Suzanne Farrell coaching MeditationAdditional title: MeditationAdditional title: Meditation (Choreographic work : Balanchine)
NamesBalanchine, George (Choreographer)Farrell, Suzanne, 1945- (Teacher)Farrell, Suzanne, 1945- (Interviewee)Jackson, George, 1931- (Interviewer)Holowchuk, Elisabeth (Dancer)Cook, Michael (Dancer)Sales, Glenn (Instrumentalist)Reynolds, Nancy, 1938- (Project director)Brooks, Virginia Loring (Editor)Hlinka, Nichol (Director)Otterson, William (Technical director)Padilla, Pedro (Videographer)Padilla, Pedro (Editor)Ratz, Ishai (Sound designer)New York City Ballet (Dancer)George Balanchine Foundation (Producer)George Balanchine Foundation (Donor)Tchaikovsky, Peter Ilich, 1840-1893 (Composer)
George Balanchine Foundation Interpreters Archive
Dates / OriginDate Issued: 2011Place: New York, N.Y.Publisher: George Balanchine Foundation
Table of ContentsCoaching session & Run-through with piano (51 min.) / coach, Suzanne Farrell ; dancers, Elisabeth Holowchuk and Michael Cook -- Run-through with violin recording (approximately 10 min.) / dancers, Elisabeth Holowchuk and Michael Cook -- Interview (23 min.) / interviewee, Suzanne Farrell ; interviewer, George Jackson.
Library locationsJerome Robbins Dance DivisionShelf locator: *MGZIDF 2555
TopicsFarrell, Suzanne, 1945-Balanchine, GeorgeTchaikovsky, Peter Ilich, 1840-1893. Souvenir dun lieu cher. Méditation; arr.un lieu cher. Méditation; arrBallet -- Study and teachingChoreographyPas de deuxMusic and dance
GenresFilmed danceFilmed interviewsInterviewsFilmed performances
NotesStatement of responsibility: the George Balanchine Foundation ; project director, Nancy Reynolds ; editor, Virginia Brooks ; associate director, Nichol Hlinka ; choreography, George Balanchine ; music, Peter Ilyitch Tschaikovsky ; [coaching by] Suzanne Farrell.Content: Title from opening video credits.Creation/production credits: Music, Peter Ilyitch Tschaikovsky (Meditation, Op. 42, no. 1, from Souvenir d'un Lieu Cher, three pieces for piano and violin, 1878, orchestrated by Alexander Glazounov) ; costumes, Karinska ; technical director, William Otterson ; camera, Pedro Padilla ; sound, Ishai Ratz ; boom operator, Erin B. Tinsley ; production and post production, Otterson Creative Media, Inc.; on-line editor, Pedro Padilla ; photographer, Fred Fehl.Performers: Pianist, Glenn Sales.Performers: Dancers, Elisabeth Holowchuk (soloist, The Suzanne Farrell Ballet) and Michael Cook (principal dancer, The Suzanne Farrell Ballet).Venue: Videotaped during rehearsal and interview at the Eisenhower studio, John F. Kennedy Center for the Performing Arts, Washington, D.C. on 2009 September 10-11.Original version: Original format: 1 Betacam ; 3/4 in.Acquisition: Gift; George Balanchine Foundation; 2013.Biographical/historical: Meditation premiered on December 10, 1963 by New York City Ballet at City Center of Music and Drama, New York, with Suzanne Farrell and Jacques d'Amboise.
Physical DescriptionVideocassetteExtent: 1 videocassette (Digital Betacam) (84 min.) : sound, color ; 1/2 in.
DescriptionSuzanne Farrell discusses George Balanchine's Meditation, which was the first ballet Balanchine created for Farrell; where she learned that this was happening; how did she discover what Meditation would be; how was she dressed for the first rehearsal; when did the costume dress come into the process; Jacques d'Amboise's original outfit for the opening night, and how it changed to a more contemporary costume after that performance; wearing her hair down for the first time on stage and how that affected her movement; the importance of the eyes in this work; how Farrell had trouble with the opening entrance; Balanchine leaving for Hamburg during the middle of the rehearsal process so didn't work on Meditation for several weeks at that point; how this piece has very detailed movement but not typical Balanchine steps; Farrell's book entitled, Holding onto the Air, refers to a comment Balanchine made to her during the choreographic process of the opening entrance; how learning and teaching the man's role has been an advantage for her; Balanchine giving the piece to her in 1965 and how he didn't want anyone else to perform it, so she didn't let other companies perform it until after Balanchine's death; how Farrell starts teaching this ballet; Balanchine wanting visual expressions to come out of the movement and music; and the bond that Balanchine and Farrell had because of how they listening to music in the same way.
Type of ResourceMoving image
IdentifiersNYPL catalog ID (B-number): b20244025Universal Unique Identifier (UUID): 71594250-3139-0132-bce4-3c075448cc4b
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