Word: nureyev
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...legendary deity of traditional 19th century ballet, Marius Petipa, choreographed for St. Petersburg’s Maryinsky Ballet. Premieres of new “Cinderellas” followed at the approximate rate of one per decade, boasting such marquee names as Michael Fokine, Konstantin Sergeyev, Frederick Ashton, and Rudolf Nureyev, with orchestrations by Peter Ilyich Tchaikovsky, Johann Strauss, and Sergei Prokofiev. James Kudelka stepped into this whirlwind in 2004, intending to create something fresh...
...show-biz side of ballet, this lyrical athlete was a whiz-kid gymnast in the blue-collar Paris suburb of Le Blanc-Mesnil. In 1980 Balanchine picked her out of a line of 15-year-olds when he called on the Paris Opera Ballet School. Three years later, Rudolf Nureyev, who had taken over as the company's director, did the same, casting her out of the corps in his production of Raymonda. Now she is the darling of choreographers on the international scene: Rudi van Dantzig, William Forsythe, Lucinda Childs. Says Nureyev: ''She has extraordinary physical attributes, long legs...
BALLET IN PARIS Legendary choreographers George Balanchine, Rudolf Nureyev and William Forsythe revolutionized ballet, their works acting as bridges between the classical and modern forms. From April 4 to May 9 dance fans can witness the evolution of ballet over the course of a single evening when the Ballet de l'Opéra performs The Four Temperaments (1946), Raymonda (1983), and Artifact Suite (2004), choreographed respectively by Balanchine, Nureyev and Forsythe, together in one show at the Bastille Opera. A rare treat, even if you don't know your plié from your pirouette. www.operadeparis.fr by Jeffrey T. Iverson...
...Dakin left Ann Arbor for the Graham Company in New York City, and the years that followed are the stuff of dance legend. Dakin took on Graham’s old roles, had roles created for her, and worked with such distinguished contemporaries as Rudolf Nureyev, Twyla Tharp, and Martha Clarke. After a period as artistic director of the Graham Company, Dakin’s old friend Bergmann lured her to Harvard’s gates. In her first year on board, Dakin offered the Graham course, which fused lecture with studio time. Joshua Legg, who currently teaches with...
Alternating between first person and third person omniscient narration, Sharp vividly renders the inner lives of both 20th century legends—Balanchine and his muse Suzanne Farrell, Margot Fonteyn and Rudolf Nureyev, among others—and her own fictive characters—primarily figured as members of the real NYCB or American Ballet Theater (ABT). She lends an aura of verisimilitude to her readers’ vicarious participation in the lived experience of dance...