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Britain's Moira Shearer, red-haired prima ballerina of the movie The Red Shoes (TIME, Oct. 25), panned her own film as bad ballet. In a lecture to London's Royal Academy of Dancing, she said that making the picture had been a "mistake," and that furthermore, the display advertising made her look like "Jane Russell in black tights...

Author: /time Magazine | Title: People: Talking of Shop | 1/24/1949 | See Source »

...sure about that. After a series of musical fiascos in recent years, they wanted a "great" conductor to resurrect the orchestra's fame & fortune. Said one director: "The board all want him. He's a great musician, though I understand he's a little on the prima donna side. He might be hard for Eddie [Association President Edward Ryerson] to handle." There were other considerations. Said one symphony musician: "Maybe it's just as well if Furtwangler doesn't come. I understand his beat is very difficult and strange. He comes down with a sort...

Author: /time Magazine | Title: Music: Chill Wind in Chicago | 1/17/1949 | See Source »

...possible because the producers hit upon the idea of employing real ballet dancers to play the parts. Robert Helpmann, who is not only the biggest attraction in British ballet but also a Shakespearean actor, is given a featured role. Ludmilla Teherina plays herself, a temperamental but very luscious prima ballerina...

Author: By George A. Leiper., | Title: The Red Shoes | 11/23/1948 | See Source »

...Tech, Oppie had been at home with the blackboard and the slipstick. At Los Alamos he proved that he could direct experimental physics. And he had the capacity to make prima donnas pull together, and ordinary people work like the devil. He worked like the devil himself-sometimes as much as 20 hours a day. A six-footer, he shrank...

Author: /time Magazine | Title: The Eternal Apprentice | 11/8/1948 | See Source »

...fine contempt discussing the Metropolitan Opera Company, which he claims has horribly stunted the growth of American opera. His early Tanglewood work amazed the New York critics, who have since learned that an evening of opera need not be four hours of vocalizing by a group of overweight prima-donnas...

Author: By Charles W. Balley, | Title: Opera Unlimited | 10/30/1948 | See Source »

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