People who were not alive then do not realize the magnitude of his effect upon his art. He was a supernova. He opened doors for massive numbers of people to his art. Every company he worked with improved exponentially. He created enormous opportunity in ballet for the danseur and raised the bar for them so that now they are equal in ballet to the ballerina and we expect that of them without even thinking about it. He choreographed and/or staged really magnificent ballets. He was a wonderful teacher and coach. He was the first to cross the line into modern dance. He blazed the trail in the West for the other defectors, for Baryshnikov, Makarova, and the others. He inspired and is still inspiring young people to choose ballet as a profession. Plus he was handsome, intelligent, witty, demanding, generous, and courageous. When he really becomes history and not a celebrity among other celebrities who “died of AIDS” and “danced too long,” he will be the giant of his age. What he did for his art will speak for itself.
Lin, what a brilliant comment you wrote. Thank you so much for taking the time and energy to write it. You perhaps are a professional writer. I was only 3 years old when Nureyev defected. The dramaticness of his being into our world in America was enormous and the effect massive. I remember the fervor he caused with his defection. He was an enormous part of my childhood and life just in the thrill he was in his dancing and on all levels of his personhood. Life was much higher because he was in it. I didn't realize until much later that he lifted life to a level which made my perception of life higher. He was bigger than life. He was like a zeenith. The excitement and "attack" of his dancing was like none other. I saw he and Fonteyn dance together more than once. He was a god. The excitement he stirred in us has never been matched. In interviews, he was so witty and would say things in his own idiosyncratic way. You weren't sure where he was going to go with what he was saying - it could be a circuitous route, though a short one, but he would arrive at the most clever and insightful spot. He was nobody's fool, to say the least. One time in interview he was complaining about something regarding some female dancers. I can't remember what the criticism or offense was. But he imperiously and cuttingly called them "bubble gum ballerinas". It was impish and he really meant it and was disgusted with them but it was put in his usual clever and colorful way. And in that sublime accent. He was so funny and wry. He was humble yet proud and arrogant. I always waited outside stage doors for the dancers to come out. I was 8-9 years old and waited in a long line for his autograph. I was so nervous. It was like meeting a king. I handed him my program and he looked at it and suddenly he glared at me and with hot anger said, "Nyet." I was shaken and crushed and had no idea what I had done wrong. Later, I somehow realized that I must have handed him the back of the program instead of the front and he took very high offense to it, as if I were disrespecting him. I always looked older than my age but I was only 8 or 9 so I had no idea what autographs were about, that you signed it in strategic spots, and in a proper place, etc. I was deeply hurt. I loved him so much. I still remember how high his leaps were. He took one's breath away. He hung in the air. He was unique. One of a kind. He left an enormous imprint on my soul. (Postscript: I saw Nureyev again in 1972. I was 15 years old and was bitterly disappointed that his dancing had diminished. It was not fathomable to me. A painful shock. He was still good but this soaring godly entity had come down to less rarified air. His humaneness had asserted itself. He had always been beyond human for me. It was a loss of innocense for me. I was devastated. I didn't realize how short male dancers' peaks were and how much harder it was for men dancers. Jumps are so hard. An incredible wearing down of the body, enormous wear and tear. I have to also add that I felt Veronica Tennant and a couple of other dancers were not his equal and that upset me too that he was dancing with "lesser" dancers. He was so great, it pained me he wasn't dancing with equals worthy of him, as I viewed it. To dance with him was so sacred. He was an elevated creature. I couldn't understand how he could dance with anyone lesser than he. It was like a sacrilige.)
Rudolf Nureyev's realm of expertise was not only technical expertise but also a keen sense of the theatrical spiritual nature. Just watching him smile is a soulful, touching experience.Thank you for sharing.
Rudi looked so young for being 39! and indeed was he gorgeous, as gorgeous as Noella, what a pair full of talent, they don't make it like that anymore. last but not least I absolutely agree with Rudy: not even twins are born together, they come one by one! Nureyev was witty.
Je pense que ce film vient de 1977 quand il avait 39 ans - il a commencé à voir Noureev en 1970 quand il était encore très très bon - je me sens chanceux en cela :)
J'aime son côté philosophe et sa façon de ramener les instants et les personnes que l'on rencontre à ce qu'ils sont : des instants et des êtres qui disparaîtront tôt ou tard. C'est la philosophie des Poissons (oui, Rudolf est du signe des Poissons).
La regrettée Claire Motte était trop grande pour lui, Noëlla Pontois avait la taille parfaite pour danser avec lui. Mais c'est avec Claire Motte qu'il fit connaissance à son arrivée à Paris avec le Kirov (Pierre Lacotte et Clara Saint en compères).
@@JohnRaymondHall j saw Claire Motte in " Concerto " coreo F Blaska in 1970 , perfect esthetic , sculptural aesthetic no 1975' and after , j have never understood why . Claire Motte had her statue at " Musée- Grevin " - Paris during some years , wonderfull
@@JohnRaymondHall in fact Claire Motte had a very short career 1965-1972 because her sculptural aesthetic was no the same after 72 ? Great technic of danse
![Rudolph Nureyev, Karen Kain and Second Cast Rehearse 'Sleeping Beauty' [National Ballet of Canada]](http://i.ytimg.com/vi/hbvnYXLCKUw/mqdefault.jpg)
![Rudolph Nureyev, Karen Kain and Second Cast Rehearse 'Sleeping Beauty' [National Ballet of Canada]](/img/tr.png)
Как же он хорош!!!Даже репетиции доставляют огромное удовольствие при просмотре!Невероятно притягивающий человек!
@@aaaa-on7fp он завидует!
Очень интересны даже его репетиции, каждый жест, улыбка, шутки, спасибо за это видео! ❤
People who were not alive then do not realize the magnitude of his effect upon his art. He was a supernova. He opened doors for massive numbers of people to his art. Every company he worked with improved exponentially. He created enormous opportunity in ballet for the danseur and raised the bar for them so that now they are equal in ballet to the ballerina and we expect that of them without even thinking about it. He choreographed and/or staged really magnificent ballets. He was a wonderful teacher and coach. He was the first to cross the line into modern dance. He blazed the trail in the West for the other defectors, for Baryshnikov, Makarova, and the others. He inspired and is still inspiring young people to choose ballet as a profession. Plus he was handsome, intelligent, witty, demanding, generous, and courageous. When he really becomes history and not a celebrity among other celebrities who “died of AIDS” and “danced too long,” he will be the giant of his age. What he did for his art will speak for itself.
Well said Lin Hiril!
Perfecta descripcion de este bello bailarin que tenia un magnetismo y personalidad unicas. Inigualable e inimitable. Nunca le olvidaremos.
Lin, what a brilliant comment you wrote. Thank you so much for taking the time and energy to write it. You perhaps are a professional writer. I was only 3 years old when Nureyev defected. The dramaticness of his being into our world in America was enormous and the effect massive. I remember the fervor he caused with his defection. He was an enormous part of my childhood and life just in the thrill he was in his dancing and on all levels of his personhood. Life was much higher because he was in it. I didn't realize until much later that he lifted life to a level which made my perception of life higher. He was bigger than life. He was like a zeenith. The excitement and "attack" of his dancing was like none other. I saw he and Fonteyn dance together more than once. He was a god. The excitement he stirred in us has never been matched. In interviews, he was so witty and would say things in his own idiosyncratic way. You weren't sure where he was going to go with what he was saying - it could be a circuitous route, though a short one, but he would arrive at the most clever and insightful spot. He was nobody's fool, to say the least. One time in interview he was complaining about something regarding some female dancers. I can't remember what the criticism or offense was. But he imperiously and cuttingly called them "bubble gum ballerinas". It was impish and he really meant it and was disgusted with them but it was put in his usual clever and colorful way. And in that sublime accent. He was so funny and wry. He was humble yet proud and arrogant. I always waited outside stage doors for the dancers to come out. I was 8-9 years old and waited in a long line for his autograph. I was so nervous. It was like meeting a king. I handed him my program and he looked at it and suddenly he glared at me and with hot anger said, "Nyet." I was shaken and crushed and had no idea what I had done wrong. Later, I somehow realized that I must have handed him the back of the program instead of the front and he took very high offense to it, as if I were disrespecting him. I always looked older than my age but I was only 8 or 9 so I had no idea what autographs were about, that you signed it in strategic spots, and in a proper place, etc. I was deeply hurt. I loved him so much.
I still remember how high his leaps were. He took one's breath away. He hung in the air. He was unique. One of a kind. He left an enormous imprint on my soul.
(Postscript: I saw Nureyev again in 1972. I was 15 years old and was bitterly disappointed that his dancing had diminished. It was not fathomable to me. A painful shock. He was still good but this soaring godly entity had come down to less rarified air. His humaneness had asserted itself. He had always been beyond human for me. It was a loss of innocense for me. I was devastated. I didn't realize how short male dancers' peaks were and how much harder it was for men dancers. Jumps are so hard. An incredible wearing down of the body, enormous wear and tear.
I have to also add that I felt Veronica Tennant and a couple of other dancers were not his equal and that upset me too that he was dancing with "lesser" dancers. He was so great, it pained me he wasn't dancing with equals worthy of him, as I viewed it. To dance with him was so sacred. He was an elevated creature. I couldn't understand how he could dance with anyone lesser than he. It was like a sacrilige.)
that says it all - thanks :)
@@brendadufaur37 Vous l’aimiez beaucoup❤. Votre commentaire est très touchant❤. Merci Madame!🎉.
Какой он здесь счастливый, спокойный, ❤
Спасибо за возможность ещё раз окунуться в это обаяние. 👍👍👍
What a SIMPLY MAGNIFICENT DANCER. Rudolf Nureyev!
Che gioia per gli occhi , quanta bellezza , grazia e armonia. Grazie è una emozione vivificante !!! Questi tempi ne sono privi !!!!
Ya no existen bailarines como los de aquellas épocas. Ahora hay saltos atléticos, pero no hay expresion ni sentimiento. No son actores. ¡Una pena!
Rudi fue único, gran bailarin muy talentoso y dio todo por la danza, y además bellisimo.
He continues to dance over time ...This is magic
Cela fait toujours plaisir d'entendre Rudy parler français. Et cette répétition est savoureuse. Rudy y est tellement naturel ! Merci.
c'est vrai, un plaisir
Rudolf Nureyev's realm of expertise was not only technical expertise but also a keen sense of the theatrical spiritual nature. Just watching him smile is a soulful, touching experience.Thank you for sharing.
very much so - he was such an expressive dancer. i feel lucky to have seen him onstage as much as i did.
¡Beautiful!!!!!!!!Merci de partager
What a nice video John!, I love to see Rudolf rehearsing, many thanks for sharing it!
Well, when all is said and done the guy is good to look at. He is always interesting and oh so handsome.
he is indeed - the 'animal magnetism' label was not wrong - potent star quality - and then he could dance. ahhh, what more do we want!
l saw claire motte dancing in 1970 le corsiere pdd with rudy bryans in a gala the same gala were also fom pob tessa beaumont and cyril atanasoff
Maravilloso documento muchas gracias por compartirlo👏👏👏👏
Merci beaucoup pour ce partage ! Mon cœur bat fort!
mon plaisir :)
Rudi looked so young for being 39! and indeed was he gorgeous, as gorgeous as Noella, what a pair full of talent, they don't make it like that anymore.
last but not least I absolutely agree with Rudy: not even twins are born together, they come one by one! Nureyev was witty.
Yes,,, he was a true "Master".......that Noella was an outstanding dancer, also she was magnificent in "Raymonda"
yes, i liked her too - and saw her at the POB - in 'Swan Lake' in 1973 - she was very beautiful as Odette
@@JohnRaymondHall John...just read "A Year with Rudolf Nureyev" by Simon Robinson ,. Have you heard of it? Highly recommend
@@kaythomas8521 no, A Year with Rudolf Nureyev has not appeared on my radar - thanks for the alert and recommendation
@@JohnRaymondHall Amazon Books/ Kindle. Fascinating Read. Not long ,either. 187 pgs
@@kaythomas8521 thanks Kay :)
Merci Alex pour le vidéo, c'est vraiment intéressant assister aux ripetitions d'un ballet. Rudy avait 31 ans à l'epoque (1969)
Je pense que ce
film vient de 1977 quand il avait 39 ans - il a commencé à voir Noureev
en 1970 quand il était encore très très bon - je me sens chanceux en
cela :)
John Hall 1970
J'aime son côté philosophe et sa façon de ramener les instants et les personnes que l'on rencontre à ce qu'ils sont : des instants et des êtres qui disparaîtront tôt ou tard. C'est la philosophie des Poissons (oui, Rudolf est du signe des Poissons).
oui, il était bien plus qu'un simple danseur
Je suis Poisson et je comprends aussi la finitude des choses.
C'est un ange !..❤ voilà c'est ça !! C'est un ange 😮😊😊k
indeed!
I share every word !!!!
thank you alex ,l guess he was around 36/7 here
the film is 1977 so he as 39
La regrettée Claire Motte était trop grande pour lui, Noëlla Pontois avait la taille parfaite pour danser avec lui.
Mais c'est avec Claire Motte qu'il fit connaissance à son arrivée à Paris avec le Kirov (Pierre Lacotte et Clara Saint en compères).
🙏😍
l think l like him paired with Noella better.
mrs motte is clearly too big for him ,that is better paired with mrs pontois
i agree - he seems at times to have a bit of a handful!!!
Oh give me a break! He’s even training her here.
He danced with Margot Fonteyn for years. Are you saying Claire Motte was bigger than her?
@@francie2915 yes phisically is bigger dame margo was tiny l also saw live in covent garden audience
Claire Motte was a Star for Contemporain coreos no Swan Lake !
agreed :)
@@JohnRaymondHall j saw Claire Motte in " Concerto " coreo F Blaska in 1970 , perfect esthetic , sculptural aesthetic no 1975' and after , j have never understood why . Claire Motte had her statue at " Musée- Grevin " - Paris during some years , wonderfull
@@alainspiteri502 hi Alain - lucky to have seen Claire Motte live! i didn't know that her statue!
@@JohnRaymondHall in fact Claire Motte had a very short career 1965-1972 because her sculptural aesthetic was no the same after 72 ? Great technic of danse
@@alainspiteri502 she obviously was caught between two talents