Word: baryshnikov
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West Side Story Suite culminates a resurgence of Robbins' creativity. From the late '80s, when he was preparing Jerome Robbins' Broadway, until 1994, little was heard from him. Then he created a suite of dances to Bach cello music for Mikhail Baryshnikov, who had persuaded him back into the studio. Said Robbins at the time: "It was a real do-or-die thing for me." Still caught up by Bach, he adapted several two- and three-part inventions for students at the School of American Ballet. Working with people "at the beginning of life" restored his energy...
...from the effects of acute alcoholism; in West Hollywood, California. After 13 years with the Bolshoi ballet, Godunov defected to the West in 1979. For three years his graceful yet powerful dancing was a fixture at the American Ballet Theater. But after a falling out with artistic director Mikhail Baryshnikov, Godunov turned to film, playing a farmer in Witness (1985) and a terrorist in Die Hard...
...BALLET IS WOMAN" IS GEORGE BALANCHINE'S MOST frequently quoted remark. Of course he was right. Enchanted bird, sleeping princess, sugarplum confection-the woman on her toes unlocks the mysteries of dance. It takes nothing away from male virtuosity, or the boost that Nureyev and Baryshnikov gave ballet, to say that female stars carry...
...Fracci. In those days there were also thrilling partnerships that sold out houses worldwide. In Britain the great linkage of Fonteyn and Nureyev was followed by the pairing of Antoinette Sibley and Anthony Dowell. Erik Bruhn and Fracci raced about the world bolstering the box office at various companies. Baryshnikov was the pivot in two blazing partnerships: one with Makarova that reached back to the pair's Russian roots, and an American one with Kirkland...
What gives a dancer the priceless elan that makes the audience lose its heart? Baryshnikov, who was artistic director of American Ballet Theatre from 1980 to 1989 and was never lucky enough to develop a star ballerina, is right that an imaginative response to music is crucial. All four women move in highly individual ways, and Bussell is particularly daring in her responses. Baryshnikov also points to the obvious qualities a ballerina must possess: the confidence and drive and "extraordinary natural facility." But humility is necessary as well. "A young girl must open her heart and mind," Baryshnikov says...