Svetlana Beriosova -- Dancer Of To-Day No.9 – Buch antiquarisch kaufen

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Svetlana Beriosova was born into a world peopled almost entirely with dancers. Her father was a dancer, and two of her aunts and an uncle were also Professional dancers. From the age of three until she was eight she travelled around Europe with her father, who was in the Ballet Russe de Monte Carlo, and her life was lived largely in theatres, in dressing-rooms, or watching dancers rehearse or perform on the stage. In her early years she came into contact with many great dancers : Vera Nemtchinova, Alexandra Danilova, Alicia Markova, Tamara Toumanova, Youskevitch, Eglevsky and Massine. As a child, she sat on Fokine’s knee as he directed rehearsals, and Massine allowed her to appear in Le Beau Danube, as the child with a skipping rope.

Growing up in a world of dancers it was inevitable that she should become a dancer, and she made her debut in the corps de ballet of the Marquis de Cuevas’s Company before she was fifteen. Mercifully, she escaped being one of Colonel de Basil’s “ baby ballerinas,” and with her father also in the Company, she joined Metropolitan Ballet. Here she became, eventually, and before she was seventeen, the Company’s leading dancer. Many distinguished dancers were with Metropolitan Ballet during its short life, and her partners included Erik Bruhn and Frank Schaufuss, on leave from the Royal Danish Ballet, Alexandre Kalioujny, Poul Gnatt, Frank Staff, and Leonide Massine.

In Metropolitan Ballet she made a considerable impression upon critics and audience alike, in classical roles and in ballets created for the Company : Designs for Strings, Fanciulla delle Rose and Bailamento. In the three years she spent with the Company she developed from a dancer with undoubted gifts, but inexperienced and lacking confidence, into an artist of growing assurance, with an individual style which had dignity and nobility. She had authority and an instinctive sense of “ theatre,” but at the same time an immaturity and a lack of complete conviction in much that she did. But there could be no doubt of her great promise, and even at that early age, of her “ star quality.”

It is difficult to dehne what is meant by “ star quality.” Certain dancers have it : Markova, Chauvire, Ulanova, Fonteyn. It is, perhaps, an inborn instinct, or an intensity of concentration, allied to an inexhaustible capacity for taking pains. Certainly, it has little to do with technical virtuosity, for far greater technicians than either Markova or Fonteyn have failed to achieve lasting success, and interest in them ceases when the glow of their ßreworks goes out. Whatever “ star quality ” is, Svetlana Beriosova has it, and this allied to her fair Slav beauty, with her well proportioned features, the high cheekbones, the broad forehead, the wide-spaced eyes, won her much affection and admiration, and—it must be admitted—an exaggeration in some quarters of her achievements at that time.
After the end of Metropolitan Ballet, Svetlana Beriosova moved to the more temperate climate of the Sadler’s Wells Theatre Ballet. In this Company young dancers are allowed to develop at a less exacting pace than is possible in a Company where quick results must be shown. During her two years with the Sadler’s Wells Theatre Ballet, her dancing showed a steady improvement in ßnish and execution : she had a beautiful line, her movements were fluid, and she developed with growing assurance the beautiful extension and carriage of the Russian school. She was most successful in the purely classical roles, and in romantic parts, such as the Lady in Assembly Ball, haughty, detached -and mysterious. The slow studied movements created for her by Cranko in his ballet Pastorale showed the dis-tinctive quality of her style to great advantage. As Swanilda in Coppelia she showed an un-suspected gift for gaiety and characterisation, and she was completely enchanting. The aloofness, the hauteur, the slightly misty characterisation she gave to other parts were gone.

Whatever apprehensions she may have had when she joined the Company, she spent two happy and successful years with it, with Elaine Fißeld, Patricia Miller, Maryon Lane, David Blair and David Poole, a team of leading dancers which any Company might envy.

When Svetlana Beriosova moved to Sadler’s Wells Ballet in 1952, her progress in the Company was regarded by some members of the public, and of the press, as unnecessarily slow, and they were surprised to ßnd her dancing comparatively minor roles, and appearing in ensembles such as the pas de six in Susan Lake. How wise was Dame Ninette’s decision to allow her to progress naturally and without forcing, and how equally wise was Svetlana Beriosova’s acceptance of the decision, we were to see in later years. Unlike many of her compatriots of the Russian school, Toumanova, Baronova and others, she developed slowly. Due to economic circumstances, their talent was forced, they were grossly over-worked, and their natural precociousness given full play, to the detriment of their full development at a later age. By being allowed to develop at her own pace, Beriosova has gained gradually sufficient strength and stamina for the major roles of classical ballet. In physique she is above average height, and although her proportions are in the true classic mould, her height and her weight make greater demands on her reserves, and on her partner’s, than on more slightly built dancers. Speed in movement does not come easily to her, although when dancing the Don Quixote pas de deux at a charity performance in 1956 she demonstrated most successfully, that she can dance with speed, and with the flamboyance and abandon that this pas de deux demands.

Svetlana Beriosova made her debut as Aurora in The Sleeping Beauty in June 1954, as Odette-Odile in Swan Lake in 1955, and as Giselle in 1956.
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1956

BN31443BIG