Scope and arrangement
The Suzanne Farrell Collection, spanning from 1880 to 2019, is arranged into seven series that comprehensively document her ballet career. The collection includes press materials, photographs by notable artists, correspondence with prominent figures, personal writings, awards, artifacts, and audiovisual recordings. These materials collectively capture key moments, personal insights, and Farrell's contributions to the world of dance.
The Suzanne Farrell collection is arranged in seven series:
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1920-2019
The Press and Publicity series, dating from 1920 to 2019, offers comprehensive documentation of Suzanne Farrell's career and contributions to the ballet world through print media. This series is divided into several categories, with each section arranged chronologically: clippings; materials related to the Elusive Muse documentary; posters; programs; publications; and scrapbooks.
The clippings encompass newspaper and magazine articles covering Farrell's career and the general dance community. Files address the 1962 New York City Ballet European tour; the publication Balanchine's Ballerinas: Conversations with the Muses; George Balanchine obituaries; Chicago City Ballet productions; and Farrell's retirement from the New York City Ballet in 1989. Other files include documentation on the Cincinnati Ballet's 1992 tribute to Balanchine and "Suzanne Farrell Stages the Masters of the 20th Century" at the Kennedy Center from 1999 to 2000.
The Elusive Muse files contain items related to the promotion and reception of the documentary by filmmaker Anne Belle, which highlights Farrell's long career and influence. Included are promotional postcards, programs for benefit dinners, letters from friends and fans, correspondence with the filmmaker, press clippings, and a publicity packet.
The posters are from various ballet productions and events. Highlights include "Hommage à George Balanchine" at the Paris Opera, Ballet of the Twentieth Century posters, Kennedy Center ballet productions, and posters from European and Russian productions. Other notable items include a signed poster from artist Robert Rauschenberg, a poster for Farrell's autobiography Holding Onto the Air, and a signed poster from Hélène Rochas featuring an image of Farrell for a Madame Rochas advertisement.
The programs are from various ballet performances, with some representing family performances involving Farrell's nieces. There are individual files on the 1965 New York City Ballet tour and programs from Farrell's time dancing with Maurice Béjart's company, Ballet of the Twentieth Century, primarily from 1971 to 1973. Also included are programs Farrell collected out of personal interest or as an event attendee.
A wide range of publications featuring Farrell are present. These include calendars, magazines, books, serials, newsletters, and newspapers. Noteworthy items include National Dance Week commemorative stamps from 1978, a Madame Rochas advertisement from 1981, School of American Ballet newsletters, and a special publication commemorating the Suzanne Farrell Ballet. It also includes editions of Ballet Review, Dance Magazine, Vanity Fair, Vogue, Ballet News, and various international publications such as Ballett Oggi and Ballet International. Other significant publications are The New Yorker, New York Magazine, The New Criterion, Time, Newsweek, and The Washington Post.
Also held here are scrapbooks spanning from the 1950s to 1985, including a woven newspaper scrapbook from the 1950s. These scrapbooks contain Farrell's own writings and thoughts, collected ephemera, photographs, letters, notes, and clippings, providing a personal and intimate glimpse into her experiences making them invaluable resources for understanding her impact on the dance world.
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1940-2017
The Photographs series, spanning from 1940 to 2017, provides an extensive record of Farrell's personal life and ballet career. This series includes 35mm slides, negatives and prints in both black and white and color, large format negatives, and albums. The photographs are organized chronologically within thematic categories, except for the substanial New York City Ballet section, which is arranged alphabetically by production title.
Among the personal photographs are images of Farrell's early life and childhood dance and theater performances, pets, family, and friends. Also included are pictures from her move to New York City to study at the School of American Ballet. Of particular significance are photographs showing Farrell and George Balanchine outside the studio, enjoying holidays together. These photographs also capture Farrell's marriage to Paul Mejia, years abroad in Belgium, their home at Cedar Islands in upstate New York, and further travels around the world.
The New York City Ballet photographs depict productions, tours, and portraits, as well as many images of George Balanchine and fellow dancers, including her frequent partners Peter Martins, Arthur Mitchell, Edward Villella, and Jacques d'Amboise. The photographs thoroughly depict Farrell's career with the company, spanning from her earliest performances in the 1960s to her retirement in 1989. Notably, they include extensive documentation of Farrell's role as Dulcinea in Don Quixote from 1965, a role in which Balanchine created specifically for her.
The series also represents Farrell's work with Maurice Béjart's Ballet of the Twentieth Century and other ballet companies, such as the San Francisco Ballet, Chicago City Ballet, and Cincinnati Ballet.
The portraits date from the 1960s through the 2000s and include such noted photographers as Martha Swope, Cecil Beaton, Annie Leibovitz, Carolyn George, Paul Kolnik, Fred Fehl, Max Waldman, Francesco Scavullo, Elliot Erwitt, Arthur Elgort, Costas, Miki Davis, Herbert Migdoll, and Jack Mitchell. Also included are advertisements for Danskin, Nina Ricci, and Rochas.
Photographs detailing Farrell's numerous public appearances include the Kennedy Center Honors, official White House visits, various benefits, award ceremonies, and receptions.
Finally, there are images depicting Farrell's teaching efforts including those at the Kennedy Center, the George Balanchine Foundation, and Exploring Ballet with Suzanne Farrell, a seasonal intensive course for teens.
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1950-2019
The Correspondence series, dating from 1950 to 2019, is arranged chronologically and features written correspondence capturing both personal and professional communications from a wide variety of correspondents.
Individual files within the series hold birthday and holiday cards, condolence letters for George Balanchine, correspondence related to Farrell's retirement in 1989, responses to Holding On to the Air, materials on the A Midsummer Night's Dream book, documents from Robert Ficker's funeral and memorial, and condolence cards for Donna Holly, Farrell's mother. The Exploring Ballet with Suzanne Farrell file includes a multitude of letters and notes from former students given to her at the conclusion of each summer intensive course.
Notable correspondents in the collection include Maurice Chevalier, Alexandra Danilova, Robert Gottlieb of the New Yorker, Peter Martins, Jerome Robbins, and Susan Sontag. The series also holds files of postcards and letters Suzanne Farrell sent to her family, including her father, aunt, grandmother, and mother, while touring abroad.
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1950-2009
Series IV, spanning from 1950 to 2009, focuses on Suzanne Farrell's writings and reflections on her dance career and personal life. This series includes dance notations, scores, scripts, diaries, autobiographical material, speeches, and miscellaneous writings.
The Dance Notations, Scores, and Scripts feature notations from New York City Ballet ballets such as Agon, Chaconne, Slaughter on Tenth Ave, La Sonnambula, Scotch Symphony, Serenade, Sonate, and Variations, as well as the Suzanne Farrell Ballet production of Don Quixote. The scores include Divertimento, Movements for Piano and Orchestra, Pithoprakta, Apollo, and Danses Concertantes. The scripts cover productions such as Six Who Pass While the Lentils Boil, Sir David Wears a Crown, and I Married an Angel.
The Diaries contains Farrell's personal reflections and anecdotes from her time at the School of American Ballet and her early years in New York. She refers to her diary affectionately as "Diana," named after ballerina Diana Adams.
The Holding On to the Air: An Autobiography files include a party invitation for a dinner honoring Farrell, correspondence related to the book, jacket mockups, and photo permissions. These permissions were secured through correspondence between the Maxine Groffsky Literary Agency and various photographers.
The Speeches comprise writings for events, at which Farrell spoke, such as a benefit for the School of American Ballet honoring Gene Kelly, the Arthritis Foundation, a farewell for Lawrence Wilker of the Kennedy Center, the New York State Council on the Arts, Jacques D'Amboise's Kennedy Center Award, the American-Irish Historical Society, an event honoring W. McNeil Lowry at the Ford Foundation, and an acceptance speech for the Presidential Medal of Freedom awarded to George Balanchine.
Miscellaneous writings feature a manuscript for The Balanchine Couple by Suzanne Farrell, an interview with Peter Martins and Leslie Stahl, and writings on Johann Strauss.
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1959-2015
The Awards and Honorary Degrees series, spanning from 1959 to 2015, highlights Farrell's achievements and impact on the dance world. The series is arranged chronologically and holds certificates, medals, and diplomas, showcasing the recognition she has received throughout her career. Honorary degrees from Georgetown University, Fordham University, Yale University, Harvard University, Adelphi University, the University of Michigan, and the Juilliard School are also present.
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1880-2014
The Art and Artifacts series, spanning from 1880 to 1994, features a diverse range of objects that address Suzanne Farrell's influence, relationships, and personal interests.
This series includes artwork by individuals such as Rouben Ter-Arutunian and Ben Benson, featuring costume designs for Who Cares?, sculptures of Farrell, and a handmade figurine depicting her in Mozartiana.
The artifacts encompass antique Eastern European dolls, commemorative souvenir medals, a small tea saucer gifted by a student, and other items of personal significance.
The textiles showcase costumes, including the gown Farrell wore to receive the Kennedy Center Honors, a costume from Sophisticated Lady, scarves which Farrell frequently wore to do warm-ups in, and various traditional headwear. Noteworthy items include a pair of pink satin ballet slippers signed by Farrell, a white ballet slipper with a sash inscribed "To my George, love Suzanne," a cast metal baby shoe, and a white leather baby bootie.
Additionally, religious items such as a childhood prayer book and a framed Russian Orthodox icon reflect the importance of religion and spirituality in Farrell's life. Many of the Russian Orthodox ornaments and objects were given to her from George Balanchine.
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1942-2006
The Audio and Moving Image Recordings series, spanning from 1942 to 2006, offers a diverse array of audiovisual content that provides a thorough perspective of Suzanne Farrell's personal life and professional dance career. The recordings are organized chronologically in thematic categories, except for the Performances, which is arranged alphabetically by title.
The Home Movies capture Farrell's early years, featuring films of her sisters and family engaged in recreational activities and dance recitals. Also included are recordings of personal milestones, such as her 1969 wedding to Paul Mejia and her sister Beverly's wedding a few months later.
The Interviews and Documentaries offers insights into Farrell's career and connection to George Balanchine and the New York City Ballet. Highlights include audio interviews conducted by Toni Bentley, co-author of Farrell's memoir Holding On to the Air, which served as source material for the book and offer invaluable insights into Farrell's life and thoughts. Many of the film and video recordings are episodes from televised docuseries like PBS Dance in America, Literatti in the Arts, and 20th Century Masters. Some recordings also feature live interviews with Farrell, including Conversations About Balanchine with Suzanne Farrell and David Daniel at the New York Public Library for the Performing Arts and Pillow Talk: Suzanne Farrell's Balanchine Lineage at the Jacob's Pillow Dance Festival.
The Performances primarily documents Farrell's roles with the New York City Ballet, as well as productions from Ballet of the Twentieth Century, and her 2005 staging of Balanchine's Don Quixote.
The Special Events recordings feature award ceremonies and public appearances, including Farrell's speech at the 1988 Yale Commencement and her participation in various Kennedy Center Honors programs.
The Teaching recordings showcase Farrell as an educator, working with a range of dancers, from teen students in her Exploring Ballet with Suzanne Farrell program to principal dancers of the New York City Ballet.
The Television Appearances recordings illustrate her influence in popular culture, featuring guest spots on To Tell The Truth, Sesame Street, and the sitcom Love, Sidney.
Finally, music includes a signed and dedicated record of Igor Stravinsky Conducts 1961, a personal memento from the composer to Farrell.