Margot Fonteyn & Rudolf Nureyev part 6

Documentary - This is not my video, no copyright claimed.

[@rmp7400]

As a 14 year old not really aware of ballet performers, I watched the Fonteyn/Nureyev performance on a little black & white t.v. set only because I always watched Ed Sullivan's Show - not because I knew about either of the stars or about the importance of what they were doing... However, there was something so perfectly poetic about the way they moved to the lovely music... that watching them was hypnotic...and became an unforgettable moment. ❤️ Rest in Peace, Melle. Margot & M. Nureyev 🙏🏼🎆

[@tatianakurosh1701]

Какая четкость линий и слаженность движений, как единый организм! А реакция публики, даже глядя сейчас, дух захватывает, а что же творилось тогда в зале?! Бурный восторг! Какая энергетика! Магия! ❤❤

[@candy9986]

It was so exciting. We're so lucky so much was captured for us to see now ♥️

[@l.alexandra5871]

I’ve never heard such raw jealously as evidenced by these two bitter narrators. They’ve exaggerated to a sickening degree the “showbiz” spectacle as if the American audiences were watching a circus performance by two hacks. Fonteyn was a glorious ballerina before Nureyev ever showed up. There’s no doubt she was the epitome of the English ballerina. Nureyev out danced ever male dancer the west ever saw. Exciting with a talent and charisma - a genius never before experienced. Genius engenders excitement. And when you put these two together it took ballet to a level heretofore unforeseen in the west. A great partnership is just an incredibly special thing. These two had a symmetry of line which rivales created Psyche Revived by Cupid’s Kiss. We’ve seen great pairings in theatre. These two elevated each other. To this day their PDD from Le Corsaire is the Gold Standard. It’s not just the dancing - it’s the fire and kind of quality that rivets the attention. All Fonteyn’s partners (except for Helpmann) might as well have been part of the scenery. David Blair couldn’t get of the ground. The chemistry was a once in a lifetime phenomenon and this pair deserved the accolades. Jealous fools and their envy- green remarks. And NYC audiences were not philistins !!! I was a young ballet student at the time and while perhaps a BIT more demonstrative they didn’t carry on and interrupt the music to applaud in the manner these people suggest. As a student I went to virtually every performance. Do you have any idea how how hard these to worked. Just to see their port des bras in such synchronicity was so beautiful. Just stunning. So what if Nureyev brought the style of the Russian curtain calls to the USA (no different than at La Scala). Have you ever seen a Russian audience? That’s the zoo/circus atmosphere these two exaggerators are referring to! Rhythmic applaudit whereby you can’t hear the music! It’s their that any repetition of one step is met with insane applause destroying something like the second act of Giselle. Nureyev was a great actor. He put far more into his performances as an actor in a manner that is common place nowadays and dancers are applauded for these abilities. Nureyev had a soul! As far as the applause on the Ed Sullivan show - how naively stupid - studio audiences responded to flashing signs to applaud on command. They did not direct their placement in the roster: Dame Ninetye and the powers that be insisted on top billing fir these two. And perhaps the glitterati came out in New York - we didn’t have KZbin or official film. The great Divas received equal star treatment and Sutherland and Pavarotti and Callas and DiStefano received the same rapturous adulation. These two were a brilliant bright shining star that fell from the firmament. We are lucky to have had a chance. I hate sour grapes. When Nureyev danced with Merle Park, sparks didn’t fly. The only really sad occurrence was removing Lynn Seymour as first in R and J. But Fonteyn and Nureyev had nothing to do with the decision. Tried up bitter old fools - ragging on the Americans. NYC glitterati showed but in Covent Garden the entire Royal Family filled the Royal boxes to capacity. In fact Nureyev was even more revered in Paris. Let’s not forget the Royal used them as cash cows - especially Rudolph and treated him badly when they no longer needed his services.

[@annastinehammersdottir1290]

Excellent critique and true.

[@isabeldiezlangre9411]

Toda tu exposición es cierta. Lo bueno es que hemos podido disfrutar de su baile y verles era algo excepcional. Nureyev tenía un magnetismo y nunca he encontrado en otros bailarines. La pareja era perfecta, armoniosa, su compenetración era increíble. Es difícil ver una pareja de esta calidad, y sobre todo que puedan transmitir a la audiencia todos los sentimientos de los personajes que representaban ya que estaban imbuidos en ellos. Inolvidables y bellos.

[@fabricetorres6196]

@@isabeldiezlangre9411)

[@meredithfrances9438]

As an incredibly serious ballet student at the time in New York at a top school, I saw nearly every Performance of the Royal Ballet, the Bolshoi, ABT (when it was at its pinnacle). I was the only American within the year of 1969 to be accepted into the Royal Ballet School. Therefore I remember those performances well. I saw all the casts dance and I saw these dancers in class on a daily basis. These were not just “rock stars” and balletomanes and the cognoscenti certainly knew they were seeing greatness. A genius partnership. Perhaps there were better technicians but the magic of symmetry and line and musicality and artistry was simply unparalleled at the time. They were not tricksters nor were their performances merely pyrotechnical feats. They were truly great. Sure they had a tremendous following with fans waiting at the stage door but that doesn’t mean New York audiences only knew how to put on jewelry to watch these great artists while remaining clueless. Bitter, bitter man downplaying their greatness in the annals of dance! Moreover, compare Rudolph to David Blair or her other partners!

[@iridepoloni8131]

Ñ

[@miketowler8747]

Thank you.x

[@tatianakurosh1701]

Какой вы счастливый, вы видели их вживую"!

[@soniamouraomourao7420]

Fonteyn e Nureyev maravilhosos

[@kaythomas3171]

AWWWHHHH Romeo and Juliet.....only Rudi and Margot had "it" and got it sssoooo "right"!!! Shakespeare ,himself, would of been more than pleased, I'm certain

[@oxanateacher3838]

Восхитительно...!!!

[@BalletAnnaPavlova]

La vida de los artistas famosos tiene tragedias escondidas ! Ellos eran magicos !

[@НатальяН-з8л]

Они сделали друг друга.Она продлила свою молодость в балете.он стал великим...

[@Владимир-ы6к8т]

Восторг!

[@РигаНигматуллина]

Не понятно, о чем --нужен перевод. Прекрасно!

[@РигаНигматуллина]

Очаровательно! Нужен перевод?!!!

[@MarySanchez-qk3hp]

Boy howdy... if men in real life tried to treat women the way Nureyev did on stage, more women would be happy. It only reflected back positively and enhanced him, when he did his best to make her look good and be her best. And it always returned to him.

[@gyuzelzarieva3824]

that only proves only gay could appreciate and understand a women

[@xochitljustice777]

@@gyuzelzarieva3824 that's a stretch, but okay

[@meredithfrances9438]

It had nothing to do with gay or straight. How can you generalize like that. They truly loved each other and he brought out the best in her. She is still considered the greatest British ballerina despite changing standards because of her incomparable, perfectly proportioned body. He was a genius -a phenomenon who was like a star that shone so brilliantly that it extinguished comparably quickly. He was not a “generic” gay. In fact lumping together all “gays” is an insult to each individual.

[@steffibrock2448]

Great!

[@janicewilson9813]

Rudi was a good sport to do this. Julie talked to the audience. Was Rudi directed to talk to Julie? Thought it would have been better if he had looked straight ahead. The audiences scream for him like they did for the Beatles.

[@meredithfrances9438]

The woman’s comment where she implies New York audiences applaud for one pirouette or for standing on pointe is an insulting exaggeration. While it’s true that New York audiences do interrupt the music at times when something spectacular is executed, the audience is not a bunch of philistines. These are culturally sophisticated people. Go watch a performance of the Bolshoi or the Mariinsky (Kirov) in Russia! There the applause is incessant so much so you can’t hear the music. And rythmique clapping every time a dancer does any step in a repetitive sequence. These people interviewed on this documentary are bitter snobs who are playing into the British stereotypical thinking about Americans (and not the highly sophisticated crowd which includes those who can barely scrape together enough money for a cheap seat.

[@rosaperez-petitalbiol2961]

Deberían poner subtítulos.

[@masmedi3539]

who the HECK had the power to block Part 1 part 2 part 3 and part 4 AND art 5

[@ИринаКириченко-в1т]

❤

[@larisavyatis2463]

Если бы не Нуриев, Фонтейн закончила бы свою карьеру уже давно, и про нее бы уже никто не вспомнил. Работа с Нуриевым дала ей возможность поработать еще 10 лет на сцене и зарабатывать на содержание мужа.

[@gyuzelzarieva3824]

это не так. она была артистичной, деликатной и эмоциональной балериной. и она не единственная, кто танцевал до позднего возраста.

[@rosemarie2841]

....ich bin begeistert von dem russischen Künstler/Ballett-Tänzer Nureyev.......einmalig, die selbstbewusste Präsenz, seine Ausstrahlung, seine Haltung.......wunderbar.....

[@dmmchugh3714]

Never knew Raquel Welch was a ballet fan.

[@0ksanatyutyunnyk585]

❤❤❤❤❤❤❤❤❤❤❤❤❤

[@moniquelegarda1842]

Parts 4 and 5 are missing?

[@danaekleida]

yes, due to copyright claims over music

[@moniquelegarda1842]

@@danaekleida Oh boo :(

[@brandopais]

Ух.....

[@РозаАбраева]

они друг -другу помогли в поофессий

[@РигаНигматуллина]

Нужен перевод?!!!

[@michelinearthebise2783]

dippointing