{"id":102636,"date":"2016-09-14T16:20:48","date_gmt":"2016-09-14T20:20:48","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=102636"},"modified":"2016-09-15T10:38:13","modified_gmt":"2016-09-15T14:38:13","slug":"mystique-in-spades","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/09\/14\/mystique-in-spades\/","title":{"rendered":"Mystique in Spades"},"content":{"rendered":"

Suzanne Farrell revives a rare\u00a0Balanchine\u00a0ballet.\u00a0<\/em><\/p>\n

\"image-1\"<\/a>

Balanchine rehearsing the original production of Gounod<\/em>\u00a0with Maria Tallchief.<\/p><\/div><\/center><\/p>\n

\u201cMake the tempo be your pulse.\u201d This remark by Suzanne Farrell\u2014at a lecture\/demo this past Sunday at New York University\u2019s Skirball Center for the Performing Arts\u2014was both an instruction and a philosophy. Farrell, who was George Balanchine\u2019s last great muse and is now, among other things, the artistic director of the Suzanne Farrell Ballet, was there to stage an early rehearsal of one movement from a Balanchine work she\u2019s reviving this fall and to answer questions about bringing lost works back into repertory.<\/p>\n

Gounod Symphony<\/em> was not lost, exactly. Made during the Wanderjahr period of late 1957 and early 1958, when Balanchine returned to his company after having left to nurse his polio-stricken wife and prima ballerina, Tanaquil LeClercq, it has languished compared to the other masterpieces he spun out in such short order: Agon<\/em>, Square Dance<\/em>, Stars and Stripes<\/em>. It fell out of repertory, is rarely performed, and never caught on as an audience favorite, although critics have always been captivated and intrigued. What relation does it bear to its three magnificent counterparts, all so modern, so innovative, so American? What relation to Bizet<\/em>, as it\u2019s nicknamed, Balanchine\u2019s eternally popular Symphony in C of 1947, his other large-scale tribute to Paris Opera Ballet? What to his other \u201cFrench\u201d ballets? Was it beyond the company\u2019s performance abilities when it was made? And for audiences, not showy enough? Too restrained, raffin\u00e9e? Whatever it hasn\u2019t, Gounod<\/em>\u00a0certainly has mystique in spades.\u00a0<\/p>\n

Farrell intends to mount three of the original ballet\u2019s four movements. \u201cBallets are memorable, not memories,\u201d she said, a remark greeted with a universal murmur of appreciation. This will be her version\u2014not set in a garden, as it has been\u2014with new costumes, reconstructed with the help of a silent video of an early performance originally made to help the Paris Opera Ballet restage the ballet a year after its creation.<\/p>\n

Sunday\u2019s showing was of the second movement, less than six minutes long and of remarkable sophistication. The two lead dancers had been rehearsing since Wednesday, the eight-woman corps just since Friday. The choreography\u2019s measured, aristocratic air, a clear Baroque inheritance, is mellowed by a heavily rosaceous Second Empire perfume. Eight women in pairs dance a fugue in the middle of the movement, and at one magical point they pass a wave across the back of the stage, as if their arms were being stirred by a humid evening breeze. The ballerina is so haughty and aloof that she must reside on the Rue du Faubourg Saint-Honor\u00e9. Suddenly, at the end, her cavalier ducks beneath one of her extended arms, she collapses over his shoulder, and he carries her off: a ravishment in every sense.<\/p>\n

Farrell had fun coaching in public. About a little sequence the ballerina does on her own, she said, \u201cDo it because<\/em> of him, not for<\/em> him.\u201d She instructed the corps to reach over their heads with their arms from left to right as \u201cfrom sunrise to sunset, to make the biggest possible movement, and on daylight savings time.\u201d These pleasing notes seemed exactly right.<\/p>\n

Farrell doesn\u2019t like to rehearse with mirrors because \u201cyou only see yourself from one angle, and there\u2019s only one person in the audience, maybe, who will see you from that angle.\u201d She also believes every performance should be different\u2014that\u2019s what makes it live. \u201cI never knew what I would do when I got out there because I hadn\u2019t lived that moment yet.\u201d She\u2019s just begun to stage Gounod<\/em>, and was reluctant to say much in the way of particulars\u2014she hasn\u2019t lived that moment yet. But soon she will. And luckily, so will we.<\/p>\n

\u00a0J<\/em>eff Seroy is senior vice president at Farrar, Straus and Giroux and one of the<\/i>\u00a0Daily\u2019s correspondents<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Suzanne Farrell revives a rare\u00a0Balanchine\u00a0ballet.\u00a0 \u201cMake the tempo be your pulse.\u201d This remark by Suzanne Farrell\u2014at a lecture\/demo this past Sunday at New York University\u2019s Skirball Center for the Performing Arts\u2014was both an instruction and a philosophy. Farrell, who was George Balanchine\u2019s last great muse and is now, among other things, the artistic director of […]<\/p>\n","protected":false},"author":811,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[22700],"tags":[1942,55,471,24525,24262,7337,1758,14549,24527,18092,24524,24526],"class_list":["post-102636","post","type-post","status-publish","format-standard","hentry","category-our-correspondents","tag-ballet","tag-dance","tag-george-balanchine","tag-gounod-symphony","tag-muse","tag-nyc","tag-performance","tag-performing-arts","tag-skirball-center-for-the-arts","tag-suzanne-farrell","tag-symphony-in-c","tag-tanaquil-leclerc"],"acf":[],"yoast_head":"\nSuzanne Farrell Revives a Rare Balanchine Ballet<\/title>\n<meta name=\"description\" content=\"\u201cMake the tempo be your pulse.\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, 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