Word: sadler
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...production exemplifies the distinctive merits of a company that is perhaps too little known on this side of the Atlantic. From its beginnings in 1931 as the Vic-Wells Opera (later Sadler's Wells), the ENO has prized a sense of ensemble that ought to be the envy of opera houses everywhere. Only a few of its singers have made major careers outside the company, but the pleasures of the ENO are to be found less in the singing than in the apposite theatricality of its productions, the innovative visions of its directors and the restless inquisitiveness...
...stylish company noted for its sumptuous productions of the standard repertoire, the Royal is celebrating its 50th anniversary this season with a tour of North America. As the Sadler's Wells Ballet, it burst upon the American scene in 1949 with an exquisite Sleeping Beauty that introduced Margot Fonteyn to U.S. audiences. The Royal's reworking of the Petipa-Tchaikovsky masterpiece became its signature, and was featured on its current tour with a performance attended by the visiting Prince Charles...
...corns on our feet from dancing it so often." There are few major dancers or choreographers whose careers have not crossed that of Herr Drosselmeyer, Marie (or Clara, as she is sometimes known) or the Sugar Plum Fairy. Dame Margot Fonteyn made her debut at Sadler's Wells in 1934 as a snowflake. Both Rudolf Nureyev and Baryshnikov danced the prince as young men in Leningrad, as did Balanchine himself some 60 years...
Helpmann staged The Merry Widow in part because he felt that in Dame Margot Fonteyn he had the ideal leading lady. He was her first partner in the late '30s when, as a teenager, she danced classic roles at the old Sadler's Wells Ballet. Dame Margot is 57 now. She per forms, she says modestly, because people still ask her to. She is, in fact, one of the great international box office draws in show business. Audiences who pay to see her as the wealthy widow of Pontevedro will get their money's worth...
...English Ring has again raised the old opera-in-English controversy. The translation used is that of British Writer Andrew Porter, who is now music critic at The New Yorker. Commissioned by the Sadler's Wells Opera and first performed as a cycle in 1973, the translation is a conscientious job and has already been used by several American companies for individual productions. Sometimes Porter has to change the meaning to get the meter right. As Hagen strikes down Siegfried, the vassals cry out: "Hagen! was tust du? Was tatest du?" Literally that means: "Hagen! What are you doing...