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But Farrell could not stay away from her native land for long, and her 1975 return to NYCB was triumphal. Jerome Robbins made his Piano Concerto in G for her, and Balanchine showered her with the torrid, uncharacteristically theatrical Tzigane as well as with Union Jack, Chaconne, Vienna Waltzes, Walpurgisnacht, the revised Mozartiana and the ineffably lovely Dabisdbuendlertaenze. Balanchine's death in 1983 was the end of an era, but not the end of Farrell's dancing. She was a young, breezy Sugar Plum Fairy in Balanchine's Nutcracker marking the company's 1,000th performance of the Christmas classic. Even after a hip-replacement operation, she returned in 1987 with renewed élan and refinement to Vienna Waltzes. Farrell continued Balanchine's living legacy, constantly challenging herself and her art to ever-higher standards, until her retirement from the stage in 1989--with the long and lovely solo Balanchine made for her in Vienna Waltzes. Her performances with the New York City Ballet numbered more than 2,000. Her influence was immeasurable. Her work, however, was far from over. In 1993, the Kennedy Center invited Farrell to give a series of master classes, unassumingly billed as Exploring Ballet with Suzanne Farrell, giving advanced students the chance to study with this unique artist. The intensive program, now in its 12th season, has grown into a model of arts education for America's young people. For the Kennedy Center's 25th Anniversary in 1995, Farrell gathered a troupe of national and international dancers for an unprecedented gala week of Balanchine in the Opera House. Then, taking her cue from her formidable mentors, Farrell again collaborated with the Kennedy Center for Suzanne Farrell Stages the Masters of the 20th Century. This celebration of the genius of Balanchine, Bejart and Robbins took Farrell's fledgling ballet troupe from the nation's capital to an East Coast tour for five weeks. Success, acclaim and genuine warmth from audiences everywhere followed, and by 2000 The Suzanne Farrell Ballet became a full-fledged company at the Kennedy Center, making its debut during the Balanchine Celebration. Here was Balanchine for the 21st Century, a legacy alive and thrilling. Here was Farrell's gift. Her work, however, was far from over. In 1993, the Kennedy Center invited Farrell to give a series of master classes, unassumingly billed as Exploring Ballet with Suzanne Farrell, giving advanced students the chance to study with this unique artist. The intensive program, now in its 12th season, has grown into a model of arts education for America's young people. For the Kennedy Center's 25th Anniversary in 1995, Farrell gathered a troupe of national and international dancers for an unprecedented gala week of Balanchine in the Opera House. Then, taking her cue from her formidable mentors, Farrell again collaborated with the Kennedy Center for Suzanne Farrell Stages the Masters of the 20th Century. This celebration of the genius of Balanchine, Bejart and Robbins took Farrell's fledgling ballet troupe from the nation's capital to an East Coast tour for five weeks. Success, acclaim and genuine warmth from audiences everywhere followed, and by 2000 The Suzanne Farrell Ballet became a full-fledged company at the Kennedy Center, making its debut during the Balanchine Celebration. Here was Balanchine for the 21st Century, a legacy alive and thrilling. Here was Farrell's gift. |
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 Suzanne Farrell has worked for the Balanchine Trust, staged Balanchine ballets from America to Russia, served on the New York State Council for the Arts and the Princess Grace Foundation. Her 1990 autobiography Holding On to the Air, co-written with fellow dancer Toni Bentley and reissued in 2002, remains a font of wisdom for dance lovers. Anne Belle and Deborah Dickson's film of her life, Suzanne Farrell: Elusive Muse, was nominated for an Academy Award in 1997. Farrell has been a tenured professor of dance at Florida State University since 2000, and in 2003 she received the National Medal of the Arts. "A dancer's life on stage is short," Farrell wrote. "Teaching extends my dance life. Every time I teach--whether students or my company--I inwardly giggle as I hear George's voice long ago: 'You will all teach one day!'" PAGE: 1 | 2 |
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