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, by Julie Kavanagh
Free Ebook , by Julie Kavanagh
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Product details
File Size: 10783 KB
Print Length: 782 pages
Publisher: Vintage (October 12, 2011)
Publication Date: October 12, 2011
Sold by: Random House LLC
Language: English
ASIN: B005O1BYXW
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Although this biography does not add too much new to Solway's (I do not know why Solway's book is not listed in this book's bibliography) it is well researched and comprehensive and had a nice writing style. However for me the purpose in reading biography is to understand how a person developed. The middle of it, that is, the part about Nuureyev's working adulthood, is not linear but thematic. The author discusses events concerning topics like filming Nureyev's dancing or his dealings with a particular person that happened ten years apart in the same paragraph and sometimes even in the same sentence. Dates when Nureyev was doing certain things or when certain things happened to him need to be made much clearer. We do not need a datebook of every tour but it is hard to follow how things developed in his life and work when the narrative is not linear and dates are not always stated. I agree with the others that there was not enough analysis of various aspects of Nureyev's life and his motivations in spite of the length of the book. A biography does not have to be a complete psychological analysis but Nureyev himself was pretty self analytic in spite of the fact that (as I read elsewhere) that he never did psychoanalysis because he believed that part of his strength lied in being impulsive and not second guessing himself. As a psychiatric nurse it seems to me that he had a very narcissistic personality and had some manic depressive tendencies. I would not have been surprised if he were also on amphetamines which in these days were not considered illegal substances and this would account for his mood swings as well as excess energy. In spite of the length of the book I believe that I actually got more insight of Nureyev's personality and motivations from Rudi Van Dantzig's memoir of him.
As I already had a tattered paperback copy of this book, I purchased this one as a replacement. When I finished reading this book in 2008, I was astonished by this incredibly complicated man and the story of his (short) life's journey, but I was not sure that I liked him. I was fascinated by him, so I proceeded to read all (except those publications not translated into English) I could about him. I have also had the pleasure of meeting severalpeople who knew him personally. While they do not dispute Ms. Kavanagh's narrative, they feel that her concentration on his questionable escapades obscures his great art, his talent, his enormous contribution to his discipline and many other positive sides to his personality. They loved him, as did many wonderful people. Apparently, he wasn't always a "bad" boy. The book is long and more of that length could have been devoted to his many triumphs.
My interest in Nureyev began when I read the Solway book on the life of this great ballet star. Until that time, I had only a passing interest in ballet in general and a moderate interest in Nureyev after viewing a Barbara Walters' interview of the dancer. Therefore, I had acquired some knowledge of Nureyev at the time I purchased the Kavanagh book. What initially drew me to this account of his life was Kavanagh's writing experience with the New Yorker. I expected excellent writing and the book did not disappoint. Kavanagh's extensive research, including detailed interviews with friends and family of Nureyev promised a read that was rich in background and first-hand accounts of the dancer. After reading this book, I felt as though I actually knew the man as well as anyone could know another simply through reading about his/her life. Kavanagh's book inspired me to purchase five more biographies of Nureyev, some of which are written by well-known dance critics as well as close friends of the ballet star who change the role of the male dancer more than any other individual in the world of professional ballet.
This huge biography is well and sensitively written, well-researched, and generally a fascinating read. Actually, this is my second copy of the book. The first one I lent to someone who never returned it, and I wanted to replace it for my permanent collection. The book is particularly fascinating in its coverage of Nureyev's defection, and the resulting KGB efforts to smear, assault, or assassinate him, and the pressure put on his friends and associates in Russia to persuade him to return. This is the kind of book that bears repeated readings.
I admired Nureyev a great deal and certainly recognize his contribution to ballet in much the same manner that I admired Callas and Pavrotti for what they did for opera, but you've got to really, seriously nearly be obsessed with Nureyev to wade through this tome. And, as usual with these tell all bios, you end up liking the subject a lot less than you did before.
A great read due its truly describing the risk taking, persistence, and absolute devotion of a genius and his love for ballet. His mission to restore the ballet in its many forms to all ages all over the world was herculean. Kavanagh allows the reader to feel well deserved empathy toward Nureyev and also respect for his dedication and passion without "glossing over" his humanity.
Congratulation! I knew Rudi very well, I danced Jean de Brienne on his Raymonda premiere in Vienna. Mrs. Kavanagh's book describes him as he was without brightening up anything.As a matter of fact I bought his last costume (Angel in Cristoforo) from the Hungarian State Opera, in this costume was his last appearance on stage on 1st of March1992.Gyula Harangozóformer Ballet director of the Vienna State Opera and Hungarian National Ballet
Fabulous account of a very talented and interesting artist. Incredibly well researched, and an easy read compared to many biographies which can be quite cumbersome. A must read for my fellow ballet enthusiasts!
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