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...once wrote, "I would prefer to play pinochle, which is all the more surprising since I have never played pinochle in my life." In the line of duty, however, Barnes attended another performance of the ballet (about the ax-wielding Lizzie Borden) and wrote a glowing review of Marcia Haydée, who was guest dancer with the American Ballet Theater. Unpleased was Ballerina Sallie Wilson, the ABT regular who has danced the lead role impeccably for many seasons without getting what she considers to be a fair shake from Barnes. "I've had a whole career that...

Author: /time Magazine | Title: People, Aug. 9, 1976 | 8/9/1976 | See Source »

...unhappiness at American Ballet Theater, the nation's 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...

Author: /time Magazine | Title: Music: Gregory Bows Out | 1/5/1976 | See Source »

...Anderson, for the reward of Chloë's kiss. The veil dance of Lykanion, the Grecian Salome, is gone too. Instead, German-born Ballerina Birgit Keil slithers into a hot pas de deux with Cragun, whose ardent body is counterpointed by his gentle face. Through her mellifluous movement, Haydée conveys a Chloë too ripe to be altogether innocent...

Author: /time Magazine | Title: Music: The Stuttgart Metroliner | 6/23/1975 | See Source »

...around and into each other like a set of oiled and animated cork screws inspired by the Kama Sutra. Al though the form is that of classical dance, the positions are not. They are an exploration of every inch of space on the stage and around the dancers themselves. Haydée oozes elegantly across the floor on her bottom like a geometric snake, slithering effortlessly upward, feet first and legs spread, over Cragun's waiting shoulders. Tetley amazingly seems to have taught his dancers how to bow their hips into trompe l'oeil convex forms...

Author: /time Magazine | Title: Music: New Start in Stuttgart | 6/17/1974 | See Source »

...Tetley states his position. Neither dancers nor audience have time to catch their breath for reflection on the extremities of motion and emotion to which they are constantly pushed. And Tetley is too new to the company to take fullest advantage of the dancers' contrasting personalities-for example, Haydée's Latin passion with Cuoco's sinuous California cool...

Author: /time Magazine | Title: Music: New Start in Stuttgart | 6/17/1974 | See Source »

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