The moment the curtain rose on that first ballet, I knew something wonderful and new had come into my life. I can still see the first scene. The ballet was Divertimento No. 15.
Robert Moses wasn't elected to anything. We're taught that in a democracy power comes from being elected. He had more power than anyone, and he held it for 48 years.
Sometimes during a ballet I'll look around and see all these rows of intent faces, concentrating on this beautiful thing up on the stage.
The ballet embodies the notes of music. And sometimes you almost feel like you can see the notes dance up there on the stage.
The Senate is an unknowing world.
You come in off the street, through the doors of the theater. You sit down. The lights go down and the curtain goes up. And you're in another world.
The New York City Ballet is obviously speaking to a whole new generation and bringing it the same wonder and beauty that it brought previous generations.
I deliberately made an effort not to become an expert on the ballet.
As you get older, you sometimes feel that it's harder and harder to get something new and wonderful to come into your life.
At the ballet, you really feel like you're in the presence of something outside the rest of your life. Higher than the rest of your life.
Ballet is sort of a mystery to me. And I don't want to unravel that mystery.
Everyone believed the Senate could not really be led. It used to take so long to rise up through seniority.
Everything seems to be going faster and faster. It's really harder to create something that endures. The New York City Ballet has succeeded in doing that.
I never wanted to do biography just to tell the life of a famous man. I always wanted to use the life of a man to examine political power, because democracy shapes our lives.
I never went to a ballet until I was 45 years old. I don't know why.