1990

Rudolf Nureyev & Friends

by Hal de Becker

His ensemble of "friends", from North and South America and Europe consisted of the Paris Opera's elegant and aristocratic Charles June, whose soft plie and effortless elevation created a slow motion effect in the air; beautiful Vivi Flindt, highly regarded for her dramatic portrayal; Raymond Smith who, like sprung steel, impelled himself aloft with no apparent preparation; the polished and gifted ballerina from Teatro alla Scala, Isabel Seabra; and Flavia Vallone and Christine Spizzo.

Opening the Program was the pas de six from Napoli with its effervescent choreography by August Bournonville.  Despite some good moments from Jude, Seabra and Vallone, this piece did little more than serve as a warm-up for the dancers.

It was followed by the Sleeping Beauty pas de deux in which Jude and Seabra, in their exquisite silver and white costumes, made such a handsome couple that just their opening pose drew applause.  They performed the exciting Nureyev choreography with refinement, purity of line and technical bravura.

The next offering was an unscheduled pas de deux from Don Quixote, danced expertly by Raymond Smith, but unsteadily by Spizzo.  Afterwards, the company's production manager, Craig Margolis, informed this writer that there had been a problem obtaining fresh toe shoes which, despite the kind efforts of local ballet teachers Vicki Chapman and Rosemary Tall, had been only partially solved.  this may have accounted for Spizzo's shaky performance.

Nureyev performed in two works which, though amply sprinkled with double tours and multiple pirouettes, were wisely calculated to display his interpretive powers more than his lingering technique.  (Interestingly, in both ballets he strangles his leading ladies!)  In The Lesson, and in a manner reminiscent of Dr. Coppelius, he portrayed a timid, doddery dance master who, when left alone with his young pupil, becomes a sadistic killer.  He was ably supported by Flindt and Seabra.  The latter, as the unsuspecting pupil, invested the difficult role with an appealing vulnerability.  The dramatic choreography by Flemming Flindt was set to a score by George Delerue.

Jose Limon's The Moor's Pavane is loosely based on Shakespeare's Othello.  Nureyev danced the Moor with authority and sensitivity.  And Jude, with his long-limbed, spidery movements, was extremely effective as Iago, spinning his web of deceit.  Flindt, ravishing in her orange gown, flowed gracefully through her role as Emilia.  The part of Desdemona was taken by Spizzo.

Thanks to the Director of the Performing Arts Center, Richard Romito, backstage delays, unexpected light cues and last-minute program changes caused fewer problems than they might have.  Despite all his efforts, however, a number of patrons were caught away from their seats due to the unexpected cancellation of an intermission.  However, the patient audience was seemingly unperturbed by these mishaps, probably because they were so thoroughly enjoying the performance.

It is to be hoped that this will be just one of many "Farewell" tours for "Nureyev and Friends."  Return to career pages.

How one regards Rudolf Nureyev's performance at Eastman Theatre last night is largely what my old German professor would call "a matter of em-PHA-sis."  One could emphasize how much the great dancer has deteriorated technically or how remarkably well he still can perform at almost (five weeks away) 53.
One could thank his generosity in choice of friends, or get irritated at the offhand announcement that Svetlana Stepanova would replace Marie Christine Mouis, and then the unannounced cast changes.
In August Bournonville's Napoli pas de six, Charles Jude, Evelyne DeSutter, Andrei Fedotov, Isabelle Boutot, Flavia Vallone and presumable Svetlana Stepanova - all world-class dancers - performed appealingly.  So did Fedotov and a lovely dark-haired ballerina with sumptuous technique - let's call her Isabelle Boutot - in Bournonville's Flower Festival pas de deux.  The program listed Fedotov and Boutot and Vallone in that duet.
In the Sleeping Beauty pas de deux Jude partnered a blonde with spindly legs but beautiful feet.  Let's call her Stepanova.  The in The Moor's Pavane, Mouis was replaced by the lovely ballerina whom we called Boutot above, and the Moor's wife was supposed to be danced be Desutter, but was danced by whoever danced Sleeping Beauty (Boutot?).  A prettier blonde, listed as Desutter, dance the Don Quixote pas de deux with Fedotov.  he looked terrific, after the weak opening adagio.  She looked as though Kitri is definitely not her role; yet Desutter has danced Kitri ofen.
Twenty years ago, Maurice Bejart choreographed a striking duet to Mahler's Songs of a Wayfarer for Nureyev and Bejart's feline male star, Paolo Bortoluzzi.  They were supposedly two sides of a single person, though the effect was something between homoeroticism and a contest of strikingly different aesthetic approaches.  Now looking flabby and thick-waisted in leotard and matching tights, Nureyev danced the duet with the much more young and Lithe Charles Jude, one of the great European ballet stars today.
Certainly, his approach has deepened in rich emotional suggestions over the years; he uses his face and arms much more expressively than in his comparatively impassive original approach.  To me he seemed the antithesis of resignation; daring to match steps with a dazzling current idol; still managing multiple turns and jumps, double-turns in the air, double attitude turns, and actually quite beautiful entrechat six (multiple crossings and beats of the legs in midair).
If Nureyev doesn't rival his younger self, he can still out dance any other male near his age, except perhaps the also-legendary Vladimir Vasiliev.  And Jude, sinuous but emphatically virile, certainly rivals Bortoluzzi in his prime.
Only Nureyev managed the requisite weighty movement for Jose Limon's modern dance classic, The Moor's Pavane.  But Jude was sensuous and insinuating as the "Friend" (Iago), and that dark-haired ballerina was dramatically explicit and lovely as the Friend's Wife.  Nureyev has grown interpretively here too; he's danced this mature role since he was too young for it and is now quite subtle and moving in it.

Time Archive - Jan. 18, 1993