Margot fonteyns dance biography template

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Her artistry, her poetic sensitivity and dramatic strength and her musicality are legendary. But her greatest partnership emerged at a time when many (including the head of the Royal Ballet, Ninette de Valois) thought she was about to retire. The two shared some offstage adventures. Photos and film of the beauty leave a historical record of her greatness as well as her contribution to the art of ballet.

No other couple danced this ballet until the twenty-first century.

margot fonteyns dance biography template

Despite their differences in background, temperament, and a 19-year difference in age, Nureyev and Fonteyn became close lifelong friends and were famously loyal to each other. An icy pond on the edge of a snowy...

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First performance of The Sleeping Princess by the Vic-Wells Ballet, with choreography by Marius Petipa staged by Nicholas Sergeyev, music by Pyotr Ilyich Tchaikovsky and designs by Nadia Benois.

In this interview for Voices of British Ballet,...

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Born in St Petersburg in 1876, Serafina Astafieva became an important teacher in London in the early years of the 20th century. She talks about how she began as an art student, fascinated by the act of...

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The great choreographer and director Gillian Lynne tells Lynn Wallis how it was a giant, but ultimately rewarding step, to leave Sadler’s Wells Ballet in 1951.

She ended her days in Panama, remaining loyal to Arias in part because she was very devoted to his children from an earlier marriage.

Violetta Elvin, Ninette de Valois and Margot Fonteyn by Keystone Press Agency /ZUMA Press
Credit: © National Portrait Gallery,London

Margot Fonteyn (1919-1991).

Fonteyn was protective of Nureyev and would not approve an unflattering photograph of Nureyev. In 1931 she was the first scholarship pupil to join the...

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Keith Money moved from loving and photographing horses to loving and photographing dancers (like Degas and his paintings). Their performances in Ashton's Marguerite and Armand to music by F.

Liszt (1963), Kenneth MacMillan's Romeo and Juliet (music by S. Prokofiev, 1965), and Roland Petit's Pelleas and Melisande to music by A. Schoenberg (1969) became triumphant successes.

In 1970, Fonteyn danced in the ballet Poème de l'extase (to music by A.N. Scriabin), choreographed for her by John Cranko.

She was born to an English father and an Irish mother who was the illegitimate daughter of Brazilian businessman Antonio Fontes. In 1888 he joined the Maryinsky Ballet, where he was an outstanding dancer and partner, as well as a...

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Frederick Ashton choreographed Les Rendezvous for the Vic-Wells Ballet in 1933, with Alicia Markova and Stanislas Idzikowski as its first stars (their roles were later taken over by Margot Fonteyn...

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Frederick Ashton choreographed Les Patineurs for the Vic-Wells Ballet in 1937.

As early as 1935, she replaced Markova as the ballerina of the Vic-Wells Ballet (later the Sadler’s Wells Ballet), and so began her partnership with Robert Helpmann, and also her collaborations with Ashton and Constant Lambert, the company’s music director. From the late 1940s on, his main source of inspiration had been the landscape and people of Greece....

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David Wall was one of the greatest male dancers of his era, with an extraordinary stage charisma, range, theatricality and honesty.

When she was treated for cancer, Nureyev paid many of her medical bills. In 1967, they were arrested after a performance in San Francisco, when the police raided a Haight-Ashbury party to which they had been invited. They remained close even after Fonteyn retired to a Panama cattle farm, talking on the phone several times a week even though her farmhouse did not have a telephone.

He also visited often despite his busy schedule as a performer and choreographer, and his own health problems (he was HIV positive and succumbed to AIDS in 1993). Fonteyn was arrested when her husband attempted a coup against the Panamanian government.