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Interview with Rudolf Nureyev [sound recording]

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  • "Disc 2, track 1: 47 min. Sound quality: volume is low in last half of track. Kaye continues her interview with Nureyev by discussing a film documentary about Nureyev and Margot Fonteyn and their relationship; his impressions of Fonteyn and her working style; the strive for perfection; the impact of audience attention during performance; his feelings during performance; dramatic improvisation in the rehearsal process; lifting female partners; Poème tragique [solo choreographed by Frederick Ashton] and his career in the West; Isadora Duncan; the distinction of being Tartan and the importance of nationality; Nureyev's early biographies; his peers and mentors; his relationship with Erik Bruhn; fame and greatness in the ballet world; The King and I; Paris Opera and his directorship; his feelings about Patrick Dupond."
  • "Disc 2, track 2: 25 min. Sound quality: volume low. Nureyev continues his interview with Elizabeth Kaye, discussing Patrick Dupond; protecting his ballets as intellectual property with the Paris Opera Ballet and legal negotiations for copyright entitlement; the question of who owns Giselle (Corelli or Petitpa); his speculation that Boston Ballet stole his production of Don Quixote; his theatrical training at the Kirov; actors and playwrights he admires."
  • "Disc 3: 48 min. Nureyev continues his interview with Elizabeth Kaye, discusses dancing with Fonteyn and first impressions of her dancing; Erik Bruhn, his dancing, and Nureyev's first encounter with him; Vera Volkova; the political climate in Russia at the time right before his defection; the possibility of working with ABT; the demand for Nureyev to dance in Paris with the Kirov before his defection; his defection in Paris and subsequent accounts of his defection; his feeling of who he is as a dancer and person; audience perception versus his own satisfaction of his performance."
  • "Disc 1: 40 min. Sound quality: only one channel at beginning and end of interview. Rudolf Nureyev discusses Fredrick Ashton, Jerome Robbins; the prospect of making a film about Vaslav Nijinsky; finding a director for the film; Ken Russell as a director; his being compared to Nijinsky; Margot Fonteyn as a "brilliant" performer; himself as a performer; the mechanics of jumping; thoughts during performance; the element of danger in performance; his temperament; his tour (Nureyev and Friends) and partnership with Charles Jude; dancing classical ballet and training at this point in his career; his upcoming performance schedule; port de bras in grand pas de deux from Sleeping Beauty; Anna Pavlova in Raymonda; his feelings about art."
  • "Track 1: 32 min. Poor sound quality. Interviewee is too close to microphone; loud popping noises. Rudolf Nureyev discusses Giselle; the of role of critics and criticism in ballet (and Russia), and the importance of self-criticism; differences and similarities in choreography for men and women; Marius Petipa's choreography for Swan lake and how he thinks it should develop over time; Sleeping beauty at the time of its premiere, the differences in dancers bodies, style and production elements; how he feels England has not embraced these developments; changes he feels need to be made in Covent Garden's version of Giselle; his first impression of Margot Fonteyn; his first meeting of Dame Ninette de Valois in 1958 in Russia; his feelings about Michel Fokine's choreography for Petrushka and Firebird."
  • "Track 2: 32 min. Poor sound quality towards last 10 min. of track. Loud popping noises. This may be the first half of interview. Nureyev continues his discussion with Nigel Gosling of Vera Volkova's classes in Copenhagen with Erik Bruhn; dancing in the Vaganova style in comparison to other styles; his impressions of Copenhagen and the Danish Ballet; Maria Tallchief and Erik in Copenhagen; Margot Fonteyn getting in contact with him about dancing with her; his experience in Israel; dancing Swan Lake, Sleeping Beauty and Don Quixote in Israel; Jews in Russia; how he spent his time while dancing with the Ballet De Cuevas; comparisons of Israel to Egypt."
  • "Disc 4: 47 min. Nureyev continues his interview with Elizabeth Kaye, discussing Nureyev's Washington Square; influential writers and novels; Nigel Gosling as a tutor and mentor; his mastery of the English language; his involvement in his friendships; books and articles written about him; what would have happened had he returned to Russia after his defection; Bronislava Nijinska as an influence; the realization as a young boy that he wanted to be a ballet dancer; comparing his success and talent to Mikhail Baryshnikov; Ferndando Bujones; working with Fredrick Ashton; his partnership with Margot Fonteyn; comparing his style of company directorship to Baryshnikov's with respect to the Kirov influence."
  • "Disc 1 (ca. 22 min.). Rudolf Nureyev discusses his attitude towards publicity; his interest in all forms of dance; aging; his scheduled appearances with the Royal Ballet. Discs 2 and 3 (ca. 96 min.). His daily routine; critics and criticism; his admiration for Margot Fonteyn; criticism of Natalia Makarova; his choreography; Natalia Dudinskaia and Erik Bruhn as his sources of inspiration; choreographers he admires and would like to work with."

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  • "Interview with Rudolf Nureyev [sound recording]"
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  • "Interview with Rudolf Nureyev"

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