Word: diaghilev
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Dates: during 1940-1949
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...like most genuinely successful enterprises, Sadler's Wells had a lot more than luck. It had a hard-driving director in Ninette de Valois, a graduate of Serge Diaghilev's great Ballet Russe. It had a corps de ballet drilled down to the last pas de chat, an ensemble built on the theory that it is as important to have a well-coordinated team as a great star. To put on the great "white ballets"-the classics that England's Royal Opera House company has made its specialty-it had to have both. Says U.S. Choreographer George...
...British had only gotten around to creating a national company after Diaghilev's death (1929), though ballet had been a London rage since the 18th Century. Under the stern direction of a tiny Irish-born former Diaghilev dancer named Ninette de Valois, they had modeled their company after the classical Russian patterns. But in 20 years, it had become as British as meat...
...mentioned his ballet The Legend of Joseph, which Impresario Sergei Diaghilev had first produced in Paris and London in 1914. Joseph meant something special to Max Reiter: as a young man he had played the celesta in the Berlin Opera orchestra while Strauss himself conducted it. Reiter demanded the honor of being the first to perform the new version when it was ready...
...Porters leased from 1925 to 1929, was the scene of parties that would have done the Medici proud. At one affair, 50 gondoliers stood like statues along a winding stairway, 600 guests frolicked in fancy-dress costumes provided by Porter, and floodlights played on tightrope walkers overhead. Once Sergei Diaghilev brought his ballet company to dance Les Sylphides at a Porter garden party. Diaghilev insisted on a few props: fireworks, a 50-foot statue of Venus (which was hauled through the canals by two barges and set up in the garden), and 20,000 candles to adorn the trees. Looking...
...ballets like Billy the Kid. Chicago's big stage was just right for the Paris ballet's specialty: brilliant spectacle in the great tradition, plus the bold and polished choreography of a greying little man known to balletomanes the world over, Serge Lifar, a onetime Diaghilev star. (Americans were not likely to see Lifar dance, however. He has been cleared of Nazi collaboration, but the ballet's directors were not sure of his reception...