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...owner seemed destined to carry it awkwardly-like a steamer trunk with fancy labels. Last week, with barely two months as a Bolshoi soloist behind her, Bessmertnova was established in Moscow's excited ballet world as decidedly bessmertnova-even more so, said her teachers, than the immortal Ulanova...

Author: /time Magazine | Title: Dance: Decidedly Bessmertnova | 1/31/1964 | See Source »

...graduates. In pre-Bolshevik days, the Kirov was St. Petersburg's Maryinsky company, fountainhead of Western ballet. In graceful profusion, it produced the dancers Nijinsky and Pavlova, the choreographer Fokine, the impresario Diaghilev. Its demanding, perfectionist teachers seeded the world's great troupes with their students: Galina Ulanova went on from St. Petersburg to her triumphs with Moscow's Bolshoi, and Choreographer George Balanchine used his Maryinsky training to reshape the entire U.S. ballet scene...

Author: /time Magazine | Title: Music: Nijinsky's Heirs | 9/22/1961 | See Source »

While the Kirov has no Ulanova, it boasts half a dozen ballerinas who can bring off such strenuous lead roles with supple ease. But conscious of its role as the defender of 19th century classical tradition, the company plays down its stars to emphasize its superb corps de ballet, whose girls rival the Rockettes in beauty as well as precision...

Author: /time Magazine | Title: Music: Nijinsky's Heirs | 9/22/1961 | See Source »

...length: as much dance drama as ballet (a British habit), it was studded with arid passages of exaggeratedly old-fashioned pantomime. Moreover, the fragmentary score by German Modernist Hans Werner Henze-sometimes lushly impressionistic, sometimes brassily strident-added little to the wispy plot. As Romeo and Juliet does with Ulanova, Ondine moves only with Fonteyn...

Author: /time Magazine | Title: Music: Sea Sprites & Demons | 10/3/1960 | See Source »

...guest artist" (she has been away for much of the past year) and the company relying more and more on its mainstay classical ballets. There is no shortage of younger dancers, among them Nadia Nerina-whose performance in La Fille Mai Gardée conveyed glimpses of Ulanova's unearthly lightness-Annette Page, Anya Linden and, most notably, coldly brilliant Svetlana Beriosova, 28, widely heralded as heiress apparent to Fonteyn. The Royal last week also showed off its first-rate male principals: Michael Somes, Brian Shaw, Alexander Grant and David Blair. But regardless of the available dancing talent, much...

Author: /time Magazine | Title: Music: The Royal's Grande Dame | 9/26/1960 | See Source »

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