News Clippings '73

Telegram XGA354 URF292 CLB0011 FRPA CO URCL 071 New York 71/69 18 132 P EST AF Simon Semenoff Scripted Paris COLL 1974	Please assure Rudi not to worry. Tour not fully booked but at present three weeks Toronto one week Ottawa one week of split dates one week Chicago one week San Francisco one week Los Angeles. Holy week may have to be split followed by Philadelphia and five weeks Metropolitan. Will do everything to make Rudi happy. Not touring Royal Ballet in 1974. Affectionate greetings, Hurok
Daily News Wednesday, May 2, 1973 By Michael Iachetta	In a performance that mounted in intensity, like snowflakes developing into a blizzard, the National Ballet of Canada last night staged a charming "La Sylphide," a flashy "Fandango" and a dramaitcally intense "The Moor's Pavane" at the Metropolitan Opera House. During the course of the evening, guest artist Rudolf Nureyev went from a kilted, tilted James in "Sylphide" to the red-berobed Moor in "Pavane" and the performance went form good to better to best with every step he took. The internationally acclaimed Nureyev has that extra special stage presence. It translates into charisma, whether he is reeling through a Highland fling, as he does in the first act of "Sylphide" or churning with sustained power in the tormented "Pavane." "La Sylphide," perhaps the most influential ballet of the 19th century, helped introduce Romanticism into the world of the dance - but it was a bashful introduction in the version staged last night by producer Erik Bruhn, whose additional choreography was modeled after Auguste Bournonville. Veronica Tennant danced the role of La Sylphide with aerial grace and ease, her white costume a sharp contrast to the colorful kilts worn by the rest of the corps de ballet in the first act. It all went by like a graceful Strauss waltz, with the slow almost walking steps interrupted by a soaring pas de deux between Nureyev and Tomas Schramek as the green-corduroy-clad peasant Gurn...
The New York Times Wednesday, May 2, 1973 By Clive Barnes	The National Ballet of Canada gave Rudolf Nureyev in two new guises at the Metropolitan Opera House last night. Here we had Mr. Nureyev, the company's very special guest star, offering his first performance in New York of the hero James in "La Sylphide" and also, with a ballet more than a century later, giving his New York debut as the Moor in Jose Limon's great "The Moor's Pavane." The Canadians dance Erik Bruhn's sensitive production of Bournonville's 1836 ballet "La Sylphide" with unusual grace and honesty. Mr. Bruhn's version of the choreography has a very special spirit and understanding, and his first of all the Romantic ballets emerges with a certain nuance of comprehension that can be fairly compared to the Royal Danish Ballet itself.