Tuning in…
Tuning in…
Castaway
1 appearance
A ballerina who was prima ballerina at Sadler's Wells, first Western ballerina to perform in Russia and with Peking Ballet, later artistic director of London Fe
On the island
Eight records
Piano Concerto No. 2 in G major, Op. 44
Shura Cherkassky, with the Berlin Philharmonic Orchestra conducted by Clemens Krauss
Ah, now my choice goes right into the dancers, composer Tchaikovsky. It's the piano concerto number two. This is from a ballet which was put on just after our first American tour, we toured to America in'49.
Well, now, my second choice reveals my absolute devotion to opera. And one of the great artists who I've adored is Eva Turner. The generosity of her spirit came through in everything she did, but for me, the most beautiful Rove was in Turenda.
When I was running Festival Bally, I was very lucky I spotted the talent of a young dancer in the company called Barry Morland. And he is still, I think, an exceptional choreography. And he made this two-act ballet for us to Scott Joplin's music at a time before anyone had really thought about Scott Joplin. And it was called The Prodigal Son.
Die Fledermaus: Und mild sang die Nachtigall
We're coming back to opera again and to festival ballet. Die Fledemas I adore as an opera. A dancer that was my partner in the Royal Ballet, who became a choreographer, Ronald Hind. created a marvellous ballet called Rosalinda based on De Fla domas, so I would love to have something to remind me of that, but I think we'll have something for the actual opera.
The Sleeping Beauty, Op. 66: Panorama
Russian National Orchestra conducted by Mikhail Pletnev
Well, my choice is very much tied up with my husband now because it's the panorama overture from the Sleeping Beauty. which was played as I walked down the aisle in nineteen fifty to be married to him.
The Lady and the Fool: Pas de deux
London Philharmonic Orchestra conducted by Charles Mackerras
This was a ballet the lady and the fool. I would like the pas de d'oeux because I had a partner just before I left Covent Garden called Philip Chatfield, and um this pas de deux was something very special.
Carmen: Nous avons en tête une affaire
I've come back again to opera, Carmen. When the we the ballet company reopened Covent Garden in'fort6, and then the first full length opera that was staged was, I think, in January. of forty seven, and it was Carmen, and I had the solo dancer in that, and I got to know lots and lots of opera singers through that.
Symphony No. 3 in C major, Op. 52Favourite
Vienna Philharmonic Orchestra conducted by Lorin Maazel
Now my last record has to be something associated with my husband, really. And so I thought I must have something of Sebalius. We have all his symphonies. We adore Sebalius. When you listen to Sibelis' music, you see all that openness of Finland, that grandeur, that wildness. It's all there in the music.
In conversation
Presenter asks
1:08Is that what marks you out, do you think, as a prima ballerina, Beryl? That it comes from within you.
You have to be convinced yourself of every movement you are doing. I was trained. Bye my Chosen teacher, Audre de Vost, to give every movement a meaning, to know why I'm doing something.
Presenter asks
1:47Where is there space between all of those people, all of those experts, for you, for the real you and your interpretation?
You were expected to follow and not to think. But now to day things have changed. Now I don't know that people to day always give as much soul as I would like to see. But the opportunity is there much more than we had it. Under Ninette, we didn't have that. She expected us to do things in her way and she didn't like us putting our own interpretation in.
Presenter asks
3:21How did you do it [performing your first full-length ballet], aged fifteen?
Well, I couldn't wait to go on the stage. I enjoyed every single moment.
The keepsakes
The luxury
'cause I love watercolours and I love painting. And I can only ever do that when I'm away on holiday.
Presenter asks
11:36How did [your parents] discover your talent for dancing?
We lived very near my father's brother and his family, and they had two daughters. and they were taking dancing lessons, so it followed that I should too. And we happened to be taught by a wonderful young teacher who became the top teacher of young children in this country eventually. She was Madeline Sharp.
Presenter asks
14:32What are the effects on a small child of leading such a very disciplined life?
Well, I I think it prepares you for life in the future. And I I think that If you're going to be a success in ballet, you have to have an enormous amount of self-discipline if you're going to get to the top, because it's a very abnormal way of behaving with your body, going on your toes and keeping the back so rigid and yet being able to move it in a plastic way. It demands an enormous amount of practice.
Presenter asks
29:08How would you say you differed towards the artists in your company from the way in which Ninette de Valois had treated you?
Yes, well the most important thing to me in rehearsals was to try and let each artist, when we were dealing with soloists and leading dancers, be themselves and interpret their reaction to the music and not tell them what to do. ... Well, you cannot possibly do that. You know, everyone feels the music differently. And you can still be in time, but land a fraction of a second earlier or later. It's such a personal thing, dance. It's an expression of one's inner self, one's bearing one's soul when one goes onstage.
“You have to be convinced yourself of every movement you are doing.”
“I can't remember a time when I wasn't working hard. I loved it. You know, I really did. I l adored it.”
“It's such a personal thing, dance. It's an expression of one's inner self, one's bearing one's soul when one goes onstage.”
“Oh, well, you must want to do it more than anything else in the world. Then you'll get somewhere. And always. Know what you want to do and strive for it.”