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Word: fonteyn (lookup in dictionary) (lookup stats)
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Usage:

...beyond expenses. Dollar triumph aside. London was simply glad to have Sadler's Wells back. Usually reserved Covent Gardeners gave them tier upon tier of applause at each solo entrance (in a full-length Sleeping Beauty, all but brought down the venerable house when Prima Ballerina Margot Fonteyn came...

Author: /time Magazine | Title: Music: Word Gets Around | 3/8/1954 | See Source »

Said Ballerina Fonteyn: "I've never known it to happen before at Covent Garden. It makes a wonderful difference to be applauded when you first...

Author: /time Magazine | Title: Music: Word Gets Around | 3/8/1954 | See Source »

...Choreographer Frederick Ashton tied music and story together with some first-rate dance inventions. Every leap and step, gracefully tuned in the 19th century romantic mood, seemed to move the story forward. True. Sadler's ensemble work was a trifle ragged as usual, but with feather-footed Margot Fonteyn and Michael Somes in the leading roles, most of the audience minded not at all. For one of the few times this season, ballet fans greeted with ovations what they long ago came to expect from Sadler's: more than their money's worth...

Author: /time Magazine | Title: Music: Hit & Myth | 10/12/1953 | See Source »

This week the company began its tour with a four-week visit in Manhattan's packed Metropolitan Opera House. Famed Ballerina Margot Fonteyn, fully recovered from a six months' bout with the aftereffects of diphtheria, headed the cast again, and among the lesser stars were Violetta Elvin, Nadia Nerina, Rowena Jackson, Michael Somes and a promising newcomer to the troupe, Svetlana Beriosova. Opening-night number: a full-length version of Tchaikovsky's Swan Lake, with sparkling new costumes and scenery and changes in the choreography which lengthened the 58-year-old masterpiece to a full four acts...

Author: /time Magazine | Title: Music: Sadler's Return | 9/21/1953 | See Source »

...Wells likes to do best: the full-length romantic ballet in classical style. The ballet chorus, dressed in autumn colors as peasants, in regal purples and crimsons as court maidens, in severe white as swans, made a gorgeous frame for the principal action. Among the brightest spots: Fonteyn's touching pantomime as the bewitched swan-princess and her vicious precision in her alternate role as the magician's wicked daughter; Dancer Somes's hurtling leaps in the court scene; a new "Neapolitan" duet (danced by Julia Farron and Alexander Grant) that nearly stopped the show...

Author: /time Magazine | Title: Music: Sadler's Return | 9/21/1953 | See Source »

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