Dame Margot Fonteyn , DBE (May 18, 1919 - 21 February 1991), stage name Margaret Evelyn de Arias is an English ballerina. He spent his entire career as a dancer with the Royal Ballet, eventually designated as Prima Ballerina Assoluta of the company by Queen Elizabeth II.
Video Margot Fonteyn
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Margaret Evelyn Hookham was born on May 18, 1919 in Reigate, Surrey to Hilda (nÃÆ'Ã… © e Acheson Fontes) and Felix John Hookham. His father was a British mechanical engineer, working for the British-American Tobacco Company. His mother was the illegitimate daughter of an Irish woman, Evelyn Acheson, and Brazilian industrialist Antonio Fontes. The family moved to Ealing, where at the age of four his mother signed him and his brother for a ballet class with Grace Bosustow. His father was transferred to Kentucky and then when Peggy, when he was called in his childhood, nine of his family moved to China.
For six years, the family lived in TianJin, and then moved to Shanghai, where Hookham studied ballet with teacher ÃÆ'  © migrà ©  © Russia George Goncharov. Partner Goncharov, Vera Volkova, will be influential in Hookham's career and training. He does not dream of being a dancer and is a reluctant student, but he is competitive. Having June Brae in his class pushed him to work harder. He does not like Cecchetti practice, preferring a Russian-style fluid expression. His mother took him back to London when he was 14 years old, to pursue a ballet career. Continuing to work in Shanghai, his father was interned during World War II from 1943 to 1945 by invading Japan. He returned to England with his second wife, Beatrice, after the war.
Hookham started his studies with Serafina Astafieva, but was discovered by Dame Ninette de Valois and invited to join Vic-Wells Ballet School, which would later become the Royal Ballet. He trained under Olga Preobrajenska and Volkova. His first solo performance took place in 1933, as an actor rather than a dancer, using the temporary name of Margot Fontes as a child in the production of The Haunted Ballroom by de Valois. In 1934, he danced as a snowflake on The Nutcracker which still uses the name Fontes. The following year, he took a name he knew for the rest of his professional life, "Margot Fonteyn", modifying the surname of his grandfather, "Fontes" - in Portuguese, "fonte" means "fountain". In Central and modern English until the 16th century, it was translated as "fonteyn". His brother, Felix, who became a dance photography specialist, also adopted his surname.
Maps Margot Fonteyn
Vic-Wells year
In 1935, Fonteyn made his solo debut, playing Young Tregennis in The Haunted Ballroom and in the same year, Sir Frederick Ashton created the bride role in Stravinsky choreography Le baiser de la fà © e just for her. She also threw her as the main character, playing the Creole girl in her production, Rio Grande . When Alicia Markova, the first Prima Ballerina of the company, left Vic-Wells later in 1935, Fonteyn shared the lead with other members of the company, but quickly climbed onto the field of dancers. Using his subtle and somewhat sly grace to his advantage, "Sir Frederick often thinks of him as a weak creature or another world." In 1936, he was selected as a muse that could not be reached in his Apparitions and the same year played a sad and poverty-loving florist in Nocturne. The following year, he was given the role of Julia comics in A Wedding Bouquet and played a role with Robert Helpmann performing de deux, imitating the Victorian ice skaters in Ashton Les Patineurs. i>. Helpmann was his most constant partner in the 1930s and 1940s, helping him develop his theatrical, while Constant Lambert, as the company's music director, was aided by his musicality. Beginning in 1935, Fonteyn and Lambert developed a romantic relationship, which will continue and die throughout his life. He was previously involved with Donald Hodson, Foreign Service Controller for the BBC. Lambert dedicates his score to ballet Horoscope (1938) to Fonteyn.
In 1939 Fonteyn had performed the lead role in Giselle, Swan Lake and The Sleeping Beauty and was appointed Ballerina Prima of Vic-Wells, soon to be changed name became Sadler's Wells Ballet. During the war, companies danced every night, performing too, to entertain troops. With a short London season, they also traveled abroad and were in Holland when attacked in 1940, running away with nothing more than the costumes they wore. During the war, Ashton created a role like the bleak war part of Dante Sonata (1940) and the sparkling The Wanderer (1941) for Fonteyn. He also appeared mainly in Coppà © à © lia , instilling a role with humor. The war years helped Fonteyn develop his stamina and boost his natural talent.
Covent Garden year
In 1946, the company moved to the Royal Opera House in Covent Garden and one of its first roles was in the command performance of Tchaikovsky's The Sleeping Beauty as Aurora with King George, Queen Elizabeth, Queen Mary, both daughter - Elizabeth and Margaret - and Prime Minister Clement Attlee attended. Ballet became a production signature for the company and a different role for Fonteyn, marking his "arrival" as the "most brilliant crown" of Wells Sadler Company. Ashton immediately created the Symphonic Variations to capitalize on the opening success. Of the six dancers in production, Fonteyn's appearance was nicknamed "brilliant" and Moira Shearer was chosen for her elegance. Fonteyn first appeared on television in 1946, to mark the reopening after the Alexandra Palace war. This was followed by a performance by choreographer LÃÆ' Â © onide Massine as the miller's wife in his The Three-Cornered Hat and as leader in the abstract debut ScÃÆ'¨nes de ballet
In 1948, Fonteyn went to Paris to appear as Agathe, a role created for him, in the Les demoiselles de la nuit by choreographer Roland Petit. Petit's admiration gave her new beliefs and beliefs, which showed in her performance at Ashton's Don Juan , although she was injured on the first night of the show and could not dance for several months after, missed the premiere of Ashton Cinderella . She recovered enough to dance with Michael Somes in a Christmas presentation of ballet. Replacing Aurora's role in 1949 when the Royal Ballet toured the United States, Fonteyn instantly became a celebrity for his performance, gaining international recognition. In 1949, he charted the choreography of Sir Frederick Ashton, who was no longer in the repertoire of Wells Salder Company, dancing on television with Michael Somes and Harold Turner. Fonteyn appeared on American TV on The Ed Sullivan Show for the first time in 1951, and will repeat the show at the show several times. His appearance on the show was credited with increasing the popularity of dance with American audiences. This was followed by two of his most famous roles, as a leader in Ashton's Daphnis and Chloe (1951) and Sylvia (1952).
Fonteyn was honored as Commander of the Order of the British Empire in 1951 for his contribution to the British ballet. Plagued by injuries, Fonteyn is considered retired, especially after his most frequent partner in the 1950s, Somes began to take on a less challenging role. In Paris on February 6, 1955 married Roberto Arias, a Panama politician known as "Tito" who adopted the official name of marriage "Margot Fonteyn de Arias", in Spanish-speaking tradition. In 1955, he returned to the stage and found success at St. Petersburg, dancing the Medora role at Le Corsaire, in the presence of Rudolf Nureyev. On December 12, 1955, Fonteyn appeared with Michael Somes in the US live color television productions of Tchaikovsky's Sleeping Beauty, for the anthology series. Showcase Manufacturers , on NBC. This production is borne by the Ford Company and runs for one and a half hours, collecting about 30 million viewers. This production has been preserved on a black-and-white kinescope, and was released on DVD. Two years later, the duo appeared on another Production Showcase Cinderella . Fonteyn starred in Somes in British TV production in 1958 The Nutcracker . (This is not to be confused with CBS's live television broadcasts on Playhouse 90 .) He succeeded in two other Ashton races, La PÃÆ'Â ri ri (1956)) and Ondine (1958), before becoming a freelance dancer in 1959 to enable her to receive the many international involvements offered to her.
Political intrigue
Shortly before his marriage, Fonteyn was elected to succeed Adeline Genà © à © e, as president of the Royal Academy of Dance and although he protested the appointment, the Academy rejected his decision. Adding a planning meeting to a new dance syllabus and attending an Academy meeting, he was made Commander of the Dame of the Order of the British Empire in 1956. When her husband had been made ambassador to St James's palace at her marriage, Fonteyn also attended the duties required of a diplomatic wife. As the wife of an ambassador, Fonteyn has little concern for politics and draws criticism for lack of awareness. In 1956, he gave four shows in Johannesburg, South Africa at His Majesty's Theater and the other on Zoo Lake alongside Michael Somes. Although they received the top reviews, he was criticized for committing and ignoring the union's ban because of Apartheid. He also garnered criticism to perform for Imelda Marcos and was arrested for attending a party where medicines were used.
In April 1959, Fonteyn was arrested, detained for 24 hours in Panama prison, and later deported to New York City. Her husband had a coup against President Ernesto de la Guardia, possibly with the support of Fidel Castro. According to Fonteyn, the plot hatched when she and her husband visited Cuba in January 1959, with Castro promising to help Arias with an arm or a man. The couple went fishing on their ship The Nola and during the voyage ordered the fishermen to raise the buoy loaded with weapons. The fishermen reported the couple who hastily decided that Arias should try to escape detection. In the evening the Arias jumps aboard the ships aboard Elaine while Fonteyn uses his own yacht as bait to send government troops away from her husband. He returned to Panama City to surrender, hoping his surrender would help her husband.
Met in prison with British ambassador to Panama Sir Ian Henderson, Fonteyn acknowledged his involvement and the UK Foreign Office admitted that his statements were confidential. The British Embassy arranged for the release of Fonteyn, and flew it to New York City on April 22, without disclosing to the US government that Cuba had been involved in the plot. Arias took refuge at the Brazilian embassy in Panama and safely arrived in Lima, Peru on the same day Fonteyn arrived in New York. The couple reunited in June, in Rio de Janeiro and in November, he has returned to the stage, dancing with Michael Somes at Ashton pas de deux for a London benefit show. Fonteyn danced in the Eurovision production of BBC Sleeping Beauty in a title role with Jelko Yuresha on December 20, 1959.
Nureyev year
Fonteyn embarked on his greatest artistic partnership when many people, including Royal Ballet chief Ninette de Valois, thought he would retire. In 1961 Rudolf Nureyev, star of Balon Kirov defected in Paris, and was invited by de Valois to join the Royal Ballet. He offered Fonteyn a chance to dance with her on her debut, and despite being reluctant because of their 19-year age difference, Fonteyn agreed. On February 21, 1962 he and Fonteyn performed together at Giselle to an enthusiastic capacity crowd, which they received 15 minutes of applause and 20 curtain calls. The show was followed by a show showing the discontinuation of Le Corsaire Pas de Deux on November 3rd. The press describes their performance as another world and The Observer calls performance a "knockout" and a couples making history. A few days later, they performed the Les Sylphides to provide a review brought in the United States newspaper.
Sir Frederick Ashton made the choreography of Marguerite and Armand for them, with no other couple dancing until the 21st century. The 1963 premier was well publicized before the opening of 1963 and worked with Michael Somes, who plays a disagreeable father. Merged as a series of pas de deux , interrupted by only one solo, ballet intensity built from scratch coup de foudre to the scene of death. According to Somes, the couple Nureyev and Fonteyn are brilliant, because they are not partners but two stars with the same talents are pushing each other for their best performances. Attended by Empress Mother, Princess Margaret and Princess Marina, the production was instantly successful and became the signature work for this duo, sealing their partnership.
In 1964, Fonteyn and Nureyev toured from Sydney to Melbourne, performing at Giselle and Swan Lake with The Australian Ballet. After a short break, they continued their performance in Stuttgart. On June 8 of the same year, when the duo appeared in Bath, they were told that a frightened Panamanian politician shot Fonteyn Arias's husband, but it was not clear if he was in danger. Fonteyn, though shaken, danced on the new MacMillan pax de deux , Divertimento on June 9, before flying home to Panama. He discovers that Arias has been shot four times by Alfredo Jimenez, leaving Arias a deacon for the rest of his life. The thought of retirement recedes, as he needs to continue working to pay Arias medical bills. Although he was wheelchair bound, Fonteyn, who served in his welfare, took him along most of his journey. Within two weeks, he has returned to London, having arranged for Arias to be admitted to the National Spinal Injury Center of Stoke Mandeville Hospital and to return to dance. Over the next ten days, Fonteyn danced six performances of La BayadÃÆ'¨re , Gisselle , and Marguerite and Armand , while practicing Nureyev's production for Raymonda , Coma and relapse under Arias conditions will force him to miss all but the last appearance of Raymonda in Spoleto.
Fonteyn and Nureyev are well known for their classic performances, such as The Sleeping Beauty and Swan Lake , which Fonteyn is stripped to the essence of the role and continues to improve her performance. Nureyev insisted that Fonteyn partnered with him on La bayadÃÆ'¨re and Raymonda , and wrote his own version of Swan Lake for them to perform with the Vienna State Opera Ballet in 1964. The show was filmed and Lord Snowdon took a picture for the November 27, 1964 edition of Life . In 1965, the couple debuted under the title at Romeo and Juliet choreographed by Sir Kenneth MacMillan. MacMillan has intended to play a role for Lynn Seymour and Christopher Gable, but manager David Webster of the Royal Opera House insists on Fonteyn and Nureyev. A year after debut, production still attracted the line for the evening show and the duo were filled with flowers, from the audience, demanding repeated curtains. Fonteyn's depth as an actor made her appearance unique and Juliet became one of her most famous roles.
Despite the differences in background and temperament - he's methodical and he's very excited - and the 19-year-old gap in age, Fonteyn and Nureyev became close friends for life and famously loyal to each other. Fonteyn will not approve unattractive photos of Nureyev, nor will he dance with other partners in ballet in his repertoire. The level of their physical relationship is still unclear; Nureyev says they have it, while Fonteyn rejects it. His biographer, Meredith Daneman, says that although there is no concrete evidence, his opinion is that they did, but Nureyev biographer Diane Solway concludes that they are not. Nureyev said of him:
"At the end of 'Lac des Cygnes' when he leaves the stage in his great white tutu, I will follow him to the edge of the world."
In 1965, Fonteyn and Nureyev appeared together in the recording version of Les Sylphides and Le Corsaire Pas de Deux as part of the documentary An Evening with the Royal Ballet . The film grossed $ 1 million over the United States, set a record for the dance movie of the time, and was featured in over 50 theaters in New York and New Jersey alone during the week of December 6, 1965. Under the guidance of director Paul Czinner, who used multi- cameras to give the feel of stage performances, they also filmed their famous version of Romeo and Juliet in 1966. In 1967 Roland Petit wrote a new ballet for this duo, Heaven's Paradise . It is a modern, abstract production designed to emphasize Rudolf as Adam and the manly Fonteyn as a chic Eve. With pop art dà ©  © cast and flashing neon, the ballet made fans crazy, including Mick Jagger and his girlfriend, singer Marianne Faithfull.
Fonteyn went into semi-retirement in 1972, releasing his parts in a full ballet and just doing a ballet one round. He even ventured into modern dance, performing as "Desdemona" in JosÃÆ'Â © LimÃÆ'³n ' The Moor's Pavane June 1975 with Chicago Ballet followed by a dance performance similar to Nureyev at The Kennedy Center in Washington, DC in July. Between the two shows, Fonteyn performed with Martha Graham Dance Company in Saratoga, New York City, Athens and London and after the show at The Kennedy Center, the tour went to Brazil. In November 1975, he and Nureyev appeared on Fonteyn & amp; Nureyev on Broadway at Uris Theater. His appearance, though impressive, confirms that Fonteyn is no longer capable of performing a more demanding role. In 1976, he published his autobiography, though it did not tell everything. First, her husband is alive and Fonteyn is a very personal person, as well as precise and careful.
Dairy farmer
Fonteyn and Nureyev created an on-and-offstage partnership that lasted until he retired in 1979 at the age of 61, and they alienated lifelong friends. For his 60th birthday, Fonteyn was feted by the Royal Ballet, dancing a duet with Ashton on Salon d'Amour and Ashton's tattoo FaÃÆ'§ade with his former partner. Helpmann. At the end of the night, he was officially pronounced prima ballerina assoluta of the Royal Ballet. She performed with Nureyev in her summer, taking on the role of an angel leader in L'Occitane L'aprÃÆ'¨s-midi d'un faune by Vaslav Nijinsky and as a girl in Le Spectre de la rose. > Fonteyn and Nureyev remained close even after he retired to the Panama farm with her husband. The little farmhouse near El Higo, which has no phone, is in a remote village, but he keeps in touch and they sometimes perform together. Making a phone call from a neighboring hotel, Fonteyn speaks with Nureyev several times each week. He found that he had a real interest in raising cattle and developing a herd of four hundred.
In 1979, Foteyn wrote The Magic of Dance which aired on the BBC as a television series in which he starred in and published in book form. Serial six parts BBC2, exploring dance history for five centuries. The series caused an uproar because until then he was not yet known to speak in front of the camera. Terry Wogan commented that if it's an amateur speaking then professionals should pay attention. In the same year, he also published A Dancer World: An Introduction for Parents and Students . Fonteyn danced the role of "Lady Capulet" in Nureyev's Romeo and Juliet with Rudolf and Carla Fracci performing the lead role in 1981 at Met in New York City. In 1982, he was appointed chancellor of Durham University, whom he received as a great honor, given his limited and often disconnected education. He goes to Durham every year to attend graduate degree ceremonies and wholeheartedly participates in the required tasks. Fonteyn also published Pavlova: Portrait of a Dancer, in 1984, in honor of Anna Pavlova, whom Fonteyn admired. In February 1986 (age 66) she appeared on stage in Miami, in a two-night engagement, as Queen in The Sleeping Beauty. Fonteyn's last show with Nureyev took place at Maratona-Festa a Corte, in Mantua, Italy, on Sept. 16, 1988 at Baroque Pas de Trois, along with ballerina Carla Fracci.
Shortly before the death of her husband, in 1989, Fonteyn was diagnosed with ovarian cancer. After spending all his savings to care for Arias in his long weakness, and after retirement without retirement, he was afraid of the ordeal. Her stepdaughter, Querube Arias, took care of her and accompanied her to Houston, Texas on a routine trip to M.D. Hospital. Anderson. Nureyev is one of the few people he tells about his problem and he arranges to visit him regularly in Houston, despite his busy schedule as a player and choreographer. In 1990, he had undergone three surgeries and was lying in bed. Running out of money, Fonteyn started selling his jewelry to pay for his treatment and Nureyev anonymously helped pay the bills. In February 1990, the Public Broadcasting Service showed The Margot Fonteyn Story as part of a series of Great Shows. In the documentary, Nureyev says that they dance with "one body, one soul" and that Margot is "all he has, only him". One observer said that "If most people are at level A, they are at level Z". In May, a gala was held at Covent Gardens to raise money for his treatment. Placido Domingo volunteered to sing and both Somes and Nureyev danced. The event was attended by over 2,000 guests, including Princess Margaret, Princess Diana and Dame Ninette de Valois, collected Ã, Â £ 250,000 for trust funds to provide Fonteyn support.
Death and inheritance
Fonteyn died on 21 February 1991 at a hospital in Panama City, Panama, aged 71, on the 29th anniversary of the prime minister with Nureyev at Giselle. He was buried with Arias near the house in Panama and a memorial service was held in London on July 2, 1991 at Westminster Abbey. The grieving Nureyev can not attend any of the services.
- He was Durham University chancellor from 1981 to 1990. The main hall at Dunelm House, the Student Union building, was named Fonteyn Ballroom in his honor. Also, the foyer to University College's Great Hall, Durham in Durham Castle is named after Dame Margot Fonteyn. Fonteyn Court, one of the accommodation buildings on the Field Parsons site of St. Cuthbert's Society, also named in his honor.
- Fonteyn is one of five "Women Achievements" selected for a set of British stamps published in August 1996.
- In the hometown of Reigate, a sculpture, created by the English sculptor Nathan David, FRBS, stands out as a tribute.
The "Margot Fonteyn Academy of Ballet" in Peekskill, New York, is named after him. The BBC filmed Fonteyn, aired on November 30, 2009, based on Daneman's biography and starred in Anne-Marie Duff as a ballerina.
Tony Palmer made a documentary about Fonteyn, entitled just Margot (2005). These included interviews with Nureyev, Sir Frederick Ashton, Roland Petit, Ninette de Valois, Robert Helpman, Lynn Seymour, Fonteyn's sister-in-law and other relatives, and various members of the Arias family.
In the 1998 film Hilary and Jackie about the English cellist Jacqueline du Pre, Fonteyn was played by Nyree Dawn Porter.
The main stage role
See also
- Women in dance
References
Quote
Bibliography
External links
- Margot Fonteyn on IMDb
- Margot Fonteyn on Broadway Internet Database
- Margot Fonteyn in PeoplePlay UK
- Short bio in the "My Hero" project
- Margot Fonteyn Ballet Academy
Source of the article : Wikipedia
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