Word: fracci
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Until the past few years, there has hardly been a lack of them. In the 1970s and early '80s, the international roster included Natalia Makarova, Suzanne Farrell, Gelsey Kirkland, Cynthia Gregory and Carla Fracci. In those days there were also thrilling partnerships that sold out houses worldwide. In Britain the great linkage of Fonteyn and Nureyev was followed by the pairing of Antoinette Sibley and Anthony Dowell. Erik Bruhn and Fracci raced about the world bolstering the box office at various companies. Baryshnikov was the pivot in two blazing partnerships: one with Makarova that reached back to the pair...
...premier dance company. American members of A.B.T. felt upstaged and upset by the arrival of Soviet Defectors Natalia Makarova (in 1970) and Mikhail Baryshnikov (in 1974). This fall A.B.T. recruited three more foreign superstars: Stuttgart Ballet's Marcia Haydée and two Italian artists, Carla Fracci and Paolo Bortoluzzi. Thus nobody quite believed it last week when, on the eve of the opening of the company's six-week Manhattan season, A.B.T.'s American star Cynthia Gregory abruptly announced her retirement for "personal reasons...
...film consists of segments from four of the Royal Ballet's repertoire, each a pas de deux featuring Nureyev and ballerina. La Sylphide, with Carla Fracci and The Sleeping Beauty, with Lynn Seymour, are both classical works. Field Figures, with Deanne Bergsma, choreographed by Glen Tetley, is a modern ballet. And Marguerite and Armand, with Dame Margot Fonteyn, choreographed by Sir Frederick Ashton especially for the pair, is based on Dumas's story of Mme. Recamier, the courtesan immortalized by Garbo in Camille. Ashton calls his ballet an "evocation poetique," but it is more like sentimental prose. The other pieces...
...role of Albrecht, which had become identified with the elegant and stylish Erik Bruhn before his retirement in January. During rehearsals, Bortoluzzi so shook up his colleagues with his arrogant bearing and exuberantly melodramatic interpretation that the ballet master threatened to walk out. At the first performance, Ballerina Carla Fracci, the Giselle and a longtime partner of Bruhn, kept whispering instructions to Bortoluzzi-where to put his feet, how to move his hands. Hissed Bortoluzzi: "If you don't stop, I'll drop you." By the second performance Fracci had decided it was "exciting to work with Paolo...
Tudor's mime-laden choreography is ably danced by the ABT soloists. The Juliet of the premiere was Italy's Carla Fracci, whose gentle, girlish way of evoking youthful passion is complemented by the stiff, manly Romeo of Ivan Nagy. If their individual dancing styles do not always mesh, Tudor nonetheless is still able to make disunity work for, not against, the production...