Word: deux
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...Hall last week and put on a rare show: a firsthand demonstration of contemporary Russian ballet style. They were Hungary's Istvan Rabovsky, 23, and his wife, Nora Kovach, 21, since 1949 leading dancers in the Leningrad, Moscow and Budapest Opera ballets. They danced the Grand Pas de Deux from Don Quixote-a circusy old number that gave little chance for high art but plenty for high jumps-with a kind of brilliant virtuosity that left balletomanes' toes twitching. Istvan won top honors with his incredible double turns in the air, but Nora, looking like a round-faced...
...Blond ballerinas danced freely, often just on their toes, rather than always formally on pointes. The performances depended almost as much on mimicry as on footwork. There was none of the tense, hushed atmosphere of the Russian ballet, with its emphasis on the technically difficult solo and pas de deux...
...loudspeaker droned out the final seconds, ". . . trois ... deux ... un .. ." The flag dropped, and 60 helmeted drivers dashed across the road to their glistening cars. With a sputter, a roar, a clash of gears, they were off, tearing down the road in one of auto racing's top events: the Le Mans 24-hour race, a telling test of driver endurance* and engine durability...
Igor Youskevitch took up dancing at the age of twenty-four and, within a decade, has become the foremost classical ballet artist in this country. His double pirouettes in the Pas de Deux from The Nutcracker were so brilliant and perfect that he appeared suspended above the stage. And his control and grace in slower movements compare only with Andre Eglevsky of City Center...
...Casse Noisette (the revised Nutcracker Suite) the dancers' spirit combines with magnificent costuming to create a delightful fairyland. As originally choreographed by Ivanov, this ballet was rather pointless and uninspiring. Frederick Ashton's revision retains the more colorful scenes, includes a pas de deux, and makes the myth more enjoyable. The finale of Tchaikowsky's Suite, however, assigns too much force to the Kingdom of Ice scene, causing Pauline Harrop and Robert Lunnon to put excessive power into their gestures. A necessary and remarkable scenery change to the Kingdom of Sweets also demands awkward pushing motions...