Word: covent
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Dates: during 1960-1969
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Balanchine's New York City Ballet: "Pretentious and silly," "stiff and neoclassical," "gymnastic and stylistically infelicitous." His dancers: "A memorial should be erected to all the gallant Americans who fell at Covent Garden...
...critical flipflop? Balanchine tactfully made it clear that it was not he who had matured, but the London audiences. His present company, he pointed out, is not necessarily better than the one he brought to Covent Garden in 1952. It is just that London balletomanes, long raised on dance with a heavy dose of story line, have lately come to realize, says Balanchine, "that you don't need the lousy little stories. They say Balanchine is a neoclassicist. They put you in a position where you are not, and then they can't comprehend when...
...naked virgins to complement his twelve-tone melodies in 1932's Moses and Aaron. Schoenberg himself once said that the opera is "undoable," but now a plucky band of Britons led by Royal Shakespeare Theater Director Peter Hall, 34, has decided to stage it at London's Covent Garden. First off, Sheena the camel smashed one set in rehearsal, put her foot through another, had to be dropped from the cast. That left the donkeys, etc. Then the censors in the Lord Chamberlain's office warned against indecencies of dance and dress. The naked are "more...
...enthusiasm. An Australian who now lives in London, Nolan is known for his brooding canvases, his translucent colors, and his figures of man, often puzzled but always dignified. A ballet buff for years, he designed the sets for Stravinsky's The Rite of Spring at London's Covent Garden. He is a convinced Nureyev fan, has been observing the dancer since 1962. In London he once watched from the balcony for a week while Nureyev was rehearsing for Romeo and Juliet, a ballet that Nolan sees as "a ritual description of our civilization." The portrait depicts Nureyev...
...best operatic tradition, opportunity came on two days' notice: she replaced ailing Lucine Amara as Liu. Despite excellent notices, Bing still held her back: "You have plenty of time." She retorted: "I want to sing while I am young," and took off for Europe. She sang at Covent Garden, the Bolshoi, La Scala. In Moscow, she showed the first syndrome of a prima donna: she walked out after the second act of Eugene Onegin, declaring that "the applause was scanty." At a recital a few days later, chastened Muscovites bravoed her back for five encores...