Tuning in…
Tuning in…
Castaway
1 appearance
A ballerina, born in Rhodesia, who began dancing at five and came to Britain at thirteen to pursue her career.
On the island
Eight records
Halle Orchestra, Sir John Barbirolli (conductor)
The closing passage of Finlandia by Sibelius, the Halle Orchestra conducted by Sir John Barbirolli.
Aquella (from Rhodesia)
In Rhodesia the Africans have marvellous rhythm… this music they call the Quella [sic]… from penny whistles reed whistles… a little of my past.
Chopin's Ballade No. 2 in F played by Arthur Rubinstein.
Four Last Songs (excerpt: 'Im Abendrot')
Elisabeth Schwarzkopf (soprano)
An excerpt from 'Im Abendrot', the last of Richard Strauss's Four Last Songs, sung by Elisabeth Schwarzkopf.
Evita… Don't cry for me Argentina… the voice of Eva.
Symphony No. 9 in E minor, 'From the New World' (2nd movement)
Berlin Philharmonic Orchestra, Rafael Kubelík (conductor)
The second movement of Dvořák's New World Symphony… the Berlin Philharmonic Orchestra conducted by Rafael Kubelík.
Hear My Prayer: O for the Wings of a Dove
Paul Dutton (soloist), Choir of St Peter's Church, Leeds
Mendelssohn's 'O for the Wings of a Dove' by the choir of the parish church of St Peter, Leeds, with Paul Dutton as soloist.
Choir of King's College, Cambridge, David Willcocks (conductor)
A closing passage of the Fauré Requiem, the choir of King's College, Cambridge, with David Willcocks as conductor.
In conversation
Presenter asks
2:41Now you started dancing, I heard, for medical reasons. Is that true?
Yes, in a way. I was a very thin and sort of weedy child, and my mother took me to the doctor. … And he said, 'Well, I really can't find much wrong in her. Give her some [Scott's] emulsion … and let her dance or ride horses.' … and as there were no horses near, I went to dancing class.
Presenter asks
3:39How old were you when you came to Britain?
Thirteen.
Presenter asks
4:00Was there anything like a Rhodesian Arts Council? Did you get any financial help?
No, in those days there wasn't. But the teachers all got together and I had a benefit performance. The mums all made coffee and cakes and sold it in the interval … We raised my fare money, which was a hundred and seventy-five pounds.
Presenter asks
5:09You were only in the Royal Ballet School for three months?
The keepsakes
The book
H. W. Fowler
Well, it will have to be [Fowler's] English Usage. Because I will have to teach myself. When I'm on the island. Educate myself.
The luxury
Yes, virtually, because I was then taken into the company as an extra and I was doing a mouse in Sleeping Beauty or a Page.
Presenter asks
14:38You've worked with so many choreographers. Are they very different in their methods? Sir Frederick Ashton, for example, how does he work?
He has his music very clear in his mind, and he knows what he wants, and then he works it out on the dancers. He doesn't come in and say 'do this step' because he wants to see how the dancer will move.
Presenter asks
17:41Now, what is the fascination of ballet? It must be the most gruelling life … Is it worth it?
I think so. I once said to Rudolph [Nureyev] … and I said, 'Rudolph, you'll kill yourself' and he said, 'Well, girl, what better way to die?'
“No, I was marvellous in those days. I mean, I'm much worse now.”
“Whenever I'm asked what my favourite role is, I usually end up by saying Juliet in Romeo and Juliet.”
“I never really wanted to ever do three act ballets. I much prefer the short number, you know, two and a half minutes, on and off.”
“I once said to Rudolph [Nureyev] … and I said, 'Rudolph, you'll kill yourself' and he said, 'Well, girl, what better way to die?'”