Word: bergsma
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...film consists of segments from four of the Royal Ballet's repertoire, each a pas de deux featuring Nureyev and ballerina. La Sylphide, with Carla Fracci and The Sleeping Beauty, with Lynn Seymour, are both classical works. Field Figures, with Deanne Bergsma, choreographed by Glen Tetley, is a modern ballet. And Marguerite and Armand, with Dame Margot Fonteyn, choreographed by Sir Frederick Ashton especially for the pair, is based on Dumas's story of Mme. Recamier, the courtesan immortalized by Garbo in Camille. Ashton calls his ballet an "evocation poetique," but it is more like sentimental prose. The other pieces...
...watch Nureyev exercising: the control in his legs and his amazing, back-breaking discipline. The Field Figures segment is fairly successful, partly because modern ballet, like modern dance, depends more on physical relationships than on theatrical effects and can therefore stand the closeness of the camera, and also because Bergsma is a fascinating dancer. She has legs which rival Nureyev's, in their own special way. And, of course, he and Fonteyn together are unbeatable. One of the good aspects of this film is that it is possible tosee how much better Nureyev performs, how much he comes...
LAMP UNTO MY FEET (CBS, 10-10:30 a.m.). Television premiere of William Bergsma's oratorio. Confrontation from the Book...
...Symphony, which not only played superbly under its new conductor, Erich Leinsdorf (see below), but included in its program what proved to be the week's most distinguished première-Samuel Barber's Piano Concerto, with John Browning as soloist, Composers Copland, Walter Piston and William Bergsma had also provided opening-week pieces, all of them competent occasional music (Copland's brassy, sinewy Connotations for Orchestra, Piston's stately Lincoln Center Festival Overture, Bergsma's festive In Celebration: Toccata for the Sixth Day). But of the four new works, Barber's seemed most...
...outworn style of folksy nostalgia in his 1951 Canzona. Vaughan Williams' Toccata Martiale, on the other hand, succeeds because his use of national flavor is tied to a distinct personal idiom, and the ensemble fortunately rallied its coordination for the piece. It did so as well for William Bergsma's March with Trumpets, a work which at least in places has a style...