Word: baryshnikov
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Dates: during 1970-1979
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...Lead Singer Mick Jagger and Guitarist Ron Wood. Newspapers raised their collective eyebrows at the coincidence. After two days of hubbub, Margaret calmly appeared in public in the company of Princess Yasmin Khan, at whose apartment she was staying. The two women arrived at the ballet to watch Mikhail Baryshnikov dance. All the frenzy, said Margaret, was nonsense. Said she: "Look, I'm a married lady. I love my husband and I love music." Her New York trip, she added, was a vacation devoted to photography. Said Trudeau, back in Ottawa: "This has been planned for some time...
...housed at the Public Theater for all of its nearly three-year existence. This time the company danced to a real orchestra, playing in the pit, instead of to a solo piano or a tape. The stars were Christine Sarry, Feld's favorite ballerina, and Guest Artist Mikhail Baryshnikov...
...orchestrated by William Schuman. It bounced along with marchlike rhythms and even a saucy flamenco. Allusions to country and flag abounded in Thomas Skelton's starry light projections and Willa Kim's red, white and blue costumes. Pinching years into seconds required lightning transformations by Sarry and Baryshnikov. Pioneers became Indians, who eventually turned into Central Park joggers. More than ever, Feld's choreography demanded speed and lucidity. Darting here and there in prickly little pas phrased right on the music, Sarry would suddenly spin out in a phosphorescent series of turns. Then she and Baryshnikov...
...hand); outside Leningrad. Soloviev's exuberant grace and brilliant interpretation of classic roles won him fans not only in the U.S.S.R. but in the West, where he toured with Leningrad's Kirov Ballet. Although he lacked the passionate dynamism of Rudolf Nureyev or Mikhail Baryshnikov's transparent, effortless style, some critics believed that he was fully the equal of those famed Soviet emigres as a premier danseur...
With the exception of the Snowflakes' waltz, borrowed from Vassily Vainonen's Kirov production, Baryshnikov completely restaged The Nutcracker. His choreography is in a classical mold, swift and precise. There are overhead lifts of every variety, and many florid codas. In spirit, Baryshnikov echoes New York City Ballet's Jerome Robbins. Fluent lyrical lines are buoyed up by the current of the music. Like Robbins, too, he sometimes descends into Broadway kitsch; a clash of cymbals in the orchestra pit invariably signaled a showy lift onstage. The audience adored...