Word: nureyev
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Dates: during 1960-1969
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WHEN this week's cover started coming off the presses, the artist who painted it, Sidney Nolan, was in the mountainous wilds of the Sepik area of New Guinea watching native dances. "I wish Nureyev could have been here in the mountains with me," Nolan told TIME'S Australian correspondent by radiotelephone. "Somehow, 100 natives dancing with gorgeous bird of paradise feathers in their hair symbolized for me the very spirit of ballet...
...rapturous audience, including Princess Margaret, called Ballerina Margot Fonteyn, 45, and her costar, Rudolf Nureyev, back for 43 curtain calls after the London première of the Royal Ballet's new production of Prokofiev's Romeo and Juliet. The love story backstage was more poignant than Shakespeare's tale. In the wings, from his stretcher, Fonteyn's husband, Panamanian Politician Roberto Arias, 46, watched, still paralyzed from the chest down by the bullets pumped into his spine by a frustrated office seeker in Panama last June...
...custom-made undress shirts, knocked out a Michael Row the Boat Ashore, slipping in a few lines about Mississippi and Alabama. Barbra Streisand belted out Happy Days Are Here Again and People for the folks listening without loudspeakers in Baltimore. Dame Margot Fonteyn and fiery young Rudolf Nureyev stopped the show with a magnificent pas de deux. Singer Bobby Darin dedicated a little number he had just turned out on the train coming into town...
Baal was a sun god, Baalbek his temple in Lebanon, and currently the site of a summer festival where Ballet Stars Margot Fonteyn, 45, and Rudolf Nureyev, 25, were dancing. Betweentimes, they had themselves a ball sunbathing at Beirut's Saint Simon Beach, she in a bikini that was utterly tutu, he in a monokini that was, as they say in London, utterly twee...
...openers, the company staged its pièce de résistance, a robust rendering of Prokofiev's Romeo and Juliet, followed by a lavish, streamlined Swan Lake featuring nothing less than the reigning tandem of Margot Fonteyn and Rudolf Nureyev, who had volunteered their services and spent one week of intensive rehearsals mastering the myriad refinements of Cranko's 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...