Word: fonteyn
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...most celebrated candidate in Panama's 1964 congressional elections was a dashing aristocrat named Roberto ("Tito") Arias. Part of his glory was admittedly reflected: both his father and an uncle had been Presidents of Panama, and his wife was Britain's foremost ballerina, Dame Margot Fonteyn. But Tito Arias could claim his own marks as well. Twice (when his family or friends were in power) he had been his country's Ambassador to London. Twice (when opposition families were in power) he had led spectacular, quixotic plots to overthrow the government, the last time in 1959 when...
...paper also threw a charity gala at the Paris Opera that glittered with the helmets of the Gardes Republicaines, and the dancing of Rudolf Nureyev and Margot Fonteyn. It was all quite in character for a paper that once moved Charles de Gaulle to jest: "Each morning when its readers pick it up, they murmur: 'St. Figaro, reassure us.' " Pride in Speculation. Over the years, the paper has proved consistently reas suring to its affluent, conservative readership. Figaro prides itself on being no ordinary paper that merely dispenses the news. It has always had literary ambitions, and part...
People were doing irrational things to get ino Romeo and Juliet when Rudolf Nureyev and Margot Fonteyn danced it in America two years ago. Now that the same Royal Ballet production has been made into a film, the tickets are easier to come by but no less precious...
...Nureyev is always the star, he is not always the star-crossed lover. Fonteyn, on the other hand, concentrates on playing a part as well as on dancing. Keeping her arms to her side, she makes Juliet a little gawky and consequently very poignant. She has the face of a women of forty, but the moment she moves she becomes fourteen...
...Margot Fonteyn. Against a hazy background of sumptuously costumed choristers arranged like figures in a Renaissance tapestry, Dame Margot was a floating vision in white. Dancing with the Paris Opera's Attilio Labis, she portrayed a maiden-monarch torn between love and duty, melting from sternly regal poses into flights of rapturous lyricism. Marina Svetlova's straightforward choreography was in perfect accord with Purcell's music-buoyant, charming, exquisitely simple...