Browse Items (14 total)

As the only interviewee from the 1990s who is still dancing, Ananiashvili discusses the evolution of her signature role of Giselle and how life changes, including her new role as director, different dance partners, and new repertories, instinctively…

Grey talks about how she didn't plan anything for her career beyond dancing and how she fell into the role of dance educator. She describes how each dancer brings a unique interpretation to the role. Biographical note: Born in London in 1927, Grey…

Alonso discusses what her most important career influences have been; dancing and dance itself. She was always very self-critical and aimed to constantly improve her dancing, despite being complimented by others. Since there were not many places to…

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Fracci discusses her first appearance on stage as a singer in La Boheme at age 10, and the inspiration of seeing Margot Fonteyn in Sleeping Beauty at age 12.Biographical note: Fracci was born in Milan in 1936. She joined La Scala Theatre Ballet in…

Grey discusses her notion of a "musical dancer" which was a term often used to describe her style. Grey discusses the importance of a good conductor in ballet performances, learning about the role of Giselle from Audrey De Vos, and the challenge of…

Shearer talks about her first contact with Swan Lake at age 11 at the Sadler’s Walls ballet school. She was one of the singers and they only performed once or twice a year. She also discusses learning the title role in Giselle, and the difficulty…

Ananiashvili discusses how she wanted to make a change from figure skating to classical ballet. She began dancing in pointe shoes and talks about joining the older girls in classes.Biographical note:Ananiashvili is a Georgian ballerina who started…

Nerina discusses the importance of being trained at a very young age. She mentions how her teachers’ personalities influenced her repertoire. She also discusses starting her professional career at the Sadler’s Wells company and how she created…

This interview did not appear in either edition of Barbara Newman's Striking A Balance. Unfortunately the original sound recording level is very low on the tape of Peter Schaufuss' interview. While it was digitized with the rest of the archive, the…

Sibley discusses her training at Sadler's Wells School and her roles in classical ballet, focusing on Swan Lake. She explains what it means to be a musical dancer and the huge impact music played in helping her interpret roles. Sibley speaks about…

In the interview, Park discusses her initial role as understudy for Lise in Fille mal Gardee. She discusses the collaboration between the dancers and the choreographer Sir Frederick Ashton. This interview has not been published in any of Newman's…

Youskevitch tells how he was recruited to become a dancer, and his effort to master the role of Albrecht in the classical ballet Giselle. Biographical note: Born in the Ukraine in 1912, Youskevitch and his family fled the Russian Revolution to settle…

Vilzak talks about learning and dancing the classical ballet repertory in tsarist Russia. The principal works discussed are Tchaikovsky's Swan Lake and Sleeping Beauty. In the interview clip, Vilzak reminisces about watching dancers perform from the…

Alonso talks about her approach to learning lead roles (such as Giselle) from observing steps, entrances, and exits while in the corps de ballet (chorus). She discusses her "famous year" in bed, rehearsing steps on her fingers from memory. Alonso…
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