(Balanchine wasn’t either—I can remember hearing him mutter about this dancer, “She has no fire!,” and that dancer, “She has bad taste!,” and yet another dancer, “I try everything with this one, but she just can’t dance!”) What I think he believes about the larger issues is this: that his essential job has been to preserve the New York City Ballet as an institution through a transition period that was bound to be fraught with anxiety and uncertainty; to keep it going in new directions; to find a new audience; and to preserve the Balanchine repertory without turning the company into a museum. Like ink in water it blackens, and then the water stays clear and the blackness whirls. “How old?” asked Stravinsky. That’s why he’s a great teacher of people. Balanchine stayed with his wife in Denmark until she was well enough to be brought home, and didn’t return to the company on a regular basis for a year—a time of grief and uncertainty for everyone. With Balanchine, though, there was no relationship, nor could I imagine one or want one. But no one came to Joe Duell’s rescue, and the combination of the terrible death of so popular a colleague and bitterness at the idea that he might have been saved affects people to this day. Company class was dominated by whatever aspect of her technique he thought needed working on. Even apart from its immense merits, Apollo has a special and profound resonance for all who love dance, for it is an homage to dance itself: the newborn Apollo chooses as his partner the muse of dance, Terpsichore, rather than Calliope, muse of poetry, or Polyhymnia, muse of mime. And no doubt he finds comfort in New York’s daily reviewers, who tend to buttress his sense that things are far better than his “enemies” assert. Seven years after Agon came another kind of triumph. Deeply embedded in his soul was the need to pursue the unattainable—the evidence is in ballet after ballet, from La Sonnambula to Don Quixote. Balanchine became ill with tuberculosis and spent months undergoing a cure in the French Alps—he was left with only one functioning lung and a lifelong sense that he was living on borrowed time. But Balanchine’s passion for Farrell and her love for him were apparently not physically consummated. Martins turned to two young girls in the company, Margaret Tracey and Wendy Whelan. B.—George—hardly cared, except from a musical point of view. That critics such as Croce, Joan Acocella in The Wall Street Journal, Tobi Tobias in New York magazine, Laura Jacobs in The Atlantic Monthly, Laura Shapiro in Newsweek, the late Dale Harris, and others have been sharply critical of his company when once they celebrated its greatness he takes as a personal attack.

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