Word: hayde
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Dissonant Morass. Not everybody liked it-and with reason. As one expects of Cranko, the ballet had dramatic cohesiveness. Settings, cleverly suggestive of Goya, managed to be both beautiful and forbidding at the same time. In Marcia Haydée (Carmen), Richard Cragun (the Toreador) and Egon Madsen (Don José), Cranko could field a trio whose ability to project feeling into narrative ballet can hardly be matched. What went wrong was the music. Scorning Bizet, Cranko got German Composer Wolfgang Fortner to produce a dreadful, cacophonous "Bizet collage" incapable of sustaining any nuance of emotion. Worse, the score picked...
...contrast, Cranko's Taming of the Shrew is a near perfection of sadness, sweetness and light. Particularly as danced by Haydée and Cragun (as Kate and Petruchio). Shakespeare's antic frolic, set to a score composed of snatches of Scarlatti music, subtly explores a remarkable range of domestic feeling from dominance to submission and finally to partnership. For Pushkin's Eugene Onegin, the fourth full-length storybook ballet that Stuttgart is offering U.S. audiences, Cranko discards the whole Tchaikovsky opera score in favor of a graceful montage that helps make the ballet a romantic matinee...
...Shrew, Romeo and Juliet and Eugene Onegin, all richly staged and costumed and all choreographed by Cranko. He handles large groups of dancers with remarkable dramatic effect. But the Stuttgart Ballet has been devastating audiences all across the U.S. mainly because of the dancing of two new stars, Marcia Haydée and Richard Cragun...
Strong and effortless, Cragun tactfully puts a matinee idol's figure at the service of his roles, making Romeo, Petruchio and even Onegin believable and remarkably affecting. The marvel, though, is Marcia Haydée. Experts correctly point out that she is not a great dancer technically. Most would turn puce at the thought of mentioning her in the same breath with Margot Fonteyn. But few dancers within memory have projected the rangi of whims and wishes or invoked the delicate interplay of emotions that flow from the least gesture of Haydée's body, the slightest...
...interpretation. But the creation that stirred the most frenetic response from the crowd was the première of a handsomely preened and plumed production of Stravinsky's Fire Bird, grounded in the Fokine tradition but soaring to new heights on the wings of Prima Ballerina Marcia Haydée's fluttering, levitating flight through a lush forest primeval...