拍品 198
198
Swan Lake
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Swan Lake

細節
Swan Lake
Production: Première - December 18th, 1952, Royal Opera House, Covent Garden, London; First danced with Nureyev - December 12th, 1963, Royal Opera House, Covent Garden, London; also The Royal Ballet Touring Company, 1965 production - Fonteyn danced with Nureyev in this production 1966-1968; The Royal Ballet revised production, 1971 - Fonteyn danced with Nureyev in this production 1971-1973; and in various galas
Music: Piotr Ilich Tchaikovsky
Choreography: Mariuis Petipa and Lev Ivanov, with additional choreography by Frederick Ashton and Rudolf Nureyev
Designer: Leslie Hurry
Character: Odile, Act III

A tutu, the boned bodice of black velvet lavishly decorated with gilt braid and faceted gilt rhinestones in a stylised foliage design, the skirt of black stiffened tulle similarly decorated, with Royal Opera House, Covent Garden printed label, inscribed in black ballpoint pen with details: Production: Swan Lake, Character: Odile, Name: Fonteyn; accompanied by four corresponding photographs, two by Louis Peres and a third of Fonteyn dancing with Nureyev in New York, the other of Fonteyn taking a curtain call, largest -- 8x10in. (20x25cm.) (5)
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No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

拍品專文

Fonteyn and Nureyev's partnership in Swan Lake was regarded as a triumph for which they were particularly fêted in New York. In a letter which Fonteyn kept from Daniel Mayer Selznick, [included in this lot], written to her on May 26th, 1969, after seeing their performance at The Metropolitan in New York, the brilliance of their performance is described in vivid detail: ...The second act duet with Mr. Nureyev reached out for and touched pure perfection...If the second act reached the ceiling of the Metropolitan, the third act broke through the roof! Rather than merely "the evil side" of a good creature - which somehow I always felt Odile was - you created a completely new individual on the stage. ..In the past, I have noticed that those who undertake the dual role tend to let the glacial setting and reputed.."coldness" of swans in general encourage a switch from ice in the second act to fire in the third. Last night, this outworn, (one now knows) oversimplified metaphor was banished. In its place, an alive, breathing woman-entrapped-as-a bird was replaced by a masterful, but terrifyingly cold - like the shadow of death - puppet, a mechanism one thought Rothbart might have created in the laboratory to beguile the prince. All air, all smoke - no heart, no soul. A sensational insight - and danced, need one add, with a style that was just dazzling...