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When Flemming Flindt was named director of the Royal Danish Ballet a year ago, the ballet world was caught flatfooted. At 29, he was not only one of the youngest dancers ever to head a major ballet company, but his skills as a choreographer were largely unknown and untested. In the U.S., audiences knew him mainly as the fellow who had choreographed a blatantly erotic sequence for the Metropolitan Opera's Faust...

Author: /time Magazine | Title: Dance: Royal Flash | 2/24/1967 | See Source »

Breadwinner. Vivien's physical domination of the stage comes from matchless body control, the result of ballet training, which she began at the age of three with her mother, a dance teacher. She had no drama coaching except for elocution lessons to correct her Manchester accent. She met Pinter, who himself started as an actor, while touring the provinces with a Shakespearean troupe. Their marriage in 1956 gave Pinter a sure breadwinner in the house and enabled him to try playwriting. Today they own a splendid five-story Georgian town house overlooking Regent's Park in London...

Author: /time Magazine | Title: Actresses: Mrs. Pinter | 2/10/1967 | See Source »

BELL TELEPHONE HOUR (NBC. 6:30-7:30 p.m.). "The Sounds and Sights of San Francisco" examines the musical life of the city. Appearing are Opera Director Kurt Herbert Adler, Pianists Peggy and Milton Salkind and Patricia Michaelian, the John Handy Quintet, Ballet Director Lew Christensen, Ballerina Lynda Meyer, Symphony Conductor Josef Krips and a folk-rock group, the Jefferson Airplane...

Author: /time Magazine | Title: Television: Jan. 27, 1967 | 1/27/1967 | See Source »

Stravinsky's Petrouchka comes from a period in the composer's career during which he stressed Russian themes and styles in his music. This ballet suite uses the orchestra in some unique ways: Stravinsky occasionally makes the orchestra a vehicle for visual as well as aural effects: when the whole orchestra makes a tremolo, the players seem to shake together...

Author: By Stephen Hart, | Title: HRO-Glee Club-Choral Society | 12/19/1966 | See Source »

...especially the wierd waltz of the third scene, displayed its particular character. The winds and violins played especially well, while all the strings stayed in tune and produced a rich but transparent tone. My only disappointment was that the music was done in concert rather than as a ballet...

Author: By Stephen Hart, | Title: HRO-Glee Club-Choral Society | 12/19/1966 | See Source »

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