Nureyev : The Life (9780307807342)

by Kavanagh, Julie

  62. “one was tempted”: Terence Kilmartin, quoted in introduction, A Bl, Observer of the Dance.

  63. “could even talk”: RN, quoted in introduction, ibid.

  64. “Nigel was the only”: To Houseal, Ballet Review, Spring 1994.

  65. “Not even the queen”: unmarked clipping.

  66. “moved as one body”: Roberta Lazzarini, quoted in F&N.

  67. “He came on stealthily”: MG, Ballet Review, Spring 1994.

  68. “This is Ulanova’s style”: A Bl, Observer, February 25, 1962.

  69. “playboy”: EB, Beyond Technique.

  70. “complete cad”: Konstantin Sergeyev, Ballet Today, August/September 1961.

  71. “It is the James Dean”: A Bl, Observer, February 25, 1962.

  72. “The Giselle she gave”: Cl B’s N.

  73. “the real thing, stark and raving”: Cl B unmarked clipping. 224 “one sudden glance”: Cl B, D&D, April 1962.

  74. “I wonder if it was not”: DT, March 1963.

  75. “Here one would ultimately”: Cl B, Times (London), February 22, 1962.

  76. “You couldn’t believe … two ends”: NdV, quoted in F&N.

  77. “My husband called it a celestial accident”: LB.

  78. “practical, unmoonshiny qualities”: Richard Buckle, Adventures of a Ballet Critic.

  79. “Emotionally, technically”: NdV, quoted in F&N.

  80. “all hell broke loose”: unidentified voice, ibid.

  81. “It has happened in opera”: Cl B, D&D.

  82. “It is more effective”: Cl B’s N.

  83. “brilliantly, wonderfully”: Cl B, D&D, April 1962.

  84. “tending upwards”: DT, March 1963.

  85. “those sturdy”: Ballet Today, June 1962.

  86. “all lilies and languors”: Andrew Porter, DS.

  87. “all the things we are afraid of”: EB, Beyond Technique.

  88. “so-white, so-tight”: unmarked clipping.

  89. “What we were watching”: Secret Lives, produced and directed by Madonna Benjamin, Channel Four Television, 1997.

  90. “a strange attachment … desperately in love”: MF Auto.

  91. “I was running after him”: RN/EK.

  9 • THE BEATNIK AND THE PRINCE

  Unless otherwise cited, or extracted from his letters, Erik Bruhn quotations are drawn from John Gruen’s interviews for EB. Quotations from Lincoln Kirstein’s letters to Richard Buckle are from Buckle’s unpublished memoir, “Lincoln Kirstein: Ups and Downs of a Friendship over 44 years.”

  1. “Dream Duo”: Time, March 2, 1961.

  2. “the success of the century”: Tom Fisher, letter to George Skibine, Ruth Page archive, NYDL.

  3. “Le tout New York”: John Martin, Ruth Page: An Intimate Biography.

  4. “an audible sigh”: DT, April 1962.

  5. “a veritable Niagara roar”: unmarked clipping.

  6. “Mr. Balanchine’s ballets”: April 1962.

  7. “It wasn’t his idea … a magician of theatre”: RN/EK.

  8. “It was a great fortune”: unedited Magic of Dance footage, NC@NYDL.

  9. “Fokine discovered”: Cl B’s N.

  10. “We were all striving”: Villella, Prodigal Son.

  11. “the accompaniment … only the second half”: Solomon Volkov, Balanchine’s Tchaikovsky.

  12. “I wanted to learn … soaked … rubbed off”: unedited Magic of Dance footage.

  13. “something deeper”: Croce s.v. “Balanchine,” International Encyclopedia of Dance.

  14. “physical and metaphysical”: Ibid.

  15. “all night”: Volkov, Balanchine’s Tchaikovsky.

  16. “kind of foreshortened”: Arlene Croce, “Makarova with Ballet Theater,” Afterimages.

  17. “Ballet isn’t a museum”: Volkov, Balanchine’s Tchaikovsky.

  18. “not much more modern”: To Terry, Theater Arts, July 1962.

  19. “a cold, distant, uncompromising”: Ashton letter, courtesy of Dick Beard.

  20. “true Petersburger”: Volkov, Balanchine’s Tchaikovsky.

  21. “He said, ‘Rudka, let me’ ”: Cl B’s N.

  22. “old chestnut”: Ruth Page, Page by Page.

  23. “Behind me were”: Balanchine, to Leon Harris, Esquire, July 1968.

  24. “Actually when you dance”: Volkov, Balanchine’s Tchaikovsky. 232 “But I like them dry”: I nb B.

  25. “It’s not that he didn’t”: The New Yorker, July 22, 2002.

  26. “[Balanchine] does not compromise”: DD.

  27. “It takes teamwork”: To Harris, Esquire, July 1968.

  28. “small part of big machine”: Ibid.

  29. “that the leading role”: Kirov souvenir booklet.

  30. “total cooperation”: Lincoln Kirstein, Portrait of Mr. B.

  31. “insubordination, nonassimilation”: To Harris, Harris, Esquire.

  32. “nothing was described … Don’t talk … No one was allowed”: Villella, Prodigal Son.

  33. “When you are tired”: To Terry, Theater Arts, July 1962.

  34. “the higher mathematics”: Villella, Prodigal Son.

  35. “on circuit … too selfish”: To Cecil Beaton, The Parting Years.

  36. “People don’t seem to”: To Terry, Theater Arts, July 1962.

  37. “There was some kind of black … The rift, I think”: I nb B.

  38. “The thing misfired”: EBtrs.

  39. “hustling, animating”: Nicholas Jenkins, “Profile,” The New Yorker, April 13, 1998.

  40. “like Gulliver among … life’s breviary … picturesque, romantic”: Ibid.

  41. “an advanced manifestation … It is a virus”: NYT, March 25, 1962.

  42. “Without your first notices”: Lincoln Kirstein, “Entries from an Early Diary,” Dance Perspectives, 1973.

  43. “to the point of unmannerliness”: Martin, Ruth Page.

  44. “shocking breach … the starry-eyed gullibility”: NYT, March 25, 1962.

  45. “as immediately and decisively”: P.W. Manchester, unmarked clipping.

  46. “About John Martin’s”: Tom Fisher, Page archive, NYDL.

  47. “the two most fully”: and subsequent Martin quotes about Russian ballet, Dance Magazine, September 1956.

  48. “When you came with us”: Kirstein, “Early Diary.”

  49. “a Beatnik and a Prince”: Walter Terry, New York Herald Tribune, June 10, 1962.

  50. “That became a bit tiring … He was very considerate … learn to like”: EBtrs.

  51. “There was no sensation”: A. H. Franks, DT, May 1962.

  52. “anxious to efface himself”: Ibid.

  53. “It’s Erik’s fault”: Sonia Arova, quoted in DS.

  54. “You are two of the most”: SAtrs.

  55. “The Matinee that Made”: Dance News, June 1955.

  56. “It is a pleasure to see”: Dance News Annual, 1953.

  57. “Bruhn is too reserved”: DT, May 1962.

  58. “dimmed down”: unsigned item, D&D, May 1962.

  59. “inwardly rigid”: “Separate Worlds,” Afterimages.

  60. “I receive. I am no longer empty”: To Terry, Theater Arts, July 1962.

  61. “Go there and suck”: RN/EK.

  62. “He was draining”: SAtrs.

  63. “cloak-and-dagger”: MF Auto.

  64. “It was so that she could”: Alla Bor.

  65. “I’m inviting you but”: Tamara Zakrzhevskaya.

  66. “When a dancer of genius”: To Hubert Saal, Newsweek, April 19, 1965.

  67. “a sort of permanent”: A Bl, Royal Ballet: First 50 Years.

  68. “When Reach was confronted”: Kenneth Tynan, Bull Fever.

  69. “artistry was almost of”: Cl B’s N.

  70. “In France, the blouson”: Tynan, Bull Fever.

  71. “le Beatle des toreros”: June 27, 2002.

  72. “ballet’s first pop star”: DS.

  73. “collective madness”: Tynan, Bul
l Fever.

  74. “mad old maids … squealing bobbysoxers”: Sunday Times, May 20, 1962.

  75. “By the age of 25”: Quoted in DD.

  76. “The Prince was exceptional”: Cl B’s N.

  77. “Nureyev version”: DT, August 1962.

  78. “What he has not taken”: January 1963.

  79. “an Angry Young Man”: Ballet: Bias & Belief.

  80. “if the right breeze … this romantic spark”: Buckle, Adventures of a Ballet Critic.

  81. “the impact of the present”: NdV, Come Dance with Me.

  82. “It shows a great weakness”: To A Bl, Observer of the Dance.

  83. “a fighting point”: Kathrine Sorley Walker, Ninette de Valois.

  84. “Nureyev’s alterations”: To A Bl, Observer of the Dance.

  85. “They really laughed together”: MG.

  86. “the moving thought”: NdV, Step by Step.

  87. “He didn’t run away from Russia”: NdV quoted in F&N.

  88. “Essentially he remains”: NdV, Step by Step.

  89. “undoubtedly brought on”: Gennady Albert, Alexander Pushkin: Master Teacher of Dance.

  90. “Rudi demoralised him”: To Stuart, Perpetual Motion.

  91. “It broke us both up”: MF Auto.

  92. “Lack-lustre Lac”: D&D, April 1962.

  93. “elemental and exciting”: Cl B, Spectator, June 29, 1962.

  94. “with this young lion”: FOY-MF.

  95. “So—you are Great Ballerina”: Keith Money, Fonteyn & Nureyev.

  96. “without technique”: Cl B.

  97. “felt a bit”: FOY-MF.

  98. “She came onstage”: RN/EK.

  99. “inspired—egged on”: FOY-M.F.

  100. “I’ve found the perfect”: To Elena Nielson, Dance Magazine, September 1962.

  101. “We become one body”: FOY-MF.

  102. “He could give an impeccable”: Esquire, March 1991.

  103. “He could explain Pavlova”: Marika Besobrasova.

  104. “A gruesome person”: source withheld.

  105. “As long as he got a steak”: Martin, Ruth Page.

  106. “I grabbed it”: Page, Page by Page.

  107. “how very good”: Sonia Arova letter to Ruth Page, May 19, 1962, Ruth Page archive, NYDL.

  108. “fancied up … I don’t think Fokine”: Martin, Ruth Page.

  109. “helped the illness … For the two … No, Rudi”: SAtrs.

  110. “Better to have stone”: MF Auto.

  10 • THE HORSE WHISPERER

  1. “just pours”: Quoted in DD.

  2. “I had animal power … subtlety”: RN, unmarked clipping.

  3. “bang-on Nureyev territory”: D&D, December 1962.

  4. “brought her out … brought him up”: NdV, quoted in Meredith Daneman, Margot Fonteyn.

  5. “For him”: Violette Verdy, quoted in ibid.

  6. “like a great Moslem whore … scene of seduction”: Verdy, quoted in DD.

  7. “Sexy pants!” and subsequent quotes, Keith Money.

  8. “It’s as though we work”: RN, quoted in TV Times, December 17, 1970.

  9. “something quite special … It’s odd”: Ibid.

  10. “burst headlong”: MF Auto.

  11. “the divine soul”: Hans Christian Anderson s.v. “Liszt,” New Grove Dictionary of Music.

  12. “He was transfigured”: Marilyn La Vine.

  13. “It may not have been”: DD.

  14. “Was sitting already”: F&N.

  15. “Margot throw herself”: RN/EK.

  16. “a symbol of duty”: A Bl, Observer, March 10, 1963.

  17. “Totally improvised … Nobody remembered not one”: RN/EK.

  18. “definitely agreed”: Letter from Tom Fisher to Sonia Arova, Ruth Page archive, NYDL.

  19. “I’d rather deal with ten”: Time, November 30, 1962.

  20. “You could feel the tension”: SAtrs.

  21. “It was not Balanchine”: Quoted in DS.

  22. “We were after”: To Margaret Willis, Dance Magazine, February 1994.

  23. “pompous”: Edwin Denby, “Antigone …” Dance Writings.

  24. “cold wave of disapproval”: DT, March 1963.

  25. “a new Nureyev, an English”: Sunday Times, February 10, 1963.

  26. “an expression of spirit”: Daneman, Margot Fonteyn.

  27. “a little symphony”: Dance Theatre Journal 9, no. 2 (Autumn 1991).

  28. “They seemed aware of each other”: A Bl, Observer, undated clipping.

  29. “He cannot be allowed”: Spectator, March 2, 1962.

  30. “Had I been younger”: DD.

  31. “That’s when you put up”: Georgina Parkinson.

  32. “bouts of whoring”: Daneman, Margot Fonteyn.

  33. “two distinct people”: Keith Money.

  34. “what you call ‘charisma’ ”: To Harris, Esquire, July 1968.

  35. “He hated the whole thing”: Lynn Seymour.

  36. “a mixture of romantic ardour”: Cl B’s N.

  37. “kind of genius”: RN/EK.

  38. “You have extrasensory”: Ibid.

  39. “I start to observe”: Ibid.

  40. “I told him, Rudi”: NdV quoted in DD.

  41. the “Fiery Russian”: undated, unattributed clipping.

  42. “the most artificial”: Peter Brook, Observer, March 17, 1963.

  43. “royals and subjects”: cable from Ashton to Tony Lizzul.

  44. “They’re all equal”: Quoted in DD.

  45. “unintentional star”: James Monahan, DT, May 1963.

  46. “A deep, almost mystical”: A Bl Observer, undated clipping.

  47. “Something of this emotional dimension”: unmarked clipping.

  48. “No Nureyev, no Royal Ballet”: NdV, quoted in DD.

  49. “play him slowly … In ballet as it”: Montague Haltrecht, The Quiet Showman.

  50. “new Nijinsky’s … show-me”: Newsweek, May 6, 1963.

  51. “yes, screamed”: Walter Terry, New York Herald Tribune, undated clipping.

  52. “pounded”: To Terry, audio interview, April 25, 1978, NYDL.

  53. “old-fashioned and danceless”: Allen Hughes, unpublished article, “About the House,” Royal Opera House archives.

  54. “one of the miracles”: May 4, 1963.

  55. “slashing [Rudolf] to shreds”: To Walter Terry, audio interview.

  56. “While Nureyev could be an asset”: Haltrecht, The Quiet Showman.

  57. “front and center”: and subsequent Martin quotations, Saturday Review, May 25, 1963.

  58. “black-and-blue pulp”: NYT Magazine, December 13, 1981.

  59. “fearful of the political repercussions”: Harlow Robinson, The Last Impresario.

  60. “a sort of eating-place … all that cultural jazz”: Lord Longford, Kennedy.

  61. “then brandy, then rum”: unmarked clipping.

  62. “a very very Waspy, uptight”: Linda Maybarduk.

  63. “give us a good kick”: Daily Mail, June 7, 1963.

  64. “very emotional”: Dance Magazine, July 1963.

  65. “wonderful, understanding policemen”: David Palmer.

  66. “I found the man affable”: undated clipping, Studio magazine.

  67. “So … they think we are just”: Cathleen Nesbitt, A Little Love and Good Company.

  68. “We hugged and kissed … What are you doing here”: Quoted in DS.

  69. “full of exciting new schemes”: July 29, 1963.

  70. “more St Tropez”: Page, Page by Page.

  71. “A sort of celestial privilege … began also to look for”: Vittoria Ottolenghi, Rudolf Nureyev Confessioni.

  72. “Outside, mountains, sky”: Realities 182, January 1966.

  73. “What does he want”: Martin, Ruth Page.

  74. “decides one’s worth”: Show Business Illustrated, October 31, 1961.

  75. “Charlik, Erik say you help”: Spectator, January
16, 1993.

  76. “not necessarily money earned”: Time, August 9, 1968.

  77. “Sometime I go there”: To Saal, Newsweek, April 19, 1965.

  78. Quotes on MF in Athens: Money, Fonteyn & Nureyev.

  79. “You might get the beast”: Ibid.

  80. “Tonight I dance Corsaire”: Literary Review, February 2003.

  81. “the formerly love-sick girl … just fundamentally complete”: MF Auto.

  82. “very elusiveness”: Daneman, Margot Fonteyn.

  83. “desperately unhappy”: Annette Page.

  84. “competing with each other”: Joan Thring.

  85. “diminishing in perspective”: MF Auto.

  86. “take him out … I discovered”: Tennessee Williams, quoted in DD.

  87. “virtually impossible for any rational”: A Bl, The Nureyev Image.

  88. “But it just didn’t go with me”: NYT, March 4, 1979.

  89. “the Michelangelo of him”: Colum McCann, Dancer.

  90. “too much blood”: Peter Williams, D&D, December 1963.

  91. “although very much in the hands”: John Tooley.

  92. “At the Kirov Theatre I was all eyes”: Cl B’s N.

  93. “She’s not what you would call a robust … pull up [your] socks”: Margot Fonteyn, BBC Radio 3, produced by Jann Parry, transmitted February 4, 1992.

  94. “Suddenly everything was perfect”: RN/EK.

  95. “He wanted it done like”: DS.

  96. “the beginning of … I’d never been taught”: DD.

  97. “plastique is what makes magic”: RN/NG.

  98. “All of the body must dance”: Ibid.

  99. “to force … They naturally take”: RN/EK.

  100. “good old British Cecchetti”: Croce, “How to Be Very, Very Popular,” Afterimages.

  101. “Kingpin at the time”: Meredith Daneman.

  102. “very floaty, romantic … male with a capital”: Christopher Gable, quoted in DS.

  103. “frighteningly exacting”: Peter Williams, D&D, March 1964.

  104. “made rather a hash … throw caution”: Annette Page.

  105. “the authentic frisson”: DT, March 1964.

  106. “to duck them seems rather”: Cl B, D&D, March 1964.

  107. “As Gable showed”: Williams, D&D, March 1964.

  108. “those double-double things”: Gable, DS.

  109. “always looked centred”: Keith Money.

  110. “He comes onto the stage”: DD.

  111. “If he were to fly away”: A Bl, Fonteyn and Nureyev.