Word: plisetskayas
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...press notices were less ecstatic but favorable. On the last night of the troupe's three-day Moscow stint-they will return later, after touring other Russian cities-the audience included Russian Composer Aram Khatchaturian and Bolshoi Ballerina Maya Plisetskaya, who was heard to murmur about one of the company's modern works: "I wish they would create something like that...
...dancing, though, is what matters, and it is magnificent. Maya Plisetskaya, the public favorite among Russia's younger ballerinas, dances the double role of Odette-Odile with a mixture of faultless precision, lyric grace and sheer animal power; Nicolai Fadeyechev as the Prince and Vladimir Levashev as the Evil Spirit are virile, commanding performers. On the other hand, the ballet itself is simply an arrant Arcadian anachronism, and Tchaikovsky's music, except for a few eddies of glorious melody, fills Swan Lake with sugar water. But along with all its faults, the picture provides U.S. ballet-goers...
Ulanova does not have the biggest mass following in Russia: younger fans prefer 32-year-old Maya Plisetskaya (TIME, May 4). But Ulanova is the most revered Russian dancer (perhaps the most revered Russian artist in any field), and was even before she moved to the Bolshoi Company in 1944. Born in St. Petersburg in 1910, she was introduced to the dance early: her father, Sergei Ulanov, was a member of the corps at the famed Mariinsky (now Kirov) Theater, and her mother, Maria Romanova, a Mariinsky soloist and teacher at the St. Petersburg Ballet School. At first Galina...
Lyricism over Steel. Two successive performances of Swan Lake introduced Ballerinas Maya Plisetskaya and Nina Timofeyeva, two of the Bolshoi's first-line quartet of female dancers (of the first week's stars, Galina Ulanova no longer dances Swan Lake, and Raissa Struchkova is not doing so at the Met). Both ballerinas were superb in the double role of Odette-Odile-the Swan Princess and her evil counterpart. Plisetskaya danced her roles with a more contained fire, whipped her sprung-steel body through scissored leaps and glittering turns, gave the role of Odile a brittle profile that suggested...
Timofeyeva relied on a broader, more flowing style, achieved some of her most moving effects in the series of soaring Act II lifts and in the last-act duet in which she hovered back to consciousness on feet as tremulous as a butterfly's wing. And where Plisetskaya had omitted the famous 32 fouettés (snapped turns) in the "Black Swan Pas de Deux," Timofeyeva whipped them off with a bravura that brought the house alive with a roar...