George Balanchine
At the June
1982 commencement ceremonies, Northwestern University gave Maria Tallchief an
honorary degree, Doctor of Fine Arts, to be specific. I was a dean then at NU
and on stage for those ceremonies. That gave me the opportunity to walk over to
where Ms. Tallchief was sitting and to tell her how much I had enjoyed her
dancing—in effect thirty years earlier and more. She had been a star with the
New York City Ballet which I had attended fairly frequently when they performed
in their first New York home, the City Center of Music and Drama—formerly the
Mecca Temple. While I had seen a “classical” ballet now and then without
getting hooked, I very much took to the concentrated (a feeble one-word
descriptor) choreography of Balanchine. I went to many performances, later with
Fannia and Douglas Davis, a college friend, a knowledgeable balletomane. That
is when I saw Maria Tallchief dance.
To my knowledge,
I never saw Balanchine himself, though he might well have stood near the stage
during performances of his ballets. Of those, there were a great many! Gottlieb
lists 92 of them,* many of them truly great—more than justifying a claim I have
often made, that Picasso, Stravinsky, and Balanchine were the three brightest
stars of 20th century art.
Of
these ballets I of course saw a couple of handfuls over the few New York years
when we were regulars. There are a some few for which I can even now conjure up
bits of moving pictures; among others, the Prodigal
Son, Concerto Barocco, and the Symphony in C, improbably set to Bizet’s
teenage opus. Especially vivid in my mind is that work’s second movement, with
the long legs of Tanaquil LeClercq moving back and forth between two wide circles of arms.
This was before the tragic fate that had polio permanently prevent her from
dancing.
After
we left New York, no more Balanchine ballets, not counting some seen on the computer.
My last visit to see the New York City Ballet live, now at the Koch Theater
with its great Nadelman sculpture, was the day after my New York City wedding
to Gissa. My old friend Carl Hovde was our witness and the donor of two good
seats to the ballet. I am ashamed to say that I do not remember that evening’s
program.
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*Robert Gottlieb, George Balanchine: The Ballet Maker (Harper-Collins e-books).