A Quote by Robert Gottlieb

The heart of the classical repertory is the Tchaikovsky-Petipa 'Sleeping Beauty,' and no ballet is harder to get right. — © Robert Gottlieb
The heart of the classical repertory is the Tchaikovsky-Petipa 'Sleeping Beauty,' and no ballet is harder to get right.
I'm a classical ballet dancer, and at the end of the day I want to be with American Ballet Theater, performing classical ballets.
We do a lot of light classical programming with that, too... obviously... a lot of Tchaikovsky music, Grieg, things like that which have become less classical with classical concerts.
I love to play a character. If I'm playing Cinderella or Aurora in 'Sleeping Beauty' or something like that, then I enjoy classical a lot. But to do just a two-minute solo, purely to show classical aesthetic, is not my favorite thing to do.
Russian culture is multifaceted and diverse. So if you want to understand, to feel Russia, then of course you need to read books, Tolstoy and Chekhov and Gogol and others. Listen to music. Tchaikovsky. Watch our classical ballet. But the most important thing is that you need to talk with people.
My Mom is a ballet director, so I had this idea in me that classical training is the best foundation for anything you do, so I wanted to get a classical background and voice.
The contemporary programs in London are harder and much more damaging for the body. With classical ballet you are relaxed mentally because it's what you learnt, but I want to push myself.
So many people report to be contemporary dancers, and they're not. They are sort of jazz dancers that feel like they're throwing a bit of classical in there. I mean, a true contemporary dancer has got ballet as their base and classical ballet, and that is their base. And then they choose to extemporize on that and go into a contemporary world.
I had classical training at London's Royal Ballet School, and my first job was with the Semperoper Dresden ballet company in Germany.
Deep down, classical Romantic music is what I love: Brahms, Tchaikovsky, the Romantics.
I think American Ballet Theatre is setting that standard now for classical ballet, that you can dream big, and it doesn't matter what you look like, where you come from, what your background is.
Ballet in September used to be dead as a dodo. Now, with City Ballet's ingenious decision to give us four weeks of repertory in the early fall, having cut down on the relentlessly long spring season when dancers, critics and audiences droop on the vine, we wake up after the dog days of August with something to look at.
I remember him reading 'Sleeping Beauty,' and he would play the score by Tchaikovsky as he read it. We'd also read 'Winnie the Pooh,' and, you know, those probably that he most often read me were 'Beatrix Potter' books, 'The Tale of Jemima Puddle-Duck' and 'The Tale of Mrs. Tiggy-Winkle.' I still have at least 15 of them.
You know what’s a great metaphor for love? Sleeping beauty. Because you have to plow through this incredible thicket of thorns in order to get to beauty, and even then, when you get there, you still have to wake her up. — Tiny Cooper
I trained as a ballet dancer till I was 18, so I would really like to get back to it. I'd love it if there was a part that meant I could do both acting and ballet, as they're both so close to my heart.
As a girl, you're supposed to love Sleeping Beauty. I mean, who wants to love Sleeping Beauty when you can be Aladdin?
'The Sleeping Beauty' is the greatest, most challenging and most vulnerable of classical ballets. Everything can go wrong with it, and all too often, everything does.
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