Word: diaghilev
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Dates: during 1950-1959
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...have experienced!" cried the Sunday Times reviewer. As for the program as a whole, the Daily Express found it "as exciting to us Limeys as anything that could be dished up by Chinese, Turks, Russians or what have you." To the granny London Times it was apparent that "what Diaghilev did for a past generation of balletgoers, Robbins is doing now. [He] is evolving the valid balletic idiom of today." And the Guardian's James Monaghan, after rapping the Royal Ballet for its "ivory-towered conception of the dance," concluded that what Robbins had brought to town...
Polish-born Marie Rambert studied briefly in Paris to be a physician, gravitated to the dance because of her admiration in the early 1900s for the U.S.'s flamboyant Isadora Duncan. After dancing in the famed Diaghilev company, she settled in London and opened her own school. To it thronged pupils who later graduated to Founder Rambert's company and then to careers in larger companies-Choreographers Frederick Ashton, Antony Tudor, Andrée Howard, Agnes de Mille. Swaddled in wrinkled black tights and shapeless pink top. Teacher Rambert would roam the practice room correcting ("Long the arms...
Critics chided the Metropolitan Opera's Herbert Graf for unimaginative staging but cheered the singers and especially the rediscovered score. Almost as successful was the evening's other revival: Strauss's seldom-done ballet. Josepkslegende, which he wrote in 1914 on commission from Diaghilev. In the last six summers, by emphasizing the works of Home Town Boy Strauss. Munich's opera festival has risen to rank with many of Europe's best, attracts opera fans en route from Salzburg to Bayreuth. And in the bout between Munich's conservatives and their nose-thumbing native...
...unbelieving adults." Dismissing Richard Wagner's work as "sauerkraut," Satie spent his life creating tiny musical gems. To Rousseau's mannered childlike-ness, says Author Shattuck, he added a formal naughtiness that made his works almost "a fragile fabric of inanity." For Parade, a ballet on which Diaghilev, Cocteau, Picasso, Massine and Satie collaborated, he wrote a score including parts for typewriters, sirens, airplane propellers, Morse tickers and lottery wheels. An eccentric in his personal life as well, he went about with a lighted clay pipe stuck in his jacket pocket, its stem reaching...
Hobnobbing with the great, M.G.M. ate tripe with Rodin, introduced Diaghilev to Picasso, was present when Clemenceau offered Claude Monet a seat in the French Academy (Monet refused). With such a star-studded cast, he can afford to throw away in a footnote the fact that Lenin once wanted to be an artist's model, gave up because he was too short...