Word: ballets
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FALLA: LOVE, THE MAGICIAN AND THE THREE-CORNERED HAT (Deutsche Grammophon). Loren Maazel, conducting the Berlin Radio Symphony Orchestra, streaks through two famous ballet suites with much of Falla's own theatrical genius, and Grace Bumbry, as a girl chased by the ghost of her dead gypsy lover, gives an exuberant, shoes-off performance in her brief role. All hands seem to have caught the spell of old Andalusia...
...devoted to the Napoleonic wars. He visited the World War II monument at Piskarevskoe cemetery, where half a million victims of the 900-day Nazi siege of Leningrad lie buried ("This is the agenda of agony," said De Gaulle). He toured a huge turbine plant, and attended his third ballet in a week-without yawning...
Facts & Patents. Things went a bit better that evening at the Bolshoi, where De Gaulle received a standing ovation both from Muscovites and U.S. Ambassador Foy Kohler. The ballet was Romeo and Juliet, and De Gaulle, who was seated beside Klavdia Kosygin (Mme. de Gaulle's hostess throughout the week), loved every minute of it, especially the dueling scenes. He was also happy the next day, when the political talks took a more favorable turn. This time the main interlocutor was Economist Kosygin, who apologized for Soviet failure to deliver on 1964's Franco-Russian trade agreements. Said...
...said Rudolf Nureyev, like "graduating from finishing school," a chance "to show what I learned about the West, and what I can do with it choreographically." Last week at the Vienna State Opera, Nureyev presented Tancredi, his first try at choreographing a modern ballet. No pretty picture princes, no fluttering ballerinas in cupid wings this time. He turned the old love-triangle theme into an exploration of neurosis from womb to tomb, into a balletic adventure that was, as one critic put it, "for the Jung in heart...
Future Step. The choreography for the 34-minute ballet was also slightly schizophrenic, a mixture rather than a melding of styles in which classical techniques alternated with the swivel and sway of modern dance. The action was fluent and quick moving. It spilled out in a stream of consciousness that followed no clearly defined course but swirled into moments of great beauty. What Nureyev's flights of fancy lacked was strong musical accompaniment. Hans Werner Henze's complex score was dense without being deep, an anemic, meandering work that undercut rather than underscored the choreography. Nureyev was forced...