Word: royalities
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Dates: during 1960-1969
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...gallop past" by the King's Troop of the Royal Horse Artillery -in which three score plumed cavalry men rattle past at full gallop, swords raised, hooves beating and gun carriages thundering behind - is so intricate and dangerous that it is rarely used even for visiting royalty. Last week Queen Elizabeth, who had never seen the ceremony herself, ordered it performed to mark the state visit of Saudi Arabia's King Feisal, the somber and bearded monarch who has emerged as leader of the moderate forces op posing the pan-Arabism of Egypt's Gamal Abdel Nasser...
Feisal came to Britain for more than a bit of royal pomp. He fears that when the British protectorate of Aden gets its independence next year, Nasser's followers will swallow it up once British troops pull out, thus giving his enemy another stronghold on Saudi Arabia's flank. In discussions continuing through this week, he will try to persuade Prime Minister Harold Wilson to postpone Britain's troop withdrawal-perhaps indefinitely...
...offerings. At the New York State Theater, the American Ballet Theater opened a month-long stand featuring the man whom Nureyev considers the finest male dancer in the world: Denmark's Erik Bruhn. Meanwhile, a few grand jetés across the Lincoln Center plaza, London's Royal Ballet twirled past the midpoint of its six-week season at the Metropolitan Opera, featuring Margot Fonteyn and the male dancer whom Nureyev considers second only to Bruhn: Nureyev...
Besides pitting Bruhn and Nureyev against each other, the two companies squared off with competing full-length versions of the seemingly inexhaustible classic, Swan Lake. Here the Americans scored an ironic coup, for their production was staged by a premier danseur of the Royal Ballet, David Blair. By going back largely to the seminal 1895 production in St. Petersburg, Blair restored the choreographic brilliance of the work; but he also added dances of his own and reshuffled the story with a knowing eye for drama. The result-handsomely mounted and costumed-was not only the most substantial Swan Lake...
Musty & Misty. By contrast, much of the Royal Ballet production looked musty as well as misty. Yet in the fervent fluidity of their corps de ballet, and particularly in the incandescent performances of Nureyev and Margot Fonteyn, the Londoners had an asset that the Ballet Theater version, ably danced as it was, could not match. Dame Margot, 48 this week, has distilled the Odette-Odile role to a consummate purity. She did not seem to project it so much as to be devoured by it, until it was almost impossible, in Yeats's words, to "know the dancer from...