BRavoicameeie Hau. Bttano^1^ VOLUME VIII, NUMBER NATIONAL 12 Broadway and Hollywood—In and Out of Tune by Stanley Green 16 Faces and Places BALLET 6 A Dancer is a Student... Is a Dancer... Is a Student. by Ralph H. Peck MUSIC 10 The Third Hand by Wiiliam Jonson FASHION 4 Bravo for Pants by Barbara Ann Magan HUMOR 2 Tempo QUIZ 2 Musical Zoo COVER A portion of “La Foyer de la Danse,” by Edgar Degas Daily classes, along with frequent rehearsals and nightly performances, are an integral part of a ballet dancer’s rou­ tine. Principal members of the New York City Ballet depend upon the Ballet Master to help them improve their technique according to the article, “A Dancer is a Student... Is a Dancer. .” featured on page six. EDITORS/MARY LOU WOLFGANG, BARBARA ANN MAGAN □ SENIOR ART DIRECTOR/JOHN CIOFALO □ ART DIRECTOR/RICHARD SOMMERS □ INTERNA­ TIONAL EDITOR/RALPH H. PECK □ TRAVEL EDITOR/LESLIE WALLER □ CON­ TRIBUTING EDITORS/EMMETT MAXWELL, MARJORIE LELASH □ EDITORIAL ASSISTANTS/BRENDA BAKER, SUSAN ROSEN □ ART ASSISTANT/JOHN GEIGER □ NATIONAL PROGRAM EDITOR/DENNIS DIBBLE □ ADVERTISING DIRECTOR/ MITCHELL AZERIER □ BUSINESS MANAGER/STANLEY MURTON □ PRESIDENT, MAGAZINE DIVISION/PHILIP HOCHSTEIN □ Published nine times a year during the concert season by Bravo Publishing Co., Inc., a wholly owned subsidiary of The Diners Club, Inc., 660 Madison Avenue, New York, New York 10021. © 1969 by Bravo Publishing Co., Inc. Reproduction PERFUME • COLOGNE ■ SPRAY COLOGNE ■ LIPSTICK ■ OUSTING POWOER • SOAP in whole or in part without written permission is prohibited. Emil Gilels recording with Busoni on one (VICS-1379). The George Szell and the Cleveland Or­ Rudapoema by Villa-Lobos were chestra? The negotiating of con­ written while the composer was in tracts must have been a monumen­ RECOM­ Paris in the early 1920s and they tal task. The pianist records for are dedicated to Artur Rubinstein. EMI—Angel, and the Cleveland en­ MENDS They have never been recorded be­ semble does disk work for Columbia. fore. The music is wildly energetic, The cooperation of union officials filled with pedal effects and mas­ was needed. Severance Hall is sive tone clusters. The Elegies by acoustically temperamental, so ex­ by Emmett Maxiveil Busoni were composed in 1907. perienced engineers from Columbia Musicianship, intellect and expert presided at the sessions. Paul pianism were all combined to make Myers produced. All five of the breathe before it surges forward successful instrumental vignettes Beethoven Piano Concerti were re­ again in a new phrase. The silence and romantic tone pictures. On corded in a space of five days, same of a pausa is always more drama­ VICS-1362, Walter Gerwig plays pianist, same conductor, same in­ tically effective for having inter­ baroque and renaissance music comparable orchestra. (Angel, SE rupted the music a little longer than written especially for the lute. The 3731) Three sets of piano varia­ most conductors would dare. No Art of the Lute has music by At- tions complete Mr. Gilels’ program wobbly operatic choristers are pres­ taignant, Besard, Bittner and Mace of the music: the ones on a Rus­ ent, for the admirable ensemble of that is not listed in the current rec­ sian theme in A, G. 182, the Six the B.B.C. Chorus is close-knit, ord catalogs. One would presume Variations on a Turkish March in and the intonation is perfect. these have also been unobtainable. D, Op. 76, and the 32 Variations A new recording of Kurt Weill’s Although he was well known in in C Minor, G. 191. The stereo is Seven Deadly Sins has won a Grand Germany and Scandinavia through excellent, the performances are de­ Prix du Disque in Paris, and we his broadcasts and frequent con­ finitive, and it makes little sense can understand why. The produc­ cert appearances, Mr. Gerwig had to waste more superlatives on Gilels tion and engineering are first class, never been in this country. He died and Szell. and the singing and playing are in 1966. Sound reproduction on both Otto Klemperer leaves the in­ pithy and vibrant (Deutsche Gram- of these VICTROLA listings is su­ delible stamp of total commitment mophon Stereo 139308). Gisela May perior. Both gentlemen display on all the music he records. Who is Anna I and II; four superb male formidable technique on their par­ can forget the Bach Passion Ac­ singers led by the well-known tenor, ticular instruments. cording to St. Matthew or the Peter Schreier, are members of the Two of our finest tenors, both on Fideliol Now he has given Angel a preying, grasping and greedy fam­ the roster of the Metropolitan Opera magnificent Flying Dutchman in ily. The Seven Deadly Sins of Company, have recently recorded the complete Dresden version of Small-time Citizens was the last recitals of operatic arias, and both 1843 (SCL 3730). Wagner’s early work created jointly by Bertolt have trim orchestral accompani­ masterpiece is not often produced Brecht and Kurt Weill. All the de­ ment. One is first impressed by the in our opera houses today. Getting cadent, dissolute style that we know musicianship and taste of both of two, fully-rigged ships on stage is so well from long acquaintance with them. Other tenors have gotten by not easy; nor is sinking one of them The Threepenny Opera is there. on just a big noise for so long. in full view of the audience a plaus­ The orchestration, though still in­ Barry Morell is the artist featured ible visual illusion. fluenced by Weill’s cabaret style, is by Westminster (Stereo WST This is music exceptionally well much fuller and relies heavily on 17148), and Plácido Domingo makes suited to stereo engineering. Storm conventional devices. The instru­ his debut with London (Stereo OS and thunder effects are combined mentalists are the Radio Symphony 26080). Labels for this record do with wind machines and the or­ of Leipzig under the baton of Her­ not agree with the program given chestra to make a mighty and fear­ bert Kegel. The performance is in on the sleeve—side one is really ful tempest. The cast is led by Theo German, and a full English trans­ side two. Mr. Domingo uses his big Adams as the Dutchman seeking lation of the text has been pro­ tenor with telling realization of the redemption through love. In Wag­ vided by W. H. Auden and Chester dramatic intent, and it is a sump­ nerian roles for the baritone voice, Kallman. Miss May’s ironic wit is tuous voice indeed. Mr. Morell’s sil­ he probably is without peer today. infectious. ver voice gives a velvet, burnished The New Philharmonia Orchestra For any collector searching for glow to every phrase. He sings the is devoted to Klemperer; the play­ something unusual, RCA has been music of Puccini as well as any ing is always clean-cut and imagina­ releasing some rather piquant mu­ tenor alive. Surprisingly, the two tive. The strings become a mountain sic on their VICTROLA label. This voices resemble each other at times. of terror, then dip into a whirlpool month, there are two disks of special We wish both gentlemen continued of dread. All is taut and compelling. interest. The pianist, David Bean, good health and wise manage­ Klemperer gives the music time to plays music by Villa-Lobos and ment. 32 A DANCER IS A STUDENT... IS A DANCER... IS A STUDENT... By RALPH H. PECK Photography/Martha Swope TT lust to stand in position, that’s J someone standing. That’s not someone dancing.” The neat man pointed with his Sherlock Holmes pipe, moved to a dancer, took the dancer’s head and turned it to face the line of an arm, changed the position of a hand into a subtle ges­ ture. “That,” he said “is dancing.” And so it was. In a class of Stan­ ley Williams at the School of Amer­ ican Ballet in New York. In a big, well-lit, mirrored room. In a class filled with first rank performing ballet artists. Students dressed in baggy leotards and leg warmers and scuffed practice shoes. “Stanley’s a marvelous teacher,” enthused sparkling and lovely Pa­ tricia McBride, principal ballerina of the New York City Ballet. “His teaching has reason. There’s logic for every step. He’ll give you a cer­ tain exercise for a particular end result. And it works beautifully. Most Americans don’t have a classi­ cal ballet background, and Stanley Williams brings the classical refine­ ments into his classes.” Patti McBride chatted about the ballet dancer’s diet of classes (daily) and rehearsals and perfor­ mances and the constant striving for a better technique. It’s been her life since she was seven, when she first started taking ballet from Ruth A. Vernon in Teaneck, New Jersey. When Patti was 12, Miss Vernon felt that her pupil’s pro­ gress was sufficient to suggest a New York school. The move was made, and at 14, Patricia moved, once more, into the School of Amer­ ican Ballet on a scholarship. She joined the New York City Ballet company when she was 16, danced her first solo on stage when she was 17, graduated to principal roles when she was 18. She buttoned 6 down the opinion of dancers toward Stanley Williams (belotv) conducts daily classes at the School of American Ballet. At far left, he is shown with Peter Martins. Patricia McBride (right) and John Prinz (bottom) of the New York City Ballet are also among his pupils. classes: “In class, everyone is equal, working for better technique, never competitive. It’s hard enough worrying about yourself in class and concentrating on being better.