Word: rudolfs
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With his dance-tired feet stuffed into a pair of worn and obviously comfortable shoes, Rudolf Nureyev-perhaps the world's greatest danseur noble -accepted the annual Dance Magazine award in Manhattan. His speech was hardly audible, a sentence thanking the people who had helped him since he fled the U.S.S.R. During those twelve years in the West, Rudolf has performed mostly with the Royal Ballet, and is now touring with the National Ballet of Canada. Except for old friends like Dancer Erik Bruhn and Actress Monique Van Vooren, his life is a solo...
...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 production...
...RUDOLF NUREYEV has been a highly photogenic figure during his career, both onstage and off: from the filmed ballet, Romco and Juliet, to the television tape of The Sleeping Beauty ballet; from his early exploits in Haight-Ashbury, to tales of his explosive temperament--most recently one about his slapping a clumsy ballerina in the face during a performance. Rudolf Nureyev: I Am a Dancer, is the most comprehensive footage on the man and his work to date, but the film offers little insight into its subject's flamboyant personality. Instead, it tiptoes around the man as though too much...
...worth seeing. But one of the great potentials of film is that it can record performances in the other arts, relaying the talents of an artist to those unable to attend live performances, and preserving them for posterity. It is hardly too much to ask that a film about Rudolf Nureyev preserve the dignity of his talents and some semblance of the authentic experience of ballet...
Typecasting? Playing an urbane and arrogant old nobleman, Sir Rudolf Bing, 71, the urbane and arrogant ex-general manager of the Metropolitan Opera, was making his debut in the New York City Opera's new production of Hans Werner Henze's The Young Lord. In his new role, Sir Rudolf was an absolute lamb: early to rehearsals, a dear at taking direction and patience itself while his flowing gray wig was being glued on his bald head. But all the divas he has put down must have loved Critic Harold Schonberg's New York Times review...