Clifford on Suzanne Farrell and NYCB Future, and her variation from Balanchine's DON QUIXOTE

Suzanne Farrell was unarguably Balanchine's last great “Muse” and seeing them work together both before she left the company, and after her return, and watching her stage his ballets for the Paris Opera Ballet and other co’s, it’s clear she should have a seat at the table with the new direction in some capacity...that is if the company wants to continue its tenuous hold on its hegemony to Balanchine style/technique/authenticity. I still maintain it’s the Balanchine ballets that should continue to hold their place of prominence, and sets the bar for the dancers, as well as this company distinguishing itself from all other companies. It’s very hard to cheat, technically speaking, in a Balanchine ballet...but unfortunately it does, and can, happen if one isn’t careful. Hubris is always the danger with a large organization.

Видео Clifford on Suzanne Farrell and NYCB Future, and her variation from Balanchine's DON QUIXOTE канала John Clifford