Word: pavlova
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Dates: during 1970-1979
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...money and takes the risk." In Hurok's case, the impresario was also a man who changed and enriched the taste of a people and persuaded nations to become cultural friends. For more than 50 years he brought to the U.S. the performing geniuses of his native Russia: Pavlova, Chaliapin, Oistrakh, Ulanova. His proudest accomplishment? "Bringing ballet to America and the American public to ballet...
...Hurok Presents," an emblem that invariably appeared atop the newspaper ad, billboard poster or concert program. Beneath it ran names like Artur Rubinstein, Isaac Stern, Margot Fonteyn, the Royal Ballet, the Old Vic and, of course, the Russians he so ably promoted and profited by in the U.S.: Pavlova, Richter, Oistrakh, the Bolshoi Ballet and Opera...
...nowhere to be found. Never mind that it is New York's oldest performing arts complex, founded in 1861. No matter that in its first golden age its stages presented Sarah Bernhardt in Camille, Admiral Peary showing lantern slides of his discovery of the North Pole, Anna Pavlova dancing The Dying Swan and Enrico Caruso giving one of his final operatic performances. Changing times had made the Academy as outdated as the hobble skirt. Manhattan had taken over as the focal point for the arts in New York City; the Depression and a decline in the surrounding neighborhoods...
...Sleeping Beauty ballet was introduced to America in 1916 by Pavlova in an Orientally ostentatious production that promptly sank into obscurity. It was not until Margot Fonteyn and the Sadler's Wells company brought the work back in 1949 in a performance of pristine elegance that Tchaikovsky's Beauty emerged as the belle of the ballet. Now, fitted out with new staging and choreography by Rudolf Nureyev, and preening in an elaborate wardrobe of costumes and sets, the National Ballet of Canada's new Sleeping Beauty is on display at the Metropolitan Opera. It is a stunning...
...Ailey's premiere danseuse Judith Jamison. Elegant of long limb, eloquent of stride and poise, Jamison epitomizes Ailey's ideal of the total dancer. Ailey has created a work that has become for Jamison the kind of showpiece that The Dying Swan was for Pavlova. Cry, set to music by Laura Nyro, Alice Coltrane and others, embodies the pain and pride of black women everywhere...