Word: beriosova
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Dates: during 1950-1959
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...convincing demonstration of the kind of high-caliber reserve talent the Royal Ballet can call on when it needs to. Margot Fonteyn's enchainement (linked movements) looked as poised and effortless as everybody expected; there was also some lithe, beautifully filigreed dancing by Rowena Jackson, Nadia Nerina, Svetlana Beriosova. Solitaire, a less panoplied affair, unfolded the story of a girl who does not belong, and tries to break into the games of "the insiders." Anya Linden, in the lead, expressed her loneliness in a series of crabbed progressions that contrasted harshly and movingly with the tossing gusto...
...Beast, plus snatches of court intrigue reminiscent of King Lear viewed through the wrong end of the telescope. The stage was roiled by gaudy dancers, the sets were feverish with color, but despite all that the ballet did not get across its tale of a rejected princess (Ballerina Beriosova) and a prince who has been transformed into a salamander, Composer Britten's dry, percussive, deftly syncopated score never provided the needed emotional lift...
...London's Covent Garden last week, the curtain opened on an intriguing pair of firsts: the first all-British full-length ballet, for which Benjamin Britten had composed his first ballet score. It was written especially for Ballerina Svetlana Beriosova, rising young (23) star of the Sadler's Wells Ballet...
...sense, the casting of Ballerina Beriosova as the female lead was more interesting than either plot or music, for it was further indication that she is the heiress presumptive to Margot Fonteyn as the company's prima ballerina. Born in Lithuania, Svetlana trained in New York and Paris, joined Sadler's Wells in 1950. With the retirement of Dancer Violetta Elvin (to marry for the third time), Beriosova stepped into more and more of Fonteyn's roles. More enthusiastically than ever, the critics applauded her lithe, leggy build, her cool, fluid movements, which are reminiscent...
Sadler's Wells revealed two other pleasing new productions last week: ¶ Choreographer Ashton's Rinaldo and Armida, in which a gallant (Somes) pursues an enchanted girl (Beriosova), braving the hazards presented by a misty forest and a jealous witch (at one point she lays him low with an osteopath's neck-snap). The couple goes into some fairly passionate courting, including one handsome lift in which she climbs to his shoulders with the agility of a mountain goat...