100 years later, Balanchine thrives

In this centennial of the birth of George Balanchine, there’s no shortage of news about celebrations of his choreographic genius -- or the fortunes of New York City Ballet, the company he co-founded in 1948. Last week alone, the Saratoga Arts Center bowed to financial pressures and ended City Ballet’s annual three-week residency there, a relationship that began in 1966. City Ballet artistic director Peter Martins called this cost-cutting measure “disheartening.”

Almost simultaneously, Symphony Space, a Manhattan institution that annually stages free 12-hour marathons called “Wall to Wall” events, announced that it will devote the 2004 edition to Balanchine. On March 20, dancers from at least three companies will perform Balanchine choreography, sharing the occasion with film and video screenings, panel discussions, readings and coaching sessions. This will be the first time in 26 years that this normally music-oriented series has honored a choreographer.

Meanwhile, former City Ballet principal John Clifford is helping extend the Balanchine legacy by teaching at the Bolshoi Ballet in Moscow -- a rare honor for a foreigner. He’ll stay there through the company performances of Balanchine’s “Agon,” “Tchaikovsky Pas de Deux” and “Tarantella” on March 12, after which he moves to the Kirov Ballet to stage “La Valse” and “Four Temperaments.”

Back in the 1980s, Clifford played a Russian ballet star none too convincingly in an episode of a short-lived TV series titled “Glitter.” Moreover, in the same decade his touring company, Ballet of Los Angeles, was advertised as if it were a Russian troupe for at least one Northern California engagement. Now, at last, his links to Russian classicism are genuine -- and valuable.

-- Lewis Segal