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...Peter Martins, 36, is as "a young god." He is blond, handsome and ruggedly virile, with the physique of a football tight end (6 ft. 2 in., 180 Ibs.). His dancing is strong and clear, the picture of disciplined power and instinctive authority. Yet unlike his great contemporaries Mikhail Baryshnikov and Rudolf Nureyev, Martins is not a magnet for the media. His impact has been almost entirely through his role as leading male dancer with the New York City Ballet, a company where the choreography rather than the performer is designed to star...

Author: /time Magazine | Title: Dance: Peter Martins' Red Hot Winter | 12/20/1982 | See Source »

...show-biz royalty was saluting show-biz royalty on opening night as a cavalcade of limos rolled up to the marquee of the Winter Garden, disgorging the likes of Bianca Jagger, Mikhail Baryshnikov, Barbara Walters, Mary Tyler Moore, Placido Domingo and Joanne Woodward. Among them was the graciously articulate poet's widow, Valerie Eliot, the artistic patroness of the production. After the performance, the whole glittering assemblage adjourned to the Waldorf-Astoria for a celebratory supper. Buoyed on the crest of the show's commercial prospects, the festivities were not dampened by a wave of initial reviews that...

Author: /time Magazine | Title: Theater: O That Anthropomorphical Rag | 10/18/1982 | See Source »

...Rosalynn having in the White House an extraordinarily comprehensive series of public events and entertainment. Yet the press sometimes criticized her. If we had Horowitz, Baryshnikov, Beverly Sills and also had Willie Nelson, Rosalynn was stigmatized as some sort of rube who did not really understand the glarn-our of Washington. That aggravated me worse than anything...

Author: /time Magazine | Title: Keeping Faith | 10/11/1982 | See Source »

...witty tribute to groupies called "Ballet Alert," about the New York telephone service that tells fans of last-minute program and cast switches. The service, run by a voluble woman named Carmel Capehart, depends on information from inner circles of ballet lovers. Capehart's biggest scoop: "Baryshnikov's debut in Union Jack [in 1979 with N.Y.C.B.] He did it twice in one day without telling anybody. If we hadn't caught wind of it, nobody would have been there but the audience...

Author: /time Magazine | Title: Books: Turning Words into Motion | 7/26/1982 | See Source »

...book has heroes and heroines. The genius of Balanchine- especially his clarity and sheer intelligibility- provides Croce with a critical standard. Baryshnikov is another hero. He too is a wanderer through the book, but in his case the bits and pieces form a full portrait. The principal heroine is Suzanne Farrell, whose career at City Ballet Croce has followed almost step by step. In her rich, precise descriptions of Farrell, she shows the unguarded enthusiasm that must balance measured judgment in a critic. Here, for example, is her account of a 1978 Farrell performance in Balanchine's Chaconne...

Author: /time Magazine | Title: Books: Turning Words into Motion | 7/26/1982 | See Source »

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