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What we are about to see is rare. | 0:00:09 | 0:00:12 | |
Highlights from a very special performance of The Sleeping Beauty, | 0:00:12 | 0:00:15 | |
created especially for the BBC television | 0:00:15 | 0:00:18 | |
and shown live in 1959. | 0:00:18 | 0:00:21 | |
Choreographed by Petipa to Tchaikovsky's ravishing music. | 0:00:21 | 0:00:26 | |
Sleeping Beauty was first premiered in St Petersburg in 1890. | 0:00:26 | 0:00:31 | |
There's a wonderful period charm with this production. | 0:00:31 | 0:00:35 | |
A sense of drama and theatricality. | 0:00:35 | 0:00:38 | |
Especially in the mime that helps tell the story, | 0:00:38 | 0:00:41 | |
like when she pricks her finger or she dies. | 0:00:41 | 0:00:45 | |
Or she sleeps. | 0:00:46 | 0:00:47 | |
Margot Fonteyn had an ability to bring the audience in, | 0:00:55 | 0:01:01 | |
they couldn't take their eyes off her as soon as she appeared on stage. | 0:01:01 | 0:01:05 | |
I think it was very much down to her musicality and her phrasing, | 0:01:05 | 0:01:08 | |
but, of course, the most beautiful symmetry with her arms and head. | 0:01:08 | 0:01:13 | |
As a young dancer in the Royal Ballet Company, I was very fortunate | 0:01:14 | 0:01:18 | |
to have been coached by Margot for a couple of rehearsals. | 0:01:18 | 0:01:21 | |
I was expecting her to be technical | 0:01:21 | 0:01:25 | |
and pull every step apart, | 0:01:25 | 0:01:27 | |
but she was very much into how I told the story through the steps. | 0:01:27 | 0:01:31 | |
All I was obsessed with was whether I could balance long enough, | 0:01:31 | 0:01:34 | |
whether I could do enough turns, she said it had nothing to do with that. | 0:01:34 | 0:01:39 | |
If you can't tell a story, then it's not worth being on the stage. | 0:01:39 | 0:01:42 | |
It helped me in everything and I've never, ever forgotten what she said. | 0:01:42 | 0:01:46 | |
MUSIC: "Sleeping Beauty - Ballet Op.66" by Tchaikovsky | 0:01:54 | 0:01:58 | |
THUNDERCLAP ECHOES | 0:20:12 | 0:20:19 |