This filmed performance was styled by Nureyev, who choreographed and danced this performance - retaining and only mildly revising the traditional "white acts" choreography of Ivanovich/Petipa. Nureyev's aim was to give a lot more dancing and character to Prince Siegfried. Apart from his outrageously over-the-top makeup, Nureyev's realization of the Prince was, in addition to being the perfection of perfection, profoundly moving - the Prince can act!

But there's more. Margot Fonteyn was one of the greatest ballerinas ever. In 1961, when Nureyev famously leapt to the West, a partnership began that many have described as miraculous. Fonteyn's age was fairly transparent here. Certainly the technique maintained a high level of purity and style. Even though the roll was trimmed to accomadate the tolls of sin (Fonteyn was 47 when this was filmed!) and she probably was even more breathtaking at her peak, this performance will not dissapoint anyone but a moron.

Sadly, the corps here is remarkably weak and the orchestra [disappointing]. This is why it lost a star from me. Because the corps is so vital to this ballet, and Tchaikovsky's music so fine, you'll probably want another Swan Lake if you can only have one. The Kirov is probably the one, also on DVD. But if you're a [fan]for heart-melting beauty, you'll have to get it for Nureyev.

Contrary to what many reviewers experienced, I found this DVD to be surprisingly fresh and clear. I couldn't actually believe that it was 1966 when it was recorded. I had to double-check the notes. In fact, after seeing it once, I was certain that I had been mistaken. This looks like something from the 80s at least. But it's not.

4 Stars?

Well, when Margot Fonteyn danced, every single motion or gesture of hers was a poem of utmost beauty and she herself was the embodiment of supreme elegance. In view of the duration of her part here, she herself alone deserves 7 stars! Nureyev himself also deserves 6 stars as a dancer: there is hardly anyone either from Kirov or any other place who could seriously challenge him. The rest, especially by today's standard, are all 5 star ballerinas, and there are masses of them here.

For most ballet music, the composers tailor made their music to the requirements of the choreography. Tsaichovsky was an exception, his musical imagination was given a free hand: the original choreographist accommodated him and changed some of his part in accordance with his music. That partly explains why Tsaichovsky's Swan Lake or Sleeping Beauty was such great music outshinging any other ballet music. Anyway, music and choreography in ballet should go either hand in hand or as glove befitting hand. Here lies the main drawback of this DVD: the choreography doesn't tie in well with the music and was often at odd with it! Nureyev, however great a dancer he was, didn't have good ears for music, it could also be seen from the conductor of the accompanying orchestra he preferred (?) whose treatment of Swan Lake is so out of line.

Nureyev introduced some new and novel elements in his choreography, notably the use of properties, say the roses, the bow and arrow, and the large clothes representing waves on the stage that at last engulfed the prince. He also mobilized masses of ballerinas to create various shapes, making them as scented as flowers. Even when they are only some simple geometric matrixes, they are equally spectacular especially when seen from a height.

The stage settings are great, the costumes too and there are numerous of them. Of course, viewers must bear in mind that however brilliant the photography was, it was filmed in 1968 after all. Furthermore, there are at times some makeshifts, however brief that may be, they are quite prosaic or even static: Nureyev was by then not as matured a choreographist as he later was, as could be seen from his "Sleeping Beauty with Ballet De L'opera De Paris".

Throughout his incredible career, Rudolf Nureyev staged the entire classical repretoire throughout the world. In his native Russia, the ballets of the old world Imperial Ballet (his parent company: The Kirov) were performed in the old traditions, among these being the ballerina being placed as the focal point of an entire ballet. Nureyev felt that the male should be just as equally prominent as the ballerina. He made sure that when he staged his versions of the great classical repretoire, he did them his way, with the male alongside the ballerina. At times, he would loose the ballerina and end up dominating the entire performance (not with Margot Fonteyn of course).

But no matter, his "Swan Lake" for the Vienna State Opera Ballet is quite well done. Most people in their reviews scream about it because it is so different from the traditional version (see the Kirov version for an example). I myself am not a fan of people tinkering with "Swan Lake", but Nureyev's version is great dispite its differences. His performance is excellent, though he cannot surpass his longtime partner, the late great Dame Margot Fonteyn. Her performance is as divine as she herself was.

Nureyev does a good job salvaging the music not usually used in traditional performance in his re-organizing of Tchaikovsky's score. I will not spoil the details of the changes but they are quite good, if at times a little over the top. But c'mon its Nureyev! Get this video!

This is a highly informative exploration of an architect who is still relatively unknown to the English speaking world. Haring was the father of the modern German organic tradition in architecture, and without a knowledge of his ideas an understanding of the architecture of Scharoun, Behnisch, and Fehling and Gogel - among others - cannot be properly had. This book is written in Blundell Jones' usual highly entertaining and conceptually-focussed way; I was especially impressed by his co-presentation of large tracts of Haring's writings with a helpful running analysis. Impressive also are the startling insights of Margot Aschenbrenner. Also illuminating is the revelation of Haring influences such as Oswald Spengler and Leo Frobenius. Many previously unpublished drawings are included. I would recommend this book to anyone with an interest in modern architecture, and particularly in 'the other tradition' which is usually represented only by such figures as Wright and Aalto.

This book was very deatailed with Charlotte Bronte's life but didn't get too nitty-gritty

I have been using this book for years to help with designing costumes for various Community Theatres and Madrigal Groups. Though the costumes themselves are English, they give you a wonderful idea of what was popular for the elite from every western country during a wide range of periods. The best part of this book is the fact that you can tell they did their research. From the way people changed their movement, to the undergarments that were needed to support the clothing, to how they were decorated, I could go on for another page. It is the perfect resource for anyone who designs for a living or just for fun.

In the words of the authors, "Fashion is the translation of the wearer's personality into the language of clothes," and this volume is a comprehensive overview of the changes in the ideal personality as reflected in the dress of English court dressers, interpreted through secondary sources (paintings, prints, carvings, sculptures and manuscript drawings) during the reign of 31 English monarchs. For each of 56 eras in fashion, clear and detailed B/W drawings (by Hill) of male and female adult dress are presented with a thorough overview (by Bucknell) of general characteristics of the fashion including headware, shoes, and undergarments and a summary of trends in decoration, accessories, movement for both genders, padding and restriction, and typical fabrics and colors. For all illustrated outerwear garments, 1/8" scale pattern shapes (by Bucknell) are provided as a base for adaptation for those interested in re=creation, and are simplified and presented without seam allowances or construction notes. No information is given on construction of foundation garments (corsets, hoops, panniers, padding) which are necessary for many of the garments shown. The book is intended to assist theater designers, cutters, illustrators, costume history drudents, and actors in achieving an accurate silhouette for a given period, and I would say it amply fulfills this goal. Some construction suggestions for theater use are included but nothing on the level of a mainstream fashion pattern, so this book should not be a sole resource for an average home sewer contemplating a period halloween costume. Minimal illustration of placement of details such as pleats, pockets, buttonholes or casings. Patterns have no notches or facing pieces, merely reference letters to mark attachment points on complex constructions. No garments beyond English court dress are covered, so don't look here for Chinese Imperial fashion or Eastern European peasant garb. I found "the big pink book" at a Ren Faire vendors' row and have enjoyed the thoughtful consideration of fashions from the past on many occasions, including construction of a 1550's/1560's era court gown for my wedding. It was particularly helpful to examine the outline of pattern shapes for sleeves and skirts that have not been in fashion for centuries, particularly for the very complex shapes such as bustles, layered flounces, intricate pleating, and extensive boning or wiring. As a professional costumer, I would love to see an index added that might allow readers to review what eras were associated with a particular element of fashion (for example: velvety fabrics, circular hoops, false buttonholes, use of bows as decoration, pastel colors, or very restrictive skirts) but this is minor and the book is quite functional sans index. All in all, a fine and indispensable reference in my library.

This book was the primary text in a costume history course I took in college, and it still stands out among the many costume books I've since accumulated as one of the most helpful. For those concentrating on a particular period who want to see lots of variations within that period--for example, those who are concerned with the difference between an 1853 sleeve and an 1854 sleeve--this is not for them: it depicts the basic style of each period and in written text describes the popular fabrics, trends, and design variations. As an overview that shows what people were wearing during the reign of every English monarch from 1066 to 1930, it is unsurpassed. Where other costume books tend to be vague and skimpy on pre-16th-century styles, this text clearly indicates what year a style belongs to and does not lump together a few drawings as examples of "medieval dress." The book includes patterns for every major garment pictured, but these, as other reviewers have noted, are not for novices. All in all, this is a wonderful book for a variety of purposes.

If I start writing now when I'm not really rested it could upset my thinking which is not good at all. I'll get a fresh start tomorrow, and it's not due till Wednesday, so I'll have all of Tuesday, unless something should happen.

Why does this always happen, I should be outside playing, getting fresh air and sunshine; I work best under pressure, and they'll be lots of pressure, if I wait till tomorrow... I should start writing now. But if I start writing now, when I'm not really rested, it could upset my thinking which is not good at all.

Peter Rabbit is one of four rabbits in his family. Very much curious as well as disobedient, Peter decides to wonder off into Mr. McGregor's garden. He has heard the warning given to him by his mother of what Mr. McGregor does to curious, wandering rabbits. Peter slips away from his brother's and sister's while they play in the fields and decides to see this wonderful garden. While in the garden, Peter fills his stomach with delicious carrots, lettuce and other various vegetables. While eating, Mr. McGregor finds the somewhat stuffed rabbit and chases him around his garden. Peter, realizing the mistake he made, only wishes to be free, that he might not make the same mistake again. This book is very well written and can capture the heart of even the oldest person. Filled with detailed pictures, Peter comes to life in this classic tale of tales.

The pictures in this book are absolutely wonderful. It was my oldest nephews favorite book, his little brother also loves it, unfortunately after five years of hard use I just replaced it with a new one. This is the first time we've ever "worn out" a book!

If my two nephews could write a review, (they are boys, 5 and 2 yrs old), they would tell you that this book is a treasure!

Margot Peters' biography of May Sarton is a mess of facile psycho-babble and Harlequin romance narration. She reduces the details of this very complex life to pat conclusions ("May compulsively punished those who dared love her.") and achingly bad narrative ("Secretly, like a primrose opening in her heart, there was the thought that if she got abroad, Grace must join her."). Read this book to get a basic sense of the chronology of May Sarton's life, if you must, but do not let Peters' neat conclusions stand as the last word on the subject. Sarton's life and work, troubled as they both were, deserve more careful attention. She did herself a disservice (when she was quite old and ill) by choosing Peters as her "official" biographer.

I gave this a '4' (rather than a 5) because, like so many contemporary biographies, Margot Peters shows us many sides of May that those who have had their lives saved by her work would rather ignore. Do I want to know that my icon was sexually, emotionally and financially abusive her friends . . . probably overly arrogant . . . often bitter . . . Probably not. Do I need to know this fully to appreciate her work and fully to assess her import in my life? YES . . . "Without darkness nothing comes to birth as without light nothing flowers." Without fully embracing the shadow -- my own and those of my mentors -- I can never come to wholeness. After reading Peters' book I have found much more depth and vision in my re-encounter with Sarton's poetry and novels . . . the journals, on the other hand, can never for me be the same again. Caveat emptor.

I think the reviewers of this book who pat themselves on the back for not being taken in by the "persona" of May Sarton should go back to her journals again -- especially "Journal of a Solitude." It seems to me that Sarton was very much aware of the unpleasant aspects of her own nature, the twists and turns of mood, the antisocial tendencies, the destructive effect of anger. Should she be condemned because she allowed the persona of "sister, mother, lover, mentor, friend" to take on a life of its own, to the point that millions of fans can still see her no other way? The persona itself has the power to heal -- even if the real woman was faced, as we all are, with sorting out the mess of her life. The fact that Sarton knew this biography would be published showing her "warts and all" was telling -- certainly not the final act of a hypocrite.
This is not an easy biography, and fans of Sarton may be put off for awhile after reading it, but I found that after time I was able to go back to her books with more understanding, and more appreciation, for the writer and person of May Sarton. Highly recommended!