The Nutcracker and Firebird innumerable times. I have also heard both suites, in concerts and on the radio, and generally prefer seeing the ballets.

Yes, BW, I ate at Joe Franklin's Memory Lane Restaurant. There was nothing particularly nostalgic about it -- no chicken croquettes, beef stroganoff, or other delicacies of my youth. As I remember, it was standard-issue Reise restaurant fare -- perfectly palatable and somewhat overpriced. I am very moved by your plaudits and by those of Watermill, which I graciously accept. And accept my congratulations, Watermill, on your 100th perspicacious post.

Joe Franklin is not only still alive, he's got an all-night radio show on WOR on Saturday nights from midnight to 5 a.m. It's much better than ambien. He also fronts a place called Joe Franklin's Memory Lane Restaurant in the theater district. I have a warm spot in my heart for Joe because I once appeared on his TV show -- but then why should I have been the only one in my neighborhood who didn't?

Today's New York Sun reports that the New York Landmarks Conservancy has designated this year's Living Landmarks. They are Barbara Cook, Clive Davis, Peter Martins, Mike Wallace, and the Forbes brothers: Steve, Robert, Christopher, and Tim. No word about whether any of these Living Landmarks require restoration. ;)

I got the brochure too and I must say I find it a little odd that casting for performances in May and June of 2003 is announced in November 2002. Is this standard policy now? Maybe its residency at the Metropolitan Opera House has rubbed off on ABT and soon dancers, like singers, will be committed years in advance. Incidentally, The deadline for renewing for those May and June performances is Jan. 13.

No, I don't think I'd want that dinner, but I don't mind seeing Vienna Waltzes, which is to music by three different composers. The most successful, and seamless, ballet to music of different composers, IMO, is Balanchine's Square Dance, to compositions of Antonio Vivaldi and Arcangelo Corelli.

Thanks, leibling.

Thanks, leibling.

Calliope -- In the NY Times obituary it said "Ms. Le Clercq created 32 roles for Ballet Society and City Ballet." But that doesn't necessarily mean she beats out Tallchief for the most Balanchine roles created, because she also danced Robbins and Ashton. This numbers game is silly anyway, and confusing. But for some reason neither Le Clercq nor Vera Zorina were included in the Tracy book.

Calliope -- In the NY Times obituary it said "Ms. Le Clercq created 32 roles for Ballet Society and City Ballet." But that doesn't necessarily mean she beats out Tallchief for the most Balanchine roles created, because she also danced Robbins and Ashton. This numbers game is silly anyway, and confusing. But for some reason neither Le Clercq nor Vera Zorina were included in the Tracy book.

It's certainly true that Farrell was not only willing to accept the role of muse, but eager for it. In both her book and the Elusive Muse film she says of Balanchine, "He was choreographing my life and that was fine with me." 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?

It's certainly true that Farrell was not only willing to accept the role of muse, but eager for it. In both her book and the Elusive Muse film she says of Balanchine, "He was choreographing my life and that was fine with me." 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?

I'd like to add that, as valuable and attractive as is "Balanchine's Ballerinas: Conversations with the Muses," it is not definitive. For whatever reasons it omits two muses who were also wives: Vera Zorina and Tanaquil Le Clercq. Tanny's NY Times obituary on January 1, 2001, noted that she created 32 roles for Ballet Society and NYCB. She was also the only one of Balanchine's muse/wives or almost-wives, who did not publish her memoirs. Instead she wrote a book about their cat.

I'd like to add that, as valuable and attractive as is "Balanchine's Ballerinas: Conversations with the Muses," it is not definitive. For whatever reasons it omits two muses who were also wives: Vera Zorina and Tanaquil Le Clercq. Tanny's NY Times obituary on January 1, 2001, noted that she created 32 roles for Ballet Society and NYCB. She was also the only one of Balanchine's muse/wives or almost-wives, who did not publish her memoirs. Instead she wrote a book about their cat.

Amy Reusch is correct. According to "Conversations with the Muses," it isn't even close. Balanchine created 31 roles for Tallchief. Farrell, with 23, is tied with Melissa Hayden -- for third place! Diana Adams is second, with 24. Apologies -- my devotion to Suzanne led me astray. 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.

Amy Reusch is correct. According to "Conversations with the Muses," it isn't even close. Balanchine created 31 roles for Tallchief. Farrell, with 23, is tied with Melissa Hayden -- for third place! Diana Adams is second, with 24. Apologies -- my devotion to Suzanne led me astray. 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.

Leigh's point about great Farrell roles being originally created for others is well-taken. On the other hand, Suzanne originated roles in Balanchine's last two masterpieces, Mozartiana and Robert Schumann's Davidsbundlertanze.

Leigh's point about great Farrell roles being originally created for others is well-taken. On the other hand, Suzanne originated roles in Balanchine's last two masterpieces, Mozartiana and Robert Schumann's Davidsbundlertanze.