Suzanne Farrel was the best ballet dancer of her time and the best at Balanchine! This is lovely. Her career was with the New York City Ballet, but she was from my hometown of Cincinnati, and they just had a huge gala honoring her last Summer!
El 25 de Febrero de 1947 nació Jorge Donn. Hoy, yo celebro su vida, sus cualidades humanas que me inspiran y su danza maravillosa que me deleita siempre. Para él un brindis, rosas y aplausos. Mi gratitud para todas las personas que comparten sus videos de Jorge Donn y nantienen vivo su arte
I worked with Suzanne from 2004 through 2017 and watched her transform movement into emotion with dance at the Kennedy Center. Being her Music Librarian and Research I was honored to assist tracking down the music she wanted to work with. She is an amazing performer and truly a musician. Her videos are inspiring.
At last the chance to see what Farrell was up to while with Bejart. Nothing like I expected. She's in top form and as magical as ever. At only 5' 7" she seems endlessly long limbed, naturally beautiful and moves with the speed characteristic of Balanchine dancers. How adventurous of her it was to sign with a maverick like Bejart following her temporary departure from NYCB.
Todos os bailados e coreografias de Donn e Béjart, transcendem o que é comum. Eles foram e continuam a ser, verdadeiros deuses da arte. Aqui estão as estrelas, que ainda brilham na terra.!
thank you for posting this! i had seen farrell at NYCB in the 80s, but never before any Bejart footage. she looks so young and strong. that strength is what makes her extension so thrilling, foufie. it comes not from rubbery hyperextended but from and open hip & incredible lift through the center. just breathtaking.
I love how she moves.. I always thought she had such a beautiful lyrical quality to her dancing. I wish I could have seen her when she was still performing.
balanchine was a genius and so was suzanne farrel. and to see her with jorge donn. also a great artist and performer. it was interesting to find out that she did not like to rehearse so much. if it is true. but i imagine yeah. and that she did different things all the time. being so musical it allowed her to improvise her way out of situations. i watch dancers fall out of things all the time these days. and i think....just dance out of it. anyways thanks suzanne !!!
actually, before balanchine, dancers as tall as Suzanne were usually thought to be unsuited to ballet. The tall, small-head, long legged look is actually uniquely American in its origins. So not sure about your comment about Suzanne being the closest you've seen in an American ballerina to a European...before her, ballerinas (especially europeans) were expected to be much shorter.
Farrell and Donne together, wow. Bejart honored and cared very much for Farrell. And she honored people so much, like those who choreographed on her. She gave her respectful all to them. And they were "lit" by her. And Donne was bejart's muse, I guess you could say. This is Bejart at its best. I think Farrell elevated bejart or kept his truer artistry side open and flourishing. Bejart could provide contaminated productions. Awful. But his true self was this beautiful work on Donne and Farrell. Balanchine had emotional complexities with Farrell and Bejart had emotional complexities with Donne but it was like love and beauty at the highest level came out, almost as if Bejart were giving Farrell and Donne to each other, no jealousies or selfishnesses. In the spirituality of beautiful creation...what a gift to us all...
Except donne couldn't stand being outshined by Farrell. She , as protege of a Russian genius .... was going to be a scene stealer no matter what , ouch!
This past Sunday's New York Times Arts Section included an article on how Suzanne Farrell and other 'muses' of her ilk are rarely put in positions of power within the dance world. It's a sobering article.
Really??? I'm currently pissed about how NYCB needs her right now and I believe shes the perfect person for the helm. I would love to read that article!
Hi, I hadn't heard that she disliked rehearsal. One thing I know that at Bejart to save money they women didn't rehearse in pointe shoes. Farrell used to NYCB insisted otherwise. While she danced with Bejart she was very respectful but quite homesick for NYCB. Where she of course she eventually returned.
@@chocolatesouljah well when she looks at the camera and smiles it's like..."...the f#$# am i doing hereeeee-" 😂. She truly was diva over even donne, the little princess of the Béjart ...crowd. lol. No offense, they were alllll good dancers. In their own rights.
You're quite right about Suzanne being anything from anorexic. In fact, she was one of the few ballerinas in Balanchine's company who was allowed to let her weight fluctuate. She was at many moments in her career considerably fuller figured than she appears here. Unfortunately Balanchine was not as easygoing with most other dancers when it came to their weight.
Anyone interested in seeing more of Suzanne should check out Suzanne Farrell: Elusive Muse, the documentary about her. You can order in online - just google it. Also she's in the Peter Martins documentary from way back in the 70's that i remember renting at a local blockbuster back in the 90's, so it must be around somewhere...it's always a bit tough finding Balanchine due to legal constraints.
Choreo is trivial, but Berlioz is beautiful and Farrell is riveting. Backbend in R&J?? I do like her little running steps. What's with Jorge Dunn's makeup?
she's wonderful, as others have said her extensions are unbelievable. She is also very beautiful-- she has the face of a Botticelli Madonna. Also, gotta say it, but those who blame Balanchine or Farrell for encouraging a "concentration camp aesthetic," should look at this film. Is she anorexic--hell no! Just incredibly long-limbed.
The reason people wear so much make up on stage is because from the audience (fairly far away) it looks more normal. Stage make up always looks weird close up. And this video frequently zooms in much farther than an audience member would be.
good point...but the balarinas need to be used differently. The usual roles need to be thrown out. I think wheeldon, wants to do that? Use them more as instruments of movement rather than to show them as instruments of beuty and the femenine? Also to show both sex as equal on stage?
a past comment on the underuse of these muses later on in the dance world? Well, to have danced for balanchine really do not make you an expert on running a company? Look at martins w/nycb, he is a great director but he lacks the talent when it comes to great choreography. And now nycb does not take the imaginative or creative risks that it did under mr.b. It is more like a museum than a genarator of great ballets...
Okay, i think this is too much make-up. It makes them look like puppets- or worst case cenario- like here- men like women. I'm not antihomosexual- but this is supposed to be ROMEO for gods sake! o.o
and finally this ballet is awful? the lifts on 110 &309 are just weird...they represent the sensual but this 'love' was about infatuation, PUPPY love of the young!? The one dimensional love of the young...when there is no sense of the complexity of the other, either in romance or sexually? This dance is a lot more appropiate for 'carmen'?
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Suzanne Farrel was the best ballet dancer of her time and the best at Balanchine! This is lovely. Her career was with the New York City Ballet, but she was from my hometown of Cincinnati, and they just had a huge gala honoring her last Summer!
El 25 de Febrero de 1947 nació Jorge Donn. Hoy, yo celebro su vida, sus cualidades humanas que me inspiran y su danza maravillosa que me deleita siempre. Para él un brindis, rosas y aplausos. Mi gratitud para todas las personas que comparten sus videos de Jorge Donn y nantienen vivo su arte
She was truly an amazing dancer. Her line is extraordinary. It is so great to see a long limbed person have such control...
I worked with Suzanne from 2004 through 2017 and watched her transform movement into emotion with dance at the Kennedy Center. Being her Music Librarian and Research I was honored to assist tracking down the music she wanted to work with. She is an amazing performer and truly a musician. Her videos are inspiring.
At last the chance to see what Farrell was up to while with Bejart. Nothing like I expected. She's in top form and as magical as ever. At only 5' 7" she seems endlessly long limbed, naturally beautiful and moves with the speed characteristic of Balanchine dancers. How adventurous of her it was to sign with a maverick like Bejart following her temporary departure from NYCB.
Todos os bailados e coreografias de Donn e Béjart, transcendem o que é comum. Eles foram e continuam a ser, verdadeiros deuses da arte. Aqui estão as estrelas, que ainda brilham na terra.!
thank you for posting this! i had seen farrell at NYCB in the 80s, but never before any Bejart footage. she looks so young and strong. that strength is what makes her extension so thrilling, foufie. it comes not from rubbery hyperextended but from and open hip & incredible lift through the center. just breathtaking.
Simply beautiful! Bejart is a super choreographer!
Thanks for uploading!
Merveiileux et magique
@540mph she is divine, that is lovely that she sent that to you and nice of you to post that. American treasure to be cherished!
I love how she moves.. I always thought she had such a beautiful lyrical quality to her dancing. I wish I could have seen her when she was still performing.
Superbe !---------
Thank you so much for these videos. A true gift. Transformative. Arpita
balanchine was a genius and so was suzanne farrel. and to see her with jorge donn. also a great artist and performer.
it was interesting to find out that she did not like to rehearse so much. if it is true. but i imagine yeah. and that she did different things all the time. being so musical it allowed her to improvise her way out of situations. i watch dancers fall out of things all the time these days. and i think....just dance out of it. anyways thanks suzanne !!!
actually, before balanchine, dancers as tall as Suzanne were usually thought to be unsuited to ballet. The tall, small-head, long legged look is actually uniquely American in its origins. So not sure about your comment about Suzanne being the closest you've seen in an American ballerina to a European...before her, ballerinas (especially europeans) were expected to be much shorter.
magnifique duo ! quelle grâce ! quels talents ! dommage trop court !!!!
thank you so much...
I love his choreo! i think it's brill...i guess to each his own
16.08.2016 - Happy Birthday, Suzanne Farrell! Shared on G+.
Farrell and Donne together, wow. Bejart honored and cared very much for Farrell. And she honored people so much, like those who choreographed on her. She gave her respectful all to them. And they were "lit" by her. And Donne was bejart's muse, I guess you could say. This is Bejart at its best. I think Farrell elevated bejart or kept his truer artistry side open and flourishing. Bejart could provide contaminated productions. Awful. But his true self was this beautiful work on Donne and Farrell. Balanchine had emotional complexities with Farrell and Bejart had emotional complexities with Donne but it was like love and beauty at the highest level came out, almost as if Bejart were giving Farrell and Donne to each other, no jealousies or selfishnesses. In the spirituality of beautiful creation...what a gift to us all...
This choreography is so refreshingly different. I've never seen such moves!
Except donne couldn't stand being outshined by Farrell. She , as protege of a Russian genius .... was going to be a scene stealer no matter what , ouch!
thank you so much for posting this. I love Suzanne Farrell.
great....
This past Sunday's New York Times Arts Section included an article on how Suzanne Farrell and other 'muses' of her ilk are rarely put in positions of power within the dance world. It's a sobering article.
Really??? I'm currently pissed about how NYCB needs her right now and I believe shes the perfect person for the helm. I would love to read that article!
is there any chance there is a link to this article, so many years later?
Perfecta bailarina
Hi, I hadn't heard that she disliked rehearsal. One thing I know that at Bejart to save money they women didn't rehearse in pointe shoes. Farrell used to NYCB insisted otherwise. While she danced with Bejart she was very respectful but quite homesick for NYCB. Where she of course she eventually returned.
She was slumming here 😂
@@lindaclark9925 In her autobio one got that impression in her words in so many words without outright saying it.
@@chocolatesouljah well when she looks at the camera and smiles it's like..."...the f#$# am i doing hereeeee-" 😂. She truly was diva over even donne, the little princess of the Béjart ...crowd. lol. No offense, they were alllll good dancers. In their own rights.
@@lindaclark9925 Yes. I looooove Jorge Donn in especially in "Bolero."
I've just received this DVD from Italy. I'm surprized it's in NTSC format.
suzanne is in fantastic shape here.
Yep, she talks about it in in a movie that is a biography. She is very open about discussing it in her interviews.
You're quite right about Suzanne being anything from anorexic. In fact, she was one of the few ballerinas in Balanchine's company who was allowed to let her weight fluctuate. She was at many moments in her career considerably fuller figured than she appears here. Unfortunately Balanchine was not as easygoing with most other dancers when it came to their weight.
Also. Seeing Farrell in another ballet company totally makes you realize how very.exceptional. NYC with gb was
@3:14...here comes the smile that says..".what am i doing here. Lol. "
SUBLIME
Anyone interested in seeing more of Suzanne should check out Suzanne Farrell: Elusive Muse, the documentary about her. You can order in online - just google it. Also she's in the Peter Martins documentary from way back in the 70's that i remember renting at a local blockbuster back in the 90's, so it must be around somewhere...it's always a bit tough finding Balanchine due to legal constraints.
That's like the worst moment possible for the video to stop, I want to see what happens next :'(
@540mph i am in love with her too!!!! soo pretty and graceful. i have her documentary about her and george ballenchine! aahhmazing!
Where can I get the documentary?
I ordered it from mvmusica (La musica e' vita).
Ohhhhhhhhhhhhhhhhhhhhhhhh
Choreo is trivial, but Berlioz is beautiful and Farrell is riveting. Backbend in R&J?? I do like her little running steps. What's with Jorge Dunn's makeup?
TRIVIAL? it's so original !!!!
How dare anyone give this comment a thumbs down, except of course if they meant that this clip is not from a Balanchine ballet!
she's wonderful, as others have said her extensions are unbelievable. She is also very beautiful-- she has the face of a Botticelli Madonna. Also, gotta say it, but those who blame Balanchine or Farrell for encouraging a "concentration camp aesthetic," should look at this film. Is she anorexic--hell no! Just incredibly long-limbed.
Beauty and the beast?
How can you say that : they both are beautiful.
A mi padre el único que me vio y y a Carmina
If this makes sense...suzannes dancing never betrayed.... balanchine 😂
oh dear ! whats with his makeup he looks like he jumped out of cats !
Shes very beautiful
Suzanne is about 5'7
The reason people wear so much make up on stage is because from the audience (fairly far away) it looks more normal. Stage make up always looks weird close up. And this video frequently zooms in much farther than an audience member would be.
good point...but the balarinas need to be used differently. The usual roles need to be thrown out. I think wheeldon, wants to do that? Use them more as instruments of movement rather than to show them as instruments of beuty and the femenine? Also to show both sex as equal on stage?
@loulotte161087 Haha xP
a past comment on the underuse of these muses later on in the dance world? Well, to have danced for balanchine really do not make you an expert on running a company? Look at martins w/nycb, he is a great director but he lacks the talent when it comes to great choreography. And now nycb does not take the imaginative or creative risks that it did under mr.b. It is more like a museum than a genarator of great ballets...
Okay, i think this is too much make-up. It makes them look like puppets- or worst case cenario- like here- men like women. I'm not antihomosexual- but this is supposed to be ROMEO for gods sake! o.o
Lynn Glauber was so much better... Bravo Lynn!
and finally this ballet is awful? the lifts on 110 &309 are just weird...they represent the sensual but this 'love' was about infatuation, PUPPY love of the young!? The one dimensional love of the young...when there is no sense of the complexity of the other, either in romance or sexually? This dance is a lot more appropiate for 'carmen'?
Didnt think so AT ALL. so many tender moments. Joyful.