Best biography nureyev rudolf
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He succumbed to acquired immune deficiency syndrome (AIDS; a disease that attacks the body's immune system) in Paris on January 6, 1993. Both parents, former Muslims, were committed Communists.
Although he liked to cite his mobile birth as the genesis of his “vagabond soul,” Nureyev grew up poor and stationary in Ufa, a provincial town in the Asian Russian republic of Bashkiria, so kopeckless that his mother carried him to school because he lacked shoes.
Self-reliance and a constant drive directed Nureyev's energy into a performing schedule around the world that only Anna Pavlova (1885–1931) could equal. He refused to attend an awards ceremony because others besides himself would be honored.
He became a regular guest artist with the Royal Ballet from 1962 to the mid-1970s, in addition to performing with Ruth Page's Chicago Opera Ballet, American Ballet Theatre, and on U.S. and French television. Few biographers combine research, writing flair and a persuasive overview well enough to trigger a feeling that, “Yes, that’s exactly who this person was!”
As an authorized (by Nureyev’s foundations) biographer, Kavanagh might have stinted on further research.
His made-for-a-miniseries life began generating biographies before he turned 30.
But this is the biography Nureyev deserves. Mentored and taken into his one-room flat by the dance teacher Alexander Pushkin, Nureyev commenced an affair with Pushkin’s 42-year-old wife, Xenia.
With an inexhaustible stamina, Nureyev continued to perform at a nonstop pace, acquiring over ninety roles and appearances with over thirty major ballet and modern dance companies.
The narcissism permanently estranged George Balanchine, whose imprimatur Nureyev sought but never truly gained. The upshot is a definitive portrait no one is likely to equal.
Nureyev’s birth took place March 17, 1938, on the Trans-Siberian Railroad, along Siberia’s Lake Baikal, as his mother, Farida, and his three sisters traveled to meet his father, Hamet, an officer with the Red Army in Russia’s far east.
Nureyev’s legacy serves as a testament to the transformative power of dance to transcend boundaries, and touch the human soul.
In the pantheon of dance, Rudolf Nureyev indeed illuminates the darkest corners of the human spirit. A rapidly changing character—shrewd, cunning, charming, and passionate—Nureyev demonstrated a commitment and a savage power equaled by no other dancer in his day.
He faced discrimination and persecution, yet he refused to compromise his identity or conform to societal expectations. At school he did not fair any better. Constantly teased and harassed by his fellow students for being raised so poor, Nureyev grew up lonely and isolated. In the Kirov's first-ever appearance in Paris, France, in 1961, Nureyev was an outstanding success, yet his resistance of company regulations sparked a command return to Moscow.
On June 17, 1961, Nureyev cut his ties with the Soviet Union (the former country that consisted of Russia and several smaller nations) seeking political asylum (political protection) at Le Bourget Airport in Paris, France. London: Studio Vista, 1976. His partnership with prima ballerina Margot Fonteyn was legendary, captivating audiences with their iconic productions such as “Romeo and Juliet” and “Swan Lake.”
Defying Convention
Beyond his artistic prowess, Nureyev’s personal life was marked by defiance and controversy.
Percival, John.
Stuart, Otis.