It really is breathtaking... I am not a Nureev customer, but this is sheer magic. He proved himself here as supreme stylist. The exquisitely executed sequiences with nymphs are showing his obsessive attention to detail and styling precision. All of that is now trademark of Paris Opera's Ballet troupe thanks to his groundbreaking leadership there for a short 8 years. In such hands this gem is not a museum piece - it is a living breathing work of contemporary art. Sublime eroticism and sensual elegance in every aspect of this absolute masterpiece. This performance is next to precise replica of the whole thing and this is heaven - music, costumes, set, dance performance and choreography. Nijinski is still seems to be undervalued in understanding that this short ballet in fact was revoutionary approach to the dance - since it is conceived at once in alll respects of specific quality of movement, relation of it to music and space, complete integration with set and importance of the costume specifics. It is an extreme rarity to have such a harmonius inextricable unity of the every element into the whole theatrical experience. This is art of the highest merit - complete immersion into another reality.
Eugène Sheshenin : there is two composers Nininsky but we forget Debussy with not a Masterpiece but others famous pieces , balletomanes think about Petipa but they don't think about Tchaikovsky : where is the genious ? The Musician who composed two hundred masterpieces or a coreo only one ? For me The musician ; it's seems with one Masterpiece a composer is not a genious " l'après-midi d'un Faune " is famous but what more ? a coreo in historic-dance only one no more . People talk more about coreo Nijinsky than Stravinsky Prokovief it's seems a problem in brains of the Man in our Humanity : who talk to day about Béjart coreo his " Fire-bird " at Palais des Sports in October 1970 ? nobody ! Béjart Fire Bird and his dancer also : j saw the last in live , not Noureev-Nijinsky it's true but it's seems with a century a famous composer become a mythe not Noureev who is a reality but j think about Bejart-Fire Bird and his dancer at Paris Palais des Sports who are forgotten to day !
The moment when he lays on the scarf is so beautiful, his movement, the music, all is so perfect , so touching that We feel the emotion years and years after
I was lucky enough to see Nureyev perform this at the London Colosseum in either the early eighties or early seventies. It took my breath away. First time I've seen it since and it still has the same impact.
A performance so stunning that one is left breathless. Perfect. This is not a dance. This is DANCE, the very embodiment of an art so refined, yet so primal..it is embeded in the human soul. Bravo Rudik, Bravissimo.
Просмотрела "отдых фавна" в исполнении многих танцоров включая Цискаридзе, Лиепа, Charles Jude и др. ни одно исполнение даже близко не подходит к образу созданному Нуреевым. Его летающий подъем по лестницам обратно к своему ложу, оживленные позы запечатленные на древних фресках - это нечто! по сей день не повторимое .
Fascinating, riveting, exquisite... Nureyev makes the famous Nejinski positions dramatically compelling and utterly convincing. And then too. he has never been more beautiful to look at.
I had the privilege of seeing Rudolf Nureyev dancing L'apres-midi d'un faune at the Metropolitan Opera House (New York City) in 1976. He was unquestionably the best male ballet dancer in history. He shall never be forgotten. Adrien J. Alpendre, PhD (Tulane University, New Orleans, Luisiana)
I saw this in London last year as it was done originallyit was powerful!: all these great creative innovators of that period coming together: bakst, debussy, nijinsky, mallarmes inspiration, diaghelev, the costumes-this feeling of a big cultural crux at the time not just in ballet. Hope people keep watching and inspire themselves
I saw Nureyev dance this is in 1974, in Paris. What was surprising, (and, to me anyway, somewhat disturbing), was the way he chose to conclude the dance with a final motion so intentionally loud and raucus - that I truly hoped he had not injured himself while throwing his torso to the ground with a dramatic thud!😳
I've never seen anyone to Faune like Nureyev. I would have loved to see Nijinsky, but Nureyev for now will be the closet thing to perfection in my opinion.
Extraordinario Rudolph ...para mí luego de lo que me cuentan de Nijinsky( que según creo hay solo fotos , yo tengo el libro titulado NIJINSKY y sólo hay fotos además de toda su biografía) ...sacándolo a él que dicen desafiaba la LEY DE LA GRAVEDAD ...quedando suspendido en el aire el tiempo que cualquier ser humano jamás piodría...RUDOLPH NUREYEV PARA MÚ ES EL MAS GRANDE DE TODOS LOS BAILARINES
I cherish that I was alive to see him defect and share his talent with us. The comparisons to Nijinski are earned. He was an embodiment and successor to his talent, as well as a ballet legend in his own right. This is a treasure.
В новом, отреставрированном Большом Театре первый спектакль я бы хотел увидеть всю историю Русского Балета, наши лучшие талантливые имена, отдать должное им и Большому Театру. Предлагаю.
Claude Debussy managed to capture with his melody a bucolic scene from the ancient world, when these creatures coexisted with the human race in the Pre-Flood. And Vaslav Nijinski choreographed it.
This is very close to the same choreography that Nijinsky originated, even to the costume. One can see in the choreography, some of the techniques that Nijinsky later would incorporate in his movements for Stravinsky's "The Rite of Spring". Things like the unusual hand positions and angular body movements, the crooked body positions compared to the classical vertical and linear positions, especially when standing. Nureyev does as splendid job here to Nijinsky's ground-breaking choreagraphy.
@@alanhardy3400 How do you know? Important to clarify, as thousands think its Rudy. Have you got precise info or is your knowledge of the dancer in the video?
@SabbaGirl That made this so much more interesting, holy crap. I still feel the same way about the staging(famous or not, performed by Njinsky or not), but now I know it's essentially a replica. I think they are still obviously very talented and poised dancers, mind you. Thanks for educating me about this! And now I know why he passed out!
I am watching a program on PBS that mentioned that when the dance was choreographed it was meant to go against the grain of ballet by keeping it on the ground. The Ballet Russe was avant garde and didn't do things like their contemporaries.
Purchase this on Nureyev and the Joffrey Ballet in tribute to Nijinsky. Year/Format: 1998, VHS, 1 videocassette (79 min.) : Subjects: Afternoon of a faun (Choreographic work : Nijinsky). Ballets. Nijinsky, Waslaw, 1890-1950. Petrouchka (Choreographic work : Fokine). Spectre de la rose (Choreographic work : Fokine).
as i read in the nijinsky biography he had to repeat the whole performance on the premiere's night because the audience couldn't calm down after that - though it was a scandal people wanted to see it again
This is a performance in 1972, London. I wonder how come thar people who are so generous to let us participate, very often forget to give some details?
El Fauno ¡Estas ninfas quisiera perpetuarlas! Tan claro, su ligero encarnado, que en el aire revuela abatido de espeso letargo. ¿Amaba un sueño? Montón de antigua noche, mi duda ha terminado en mucha rama tenue que, habitando las mismas florestas, prueba, ¡ay!, que sólo me ofrecía como triunfo la falta ideal de las rosas. Reflexionemos… Si las mujeres que glosas un anhela semejan de tus sentido pródigos, la ilusión, fauno, escapa de los ojos azules y fríos, tan llorosa fuente de la más casta: mas la otra, en suspiros, ¿dices tú que contrasta como brisa del día cálida en tu toisón? ¡Qué no! por el inmóvil y cansado desmayo de calor sofocando la matinal frescura, no murmura agua alguna que no vierta mi flauta al otero rociado de acordes; sólo el aire pronto a exhalarse fuera de los dos tubos, antes que disperse el sonido en infecunda lluvia, es, en el horizonte de línea perfecta, el invisible y sereno aliento artificial de toda inspiración que hasta el cielo retorna. Oh ribas sicilianas de un sereno pantano Que en lucha con los soles mi vanidad despoja, Tácitas bajo flores de centellas, DECID Que yo cortaba aquí huecos juncos domados por el talento; y sobre el oro de los sotos lejanos, consagrando su viña a las fontanas, ondula una blancura animal en reposo: y que, al preludio lento donde nacen las flautas, vuelo de cisnes, ¡no!, de náyades se escapa o hunde… Inerte, todo arde en la hora encendida, sin decir por cual arte en conjuro partieron tanto ansiados hímenes por la que busca el la: me levantaré, ¡lirios!, al naciente fervor, recto y solo, bajo hondas antiguas de fulgor, seré uno de vosotros para la ingenuidad. Sólo esta nada dulce por su labio anunciada, el beso, calladamente, perfidias asegura, mi pecho virginal muestra una mordedura misteriosa, legado de algún augusto diente; ¡ya basta! arcano tal optó por confidente, junco basto y gemelo bajo el azul sonando: que, desviando hacia sí la turbada mejilla, sueña, en un solo largo, que nosotros gozamos la belleza en redor llena de confusiones falsas entre sí mismas y nuestro canto crédulo y de lograr, tan alto como amor se modula, desvanecer del sueño ordinario de flanco o dorso puro, ciega mi vista que los sigue, una sonora, vana y monótona línea. ¡Quieres, pues, instrumento de fugas, oh maligna siringa, florecer en el lago aguardándome! Con mi rumor altivo quiero hablar largo tiempo de las diosas; y, por idólatras pinturas, despojar todavía cinturas a su sombra: así, cuando a las vides la claridad succiono, desterrando un dolor por la mentira aislado, alzo, riente, el exhausto racimo al cielo estivo y soplando en sus pieles brillantes, de embriaguez ávido, hasta el ocaso yo miro a su trasluz. Oh ninfas, rebasemos los múltiples RECUERDOS. “Mis ojos, horadando los juncos, asestaban cada talle inmortal que hunde fuego en las ondas con un grito de rabia al cielo de la fronda; y el espléndido baño de cabellos huía en estremecimiento y brillos, ¡pedrerías! Corro; cuando a mis pies se enredan (afligidas de languidez gustada en el mal de ser dos) entre sus solos brazos las durmientes casuales yo, sin desenlazarlas, las arrebato y hurto, odiado por la frívola sombra, hasta el macizo de rosas que desecan todo perfume al sol donde nuestro ardor sea como el día extinguido”. ¡Yo te adoro, enfado de vírgenes, delicia feroz del sacro cuerpo desnudo que resbala y huye a mi ardiente labio en destello agitado! el espanto secreto que brota de la carne: de los pies de la cruel al pecho de la tímida, que abandona a la vez una inocencia, húmeda de loco llanto o menos afligidos vapores. “Mi crimen es haber, feliz de vencer miedos traidores, separado intrincados cabellos de besos que los dioses guardaban confundidos, pues iba apenas para velas ardiente risa tras los pliegues felices de una sola (guardando con dedo simple para que su candor de pluma se tiñera del gozo de su hermana que enciéndese, la pequeña, cándida y sin ruborizarse:) que de mis brazos rotos por las muertes inciertas como una presa siempre ingrata se libera sin piedad del sollozo del que aún ebrio estaba”. ¡Tanto peor! la dicha de otras me arrastrará por su trenza a los cuernos de mi frente sujeta: tú sabes, pasión mía, que, púrpura madura, cada granada estalla con murmullo de abejas, y nuestra sangre, amando a quien viene a cogerla, fluye por el eterno enjambre del deseo. A la hora en que el bosque muere en oro y cenizas, una fiesta se exalta en muriente follaje: ¡Etna! es en tu redor, visitado por Venus, en tu lava posando sus talones ingenuos, cuando retumba un sueño donde expira la llama. ¡Tengo la reina! ¡Oh, cierto castigo…! Mas el alma, de palabras vacante y este cuerpo aturdido, sucumben a la fiera calma del mediodía; sin más, fuerza es dormir en el blasfemo olvido, en la sedienta arena yaciendo, ¡pues me place abrir la boca al astro eficaz de los vinos! Adiós, oh par; veré la sombra en que os volvéis... (Stéphane Mallarmé - poeta francés - 1842-1898)
@si7ltmixwsata7 If you'll look it up, you'll see that Nijinski, who choreographed and created this dance, based the whole dance on figures on ancient Greek vases.
does anyone have a link for Nureyev in Paris -his debut in the 50's i think! i saw it on BBC2 a while ago but cannot find it on line! can anyone help? thanks!
I wonder... do dancers actually like modern music? This pieces are usually only interested by musicians who actually understand it, like the whole tone scale, octatonic, polymeters, and can actually get the feel and recognize intervals and chords, find unresolved sevenths, etc... Im saying cuz I see people dancing to Xenakis and Finnissy (contemprary equivalents to Debussy and Stravinsky, "dissonant" modernists back in their time) and I dont imagine them liking/understanding their music.
Смотришь завороженно, глаз не оторвать! Столько нежности, любви, красоты, полной отдачи всего себя..
Хочу быть шарфиком..
🤣 🤣 🤣 🤣
También yo 😍
Nureyev maravilhoso sua dança e expressão corporal são sensacionais e é o melhor dançarino de todos os tempos.👏👏👏👏👏👏👏🥰❤️
It really is breathtaking... I am not a Nureev customer, but this is sheer magic. He proved himself here as supreme stylist. The exquisitely executed sequiences with nymphs are showing his obsessive attention to detail and styling precision. All of that is now trademark of Paris Opera's Ballet troupe thanks to his groundbreaking leadership there for a short 8 years. In such hands this gem is not a museum piece - it is a living breathing work of contemporary art. Sublime eroticism and sensual elegance in every aspect of this absolute masterpiece. This performance is next to precise replica of the whole thing and this is heaven - music, costumes, set, dance performance and choreography. Nijinski is still seems to be undervalued in understanding that this short ballet in fact was revoutionary approach to the dance - since it is conceived at once in alll respects of specific quality of movement, relation of it to music and space, complete integration with set and importance of the costume specifics. It is an extreme rarity to have such a harmonius inextricable unity of the every element into the whole theatrical experience. This is art of the highest merit - complete immersion into another reality.
Eugène Sheshenin : there is two composers Nininsky but we forget Debussy with not a Masterpiece but others famous pieces , balletomanes think about Petipa but they don't think about Tchaikovsky : where is the genious ? The Musician who composed two hundred masterpieces or a coreo only one ? For me The musician ; it's seems with one Masterpiece a composer is not a genious " l'après-midi d'un Faune " is famous but what more ? a coreo in historic-dance only one no more . People talk more about coreo Nijinsky than Stravinsky Prokovief it's seems a problem in brains of the Man in our Humanity : who talk to day about Béjart coreo his " Fire-bird " at Palais des Sports in October 1970 ? nobody ! Béjart Fire Bird and his dancer also : j saw the last in live , not Noureev-Nijinsky it's true but it's seems with a century a famous composer become a mythe not Noureev who is a reality but j think about Bejart-Fire Bird and his dancer at Paris Palais des Sports who are forgotten to day !
The moment when he lays on the scarf is so beautiful, his movement, the music, all is so perfect , so touching that We feel the emotion years and years after
Una de las magnas actuaciones artisticas del siglo XX y como actuación la mejor del genio NUREYEV. Gracias por subirla
Magnificent interpretation by Nureyev, a real masterpiece.
Rudolf Nureyev is the greatest ballet dancer ever, a genius of dance!
Musicworld I agree
It isn't even Nureyev, It's Charles Jude.
@@alanhardy3400 Charles doesn't look like that. I watched his performance and his muscles were bigger.
@@alanhardy3400 Por favor, mira bien
Este es Rudolf Nureyev. Charles Jude tiene la nariz chata.
Несомненно это Нуреев. Его красивое лицо, тонкий нос, невозможно спутать ни с кем другим.
I was lucky enough to see Nureyev perform this at the London Colosseum in either the early eighties or early seventies. It took my breath away. First time I've seen it since and it still has the same impact.
Nureyev does complete justice to the Nijinsky choreography and his spirit of the dance.
things are really heating up in the choreography fandom
It isn't Nureyev
Несомненно это Нуреев. Его лицо, нос, руки, фигуру невозможно спутать ни с кем.
A performance so stunning that one is left breathless. Perfect. This is not a dance. This is DANCE, the very embodiment of an art so refined, yet so primal..it is embeded in the human soul. Bravo Rudik, Bravissimo.
El Fauno más bello de la historia! Que plasticidad....Nureyev inmenso
Боже как талантливо!!!Рудольф Нуреев !!!!!💖💖💖💖💖
Breathtaking. I had chills the whole time. What an amazing artist Nureyev was.
Yes, he was, except this isn't him, it's Charles Jude.
@@alanhardy3400 Oui vous avez raison , c’est Charles Jude! Merci !
@@annickborys2465 Es Nureyev
@@isabeldiezlangre9411Hola, por la fisonomía es Nureyev y magia, pero varios comentarios me pusieron a dudar.
@@Rosa-sy4nx No dudes, es Nureyev. Charles Jude es totalmente diferente de cara, la madre creo que era de Vietnam. .
Magnificent - a stunningly beautiful piece of music performed to perfection by a balletic genius.
Debussy- Nijinsky-Noureev , what more ?
It isn't Nureyev.
Конечно, это Нуреев. Его лицо, нос, профиль, руки, фигура.
He is so beautiful and multi- talented! You go Rudolph, dancing till the end of days
Was, not is
It isn't Nureyev.
@@alanhardy3400 It is Nureyev. Look at him in profile. That nose and those cheekbones are Nureyev, not Charles Jude.
Несомненно это Нуреев.
Magnifique! met en valeur l'innovation du ballet de 1912 de Nijinsky
Breathtaking. Dance - the architecture of movement in space. Nureyev is Genius.
Well he WAS a genius, except this isn't actually him.
Dude. What? This is Nureyev.
@@alanhardy3400 Merci! C’est bien Charles Jude! J’ai passé beaucoup de temps à vérifier !
Несомненно это Нуреев. У Шарля Жюда совершенно друге лицо и тело.
inspiring! Great performance by Nureyev, great choreography, setting and music!
It isn't Nureyev.
@@alanhardy3400 vous avez raison : C’est Charles Jude !
Это Нуреев. Его красивое лицо, тонкий нос, профиль, шея, плечи, руки.
So beautiful. Grateful for such talent. ❤️🙏
Просмотрела "отдых фавна" в исполнении многих танцоров включая Цискаридзе, Лиепа, Charles Jude и др. ни одно исполнение даже близко не подходит к образу созданному Нуреевым. Его летающий подъем по лестницам обратно к своему ложу, оживленные позы запечатленные на древних фресках - это нечто! по сей день не повторимое .
Exquisite. Music and dance. Vale Rudolph!
Сказочно, Обворожително!!!!!!!
They hold their hands like Egyptian hieroglyphics. The ballet fits so well with the meloncholy of the song. Loves it!
Exquisito!
Great performance!, many thanks Patricia for sharing this jewel!
Идеал! Красив, бесподобен - восторг!
Наслождение видеть его! Какое самовыражение!
🙏🏽💔🌹💔🌹💔🌹💔🙏🏼
Thank you so much!💔
Only Nureyev could have given us this window into Nijinsky's genius.
the quiet pace and stylized movement make me think of the ancient art of greece and rome on urns and murals
Son priviligiados los ojos que lograron ver sus desplazamientos increibles en el escenario, fue y es el único..."MA"...♥
Совершенно сказочное действо! Нуреев не танцует, он здесь - фавн , которому снится сон...
più che meraviglioso con le sue gestualità e la sua geometria corporale
c est splendide, une harmonie et perfection entre musique danse costumes et decor.... ce peintre etait un grand artiste egalement
I love Debussy's score. It's so "other-wordldy".
Fascinating, riveting, exquisite... Nureyev makes the famous Nejinski positions dramatically compelling and utterly convincing. And then too. he has never been more beautiful to look at.
Shows how much you know...It isn't Nureyev.
Конечно это гениальный Нуреев. Его лицо, его профиль, тонкий нос.
Nureyev magnificent 🥰❤️❤️❤️
I had the privilege of seeing Rudolf Nureyev dancing L'apres-midi d'un faune at the Metropolitan Opera House (New York City) in 1976. He was unquestionably the best male ballet dancer in history. He shall never be forgotten. Adrien J. Alpendre, PhD (Tulane University, New Orleans, Luisiana)
Rudolph makes everything look so effortless
I love this original choreography! Nothing can match it!
What about the choreography of Václav Nezhinsky, who was the first to perform this part?
My God, he was magnificent.
It's not him.
Несомненно это гениальный Нуреев. Его, ни с кем не сравнимый профиль, тонкий нос, шея , руки.
extraordinario, siempre estimula el buen uso del cuerpo con el ballet.
Thank you; I was back in the audience recalling those times.
I couldn't keep my eyes off of this.
Zeul Apolo printre noi ,muritori !
Achingly beautiful!
A lovely Prelude To The Afternoon Of The Faun.. Magnificent..:)
Magnificent! Thanx for posting.
Nureyev excelent
Stunning! Utterly stunning!
Nijinsky's choreography is amazing, and Nureyev's interpretation is beyond description.
I saw this in London last year as it was done originallyit was powerful!: all these great creative innovators of that period coming together: bakst, debussy, nijinsky, mallarmes inspiration, diaghelev, the costumes-this feeling of a big cultural crux at the time not just in ballet. Hope people keep watching and inspire themselves
Realmente un hombre extremadamente dotado
*Maravilloso...*
I saw Nureyev dance this is in 1974, in Paris. What was surprising, (and, to me anyway, somewhat disturbing), was the way he chose to conclude the dance with a final motion so intentionally loud and raucus - that I truly hoped he had not injured himself while throwing his torso to the ground with a dramatic thud!😳
It reminds me of an hieroglyphic version of a tango in slow motion, an intense mating dance done while in trance-like tempo
I've never seen anyone to Faune like Nureyev. I would have loved to see Nijinsky, but Nureyev for now will be the closet thing to perfection in my opinion.
It isn't Nureyev.
Это Нуреев. Его невозможно спутать ни с кем другим. У него характерный точеный профиль, тонкий нос, скульптурное тело.
Beautiful!!
Fabuloso el Arte de este hombre, así como lo hermoso de esta pieza musical sin duda uno de mis compositores favoritos
Espectacular saludos uruguay
Чудо
Wow. Quite sensual...to say the least. Beautiful.
Extraordinario Rudolph ...para mí luego de lo que me cuentan de Nijinsky( que según creo hay solo fotos , yo tengo el libro titulado NIJINSKY y sólo hay fotos además de toda su biografía) ...sacándolo a él que dicen desafiaba la LEY DE LA GRAVEDAD ...quedando suspendido en el aire el tiempo que cualquier ser humano jamás piodría...RUDOLPH NUREYEV PARA MÚ ES EL MAS GRANDE DE TODOS LOS BAILARINES
....me too...adore Rudolph...the flying man....the more great dancer of all times...thank you for sharing...much love to you...♡
KISS FOU YOU CARMEN ....I LOVE RUDOLPH HE IS THE ONE
lirios77 jurídica
Stunning.
I cherish that I was alive to see him defect and share his talent with us. The comparisons to Nijinski are earned. He was an embodiment and successor to his talent, as well as a ballet legend in his own right. This is a treasure.
2degucitas I was born 1960 and obviously knew of him. But it’s only recently I’ve understood and appreciate. But boy I’m enjoying.
Well it certainly would be a treasure, except it isn't actually Nureyev, it's Charles Jude. "All that glisters is not gold," as the saying goes.
Это Нуреев. Его невозможно спутать ни с кем другим. У него красивое лицо, характерный профиль с тонким прямым носом.
What incredible control of their bodies. Beautiful.
Perfection.
Bravo ❤
Thank you for posting this!
Debussy's score is so sensual!!!
excelente interpretación...
Thank you for this.
Nessuno come Nureyev in questo ruolo...
Agree..
Afternoon of a Fawn, listened to so often as orchestral work... much better with the actions of Nyv.
В новом, отреставрированном Большом Театре первый спектакль я бы хотел увидеть всю историю Русского Балета, наши лучшие талантливые имена, отдать должное им и Большому Театру. Предлагаю.
10:40
maravilloso
Exquisite.
Claude Debussy managed to capture with his melody a bucolic scene from the ancient world, when these creatures coexisted with the human race in the Pre-Flood. And Vaslav Nijinski choreographed it.
The libretto is also his. Leon Bakst created the set design.
This is very close to the same choreography that Nijinsky originated, even to the costume. One can see in the choreography, some of the techniques that Nijinsky later would incorporate in his movements for Stravinsky's "The Rite of Spring". Things like the unusual hand positions and angular body movements, the crooked body positions compared to the classical vertical and linear positions, especially when standing. Nureyev does as splendid job here to Nijinsky's ground-breaking choreagraphy.
10:40
fabulous post ! memories of standing in the same room with him, such a commanding presence in person ...unforgettable !!! TY !!!
You stood in the same room as him, eh? So it's surprising that you can't see that this isn't actually him... it's Charles Jude.
Это Нуреев. У него красивое лицо, красивый правильный профиль, тонкий нос. У Жюда другой, плоский , широкий нос, совершенно другая форма черепа.
OMG sooo good!
This is nothing short of divine. I will always love and remember you, Rudy. Thank you for posting!
You obviously don't have a good memory for faces, because this isn't Nureyev, it's Charles Jude.
Это Нуреев с красивым профилем, высоким лбом и тонким носом. Шарль Жюд вьетнамец у него другой нос, другая форма лица .
Wonderful! Nureyev is missing in this world! And this absolutely beautiful music and the genius of Nikinsky!
He's missing in this performance too... it isn't him, it's Charles Jude.
@@alanhardy3400 How do you know? Important to clarify, as thousands think its Rudy. Have you got precise info or is your knowledge of the dancer in the video?
@@alanhardy3400 regardless of the video info, I still think Nureyev is missing in the art world.
Несомненно это гениальный Нуреев с красивым лицом, красивым профилем, высоким лбом и тонким носом.
l cant help it. one tear...
the faun fell in love.....
@SabbaGirl That made this so much more interesting, holy crap. I still feel the same way about the staging(famous or not, performed by Njinsky or not), but now I know it's essentially a replica. I think they are still obviously very talented and poised dancers, mind you. Thanks for educating me about this! And now I know why he passed out!
I am watching a program on PBS that mentioned that when the dance was choreographed it was meant to go against the grain of ballet by keeping it on the ground. The Ballet Russe was avant garde and didn't do things like their contemporaries.
This suits him more than The Spirit of the rose"
I love how all the dancers appear to be in 2-D.
Purchase this on Nureyev and the Joffrey Ballet in tribute to Nijinsky.
Year/Format: 1998, VHS, 1 videocassette (79 min.) :
Subjects:
Afternoon of a faun (Choreographic work : Nijinsky).
Ballets.
Nijinsky, Waslaw, 1890-1950.
Petrouchka (Choreographic work : Fokine).
Spectre de la rose (Choreographic work : Fokine).
Сокровище высшего искусства!
This is beautiful..And this ballet form is still considered modern wyrd.
as i read in the nijinsky biography he had to repeat the whole performance on the premiere's night because the audience couldn't calm down after that - though it was a scandal people wanted to see it again
This is a performance in 1972, London.
I wonder how come thar people who are so generous to let us participate, very often forget to give some details?
Everyone's complimenting Nureyev, and no one talks about Debussy for some reason
El Fauno
¡Estas ninfas quisiera perpetuarlas!
Tan claro,
su ligero encarnado, que en el aire revuela
abatido de espeso letargo.
¿Amaba un sueño?
Montón de antigua noche, mi duda ha terminado
en mucha rama tenue que, habitando las mismas
florestas, prueba, ¡ay!, que sólo me ofrecía
como triunfo la falta ideal de las rosas.
Reflexionemos…
Si las mujeres que glosas
un anhela semejan de tus sentido pródigos,
la ilusión, fauno, escapa de los ojos azules
y fríos, tan llorosa fuente de la más casta:
mas la otra, en suspiros, ¿dices tú que contrasta
como brisa del día cálida en tu toisón?
¡Qué no! por el inmóvil y cansado desmayo
de calor sofocando la matinal frescura,
no murmura agua alguna que no vierta mi flauta
al otero rociado de acordes; sólo el aire
pronto a exhalarse fuera de los dos tubos, antes
que disperse el sonido en infecunda lluvia,
es, en el horizonte de línea perfecta,
el invisible y sereno aliento artificial
de toda inspiración que hasta el cielo retorna.
Oh ribas sicilianas de un sereno pantano
Que en lucha con los soles mi vanidad despoja,
Tácitas bajo flores de centellas, DECID
Que yo cortaba aquí huecos juncos domados
por el talento; y sobre el oro de los sotos
lejanos, consagrando su viña a las fontanas,
ondula una blancura animal en reposo:
y que, al preludio lento donde nacen las flautas,
vuelo de cisnes, ¡no!, de náyades se escapa
o hunde…
Inerte, todo arde en la hora encendida,
sin decir por cual arte en conjuro partieron
tanto ansiados hímenes por la que busca el la:
me levantaré, ¡lirios!, al naciente fervor,
recto y solo, bajo hondas antiguas de fulgor,
seré uno de vosotros para la ingenuidad.
Sólo esta nada dulce por su labio anunciada,
el beso, calladamente, perfidias asegura,
mi pecho virginal muestra una mordedura
misteriosa, legado de algún augusto diente;
¡ya basta! arcano tal optó por confidente,
junco basto y gemelo bajo el azul sonando:
que, desviando hacia sí la turbada mejilla,
sueña, en un solo largo, que nosotros gozamos
la belleza en redor llena de confusiones
falsas entre sí mismas y nuestro canto crédulo
y de lograr, tan alto como amor se modula,
desvanecer del sueño ordinario de flanco
o dorso puro, ciega mi vista que los sigue,
una sonora, vana y monótona línea.
¡Quieres, pues, instrumento de fugas, oh maligna
siringa, florecer en el lago aguardándome!
Con mi rumor altivo quiero hablar largo tiempo
de las diosas; y, por idólatras pinturas,
despojar todavía cinturas a su sombra:
así, cuando a las vides la claridad succiono,
desterrando un dolor por la mentira aislado,
alzo, riente, el exhausto racimo al cielo estivo
y soplando en sus pieles brillantes, de embriaguez
ávido, hasta el ocaso yo miro a su trasluz.
Oh ninfas, rebasemos los múltiples RECUERDOS.
“Mis ojos, horadando los juncos, asestaban
cada talle inmortal que hunde fuego en las ondas
con un grito de rabia al cielo de la fronda;
y el espléndido baño de cabellos huía
en estremecimiento y brillos, ¡pedrerías!
Corro; cuando a mis pies se enredan (afligidas
de languidez gustada en el mal de ser dos)
entre sus solos brazos las durmientes casuales
yo, sin desenlazarlas, las arrebato y hurto,
odiado por la frívola sombra, hasta el macizo
de rosas que desecan todo perfume al sol
donde nuestro ardor sea como el día extinguido”.
¡Yo te adoro, enfado de vírgenes, delicia
feroz del sacro cuerpo desnudo que resbala
y huye a mi ardiente labio en destello agitado!
el espanto secreto que brota de la carne:
de los pies de la cruel al pecho de la tímida,
que abandona a la vez una inocencia, húmeda
de loco llanto o menos afligidos vapores.
“Mi crimen es haber, feliz de vencer miedos
traidores, separado intrincados cabellos
de besos que los dioses guardaban confundidos,
pues iba apenas para velas ardiente risa
tras los pliegues felices de una sola (guardando
con dedo simple para que su candor de pluma
se tiñera del gozo de su hermana que enciéndese,
la pequeña, cándida y sin ruborizarse:)
que de mis brazos rotos por las muertes inciertas
como una presa siempre ingrata se libera
sin piedad del sollozo del que aún ebrio estaba”.
¡Tanto peor! la dicha de otras me arrastrará
por su trenza a los cuernos de mi frente sujeta:
tú sabes, pasión mía, que, púrpura madura,
cada granada estalla con murmullo de abejas,
y nuestra sangre, amando a quien viene a cogerla,
fluye por el eterno enjambre del deseo.
A la hora en que el bosque muere en oro y cenizas,
una fiesta se exalta en muriente follaje:
¡Etna! es en tu redor, visitado por Venus,
en tu lava posando sus talones ingenuos,
cuando retumba un sueño donde expira la llama.
¡Tengo la reina!
¡Oh, cierto castigo…!
Mas el alma,
de palabras vacante y este cuerpo aturdido,
sucumben a la fiera calma del mediodía;
sin más, fuerza es dormir en el blasfemo olvido,
en la sedienta arena yaciendo, ¡pues me place
abrir la boca al astro eficaz de los vinos!
Adiós, oh par; veré la sombra en que os volvéis...
(Stéphane Mallarmé - poeta francés - 1842-1898)
Sweet!
Probably the closest that you'll ever get to Nijinsky
Unparalled
This premiere was just a few weeks after the Titanic sank. Those were memorable times for certain.
ele teve o mundo aos seus pes
@si7ltmixwsata7 If you'll look it up, you'll see that Nijinski, who choreographed and created this dance, based the whole dance on figures on ancient Greek vases.
does anyone have a link for Nureyev in Paris -his debut in the 50's i think! i saw it on BBC2 a while ago but cannot find it on line! can anyone help? thanks!
I wonder... do dancers actually like modern music? This pieces are usually only interested by musicians who actually understand it, like the whole tone scale, octatonic, polymeters, and can actually get the feel and recognize intervals and chords, find unresolved sevenths, etc...
Im saying cuz I see people dancing to Xenakis and Finnissy (contemprary equivalents to Debussy and Stravinsky, "dissonant" modernists back in their time) and I dont imagine them liking/understanding their music.