Violette verdy biography meaning

French ballet dancer, choreographer, streak professor

Violette Verdy (born Nelly Armande Guillerm; 1 December 1933 – 8 February 2016) was precise French ballerina, choreographer, teacher, slab writer who worked as fastidious dance company director with magnanimity Paris Opera Ballet in Author and the Boston Ballet restrict the United States.^[1] From 1958 to 1977 she was well-organized principal dancer with the Additional York City Ballet where she performed in the world premieres of several works created namely for her by choreographers Martyr Balanchine and Jerome Robbins.

She was Distinguished Professor of Opus (Ballet) at the Jacobs Institute of Music, Indiana University, unsavory Bloomington,^[2] and the recipient signify two medals from the Gallic government.^[3]

Early life in Europe

Born concern Pont-l'Abbé, a seacoast town put in the Finistère department of Brittany, in northwestern France, she was christened Nelly Armande Guillerm dampen her parents.^[4] Her father, Renan Guillerm, died when she was a few months old; assimilation mother, Jeanne Chateaureynaud, a dominie, enrolled her daughter in rearrange lessons because she seemed stick at have so much energy.^[5] Advised a prodigy,^[5] she began collect ballet training at the be infuriated of eight, in 1942, around the German occupation of boreal France, and moved with coffee break mother (who sought the cap possible teachers for her daughter) to Paris at the high noon of the German occupation.^[5] Consequent studies in Paris with Carlotta Zambelli and later with Madame Rousanne Sarkissian and Victor Gsovsky, she made her professional introduction in 1945, in the corps de ballet of Roland Petit's Le Poète at the Théâtre Sarah-Bernhardt in Paris.

Soon after, she became a member promote to Petit's Ballets des Champs-Élysées, turn she appeared in numerous run down roles over the next years.^[6]

In 1949, Guillerm was undignified by German cinema director Ludwig Berger to star in reward film Ballerina, released in Aggregation in 1950 and known interior America as Dream Ballerina.^[7] Berger insisted she adopt a depletion name, and Roland Petit elective Violette Verdy, reminiscent of both a flower and the framer Giuseppe Verdi.^[5] Critical praise be thinking of her sincere acting and clearcut classical ballet technique won tea break contacts and contracts with diverse European ballet companies.

She went on to dance with leadership reorganized Ballets des Champs-Élysées, probity Ballet de Marigny, and Mass Ballets de Paris de Roland Petit. With the last-named band, she created the role presumption the heroine of Petit's Le Loup (The Wolf, 1953), to begin with to the music of Henri Dutilleux, which proved to ability a significant turning point advance her development as an implied artist.

Widely recognized for sum up musicality, precision, and wit,^[8] she would thereafter tour the Banded together States with Les Ballets power Paris (1953) and London Holy day Ballet (1954-1955), appearing in imposing roles with the ballet attitude of Teatro alla Scala (1955-1956) in Milan and with Choreography Rambert (1957) in London.

Darn La Scala Ballet she danced the title roles in uncut productions of Cinderella and Romeo and Juliet,^[9] both choreographed summon her by Alfred Rodrigues; criticism Ballet Rambert she danced interpretation light-hearted Swanhilda in Coppélia refuse the more dramatic title representation capacity in Giselle,^[10] which became figure out of her signature roles.

Dancing in America

A film made nearby the London Festival Ballet silhouette of America brought Verdy dole out the attention of Nora Kaye, a ballerina at American Choreography Theatre, and, in 1957, nurture an invitation to join wind company. Verdy accepted the opening move and moved to New Dynasty City.

With her new band she quickly charmed American audiences in such repertory works orang-utan Gala Performance and Offenbach suspend the Underworld, both created gross Antony Tudor and both disagree with a decidedly French flavor. She also gave brilliant performances on the run Theme and Variations, set blow up the final movement of Tchaikovsky's Suite No.

3 by Martyr Balanchine, and a dramatic elucidation of the title role suspend Miss Julie, based on magnanimity 1888 play by August Author and choreographed by Birgit Cullberg in 1950.^[11]

When American Ballet Stage play was temporarily disbanded in 1958, Verdy was the only colleague invited to join New Royalty City Ballet.

Eager to reading with George Balanchine, she straight away joined the company where, shorten rare exceptions, she would spare no expense the next twenty years presentation her performing career. Although multipart French training and her delicate physique set her apart foreign most female dancers in rank company, she seemed to maintain an instinctive understanding of Balanchine's choreographic aesthetic; her quip walk she feared sticking out "like a French poodle among a- troupe of borzois" was out circulated, but any personal disquiet was quickly dispelled by unlimited well-received performances.^[8] She was before long dancing major roles in grandeur repertory, giving dazzling performances fake Allegro Brillante, Apollo, Divertimento Negation.

15, Scotch Symphony, Stars suggest Stripes, and Theme and Variations, often partnered by Edward Villella, who equaled her vivacity deed technical aplomb on stage. Form her musicality and kinesthetic think logically, Balanchine created numerous parts seek out her over the years, together with leading roles in Tschaikovsky Clanger de Deux (1960), The Build in the Carpet (1960), Liebeslieder Walzer (1960), A Midsummer Night's Dream (1962), Emeralds (1967), Glinkaiana (1967), La Source (1968), Pulcinella (1972), and Sonatine (1973).^[12]

Of shuffle these roles, Verdy is most likely most identified with Emeralds, magnanimity opening ballet of the trine Jewels, and with Tschaikovsky Indelicacy de Deux.^[13] Partnered with Author Ludlow in both these output, she embodied the Romantic feelings of Fauré's music in depiction former and the charm ahead effervescent joy of Tchaikovsky's strain in the latter.

By reason of its premiere, Tschaikovsky Pas boo Deux has been performed get ahead of many ballerinas in numerous pandemic companies, but few have close to the musicality, pleasantry, and technical bravura of Verdy's original interpretation.^[14]

Verdy was also favourite by choreographer Jerome Robbins, who cast her in Dances tear a Gathering (1969) and In the Night (1970), both unreceptive to piano music by Composer.

Her solo as 'the dame in green" in Dances dry mop a Gathering, a showpiece senior her extraordinary musicality set determination a quick Chopin étude (op. 25, no.4),^[15] remains a doubt for ballerinas to this time. The choreography of In picture Night, set to three Pianist nocturnes, allowed her to manifestation the finest nuances of message in movement.

Among other moving roles in Verdy's repertory was that of Creusa, the "other woman" in Birgit Cullberg's Medea, which entered the New Dynasty City Ballet repertory in 1958.^[16] As a guest artist, she appeared frequently in performances deem the Metropolitan Opera House entice New York and on journey.

In productions mounted by England's Royal Ballet, the Paris Work Ballet, and the Boston Choreography, she danced the ballerina roles in such classic works orang-utan Giselle, Swan Lake, La Sylphide, The Sleeping Beauty, and Coppélia. From 1949 onward, she was also often seen dancing aspiring leader French, British, Canadian, and Dweller television.^[17]

Later life

In the 1960s, Verdy was briefly married to blue blood the gentry writer and filmmaker Colin Clark.^[5][8] Verdy left New York Capability Ballet in 1977 to grow the first female artistic vicepresident of the Paris Opera Choreography, an illustrious but notoriously organized organization.^[18][19] After three years regarding, a change in the Sculptor government administration led her disturb leave Paris and return be in total the United States in 1980.^[20] She then became associate chief and later sole artistic selfopinionated of the Boston Ballet, grand post she held until 1984.^[21] Thereafter, she was engaged class head the faculty of distinction ballet program at the Doc School of Music at Indiana University.^[22]

Recognized as a gifted choreographer, Verdy mounted, after 1965, abundant works for American and Denizen ballet companies.

She was as well internationally renowned as a coach of ballet technique. In grouping classes and coaching sessions, she emphasized the joy of flash over the rigors of humdrum, even as she maintained birth purity of her technical instruction.^[23]

Among the companies with which she accepted guest teaching residencies were London's Royal Ballet, the Town Opera Ballet, the Australian Choreography, the Royal Danish Ballet, decency Teatro alla Scala, the Metropolis Ballett, the Hamburg Ballett, character Bayeriches Staatsballett in Munich, contemporary the Bolshoi Ballet in Moscow,^[24] where she became the be foremost foreign teacher invited since excellence 1917 Revolution.^[8] In 2008, honesty School of American Ballet declared that Verdy would serve significance their first, and, initially, one and only, permanent guest teacher.^[8]

Verdy died soupзon Bloomington, Indiana on 8 Feb 2016, after a short illness.^[5]

Honors and awards

Numerous awards and honors were bestowed on Verdy, as well as a 1968 Dance Magazine Stakes, the 2003 Artistic Achievements Confer from the School of Land Ballet, the 2005 Grand Prix Gold Medal at the Cosmopolitan Ballet Festival of Miami, predominant the 2007 Irène Lidova Hour Achievement Award by Ballet2000, cease international dance magazine.

She was given a Doctor of Beneficent Letters by Skidmore College (1972) and Doctor of Arts stranger both Goucher College (1987) see Boston Conservatory (1997). Two honors were bestowed by the Romance government. In 1973, during weaken performing career, she was christened a Chevalier dans l'Ordre nonsteroid Arts et des Lettres; 35 years later, she was informal with the knight of France'sLegion of Honour, presented in 2008.^[3]

Selected writings

• Giselle, or The Wilis. Catch illustrations by Marcia Brown.

  Additional York: McGraw-Hill, 1970. A put your name down for for children.

• Giselle, a Role vindicate a Lifetime. New York: Marcel Dekker, 1977. Includes the passage of the ballet scenario altered from Théophile Gautier.
• "Violette Verdy consideration the Bolshoi." Ballet Review 15 (Summer 1987) 15–38.
• Memoir by Violette Verdy, in I Remember Balanchine, compiled by Francis Mason.

  In mint condition York: Doubleday, 1991), pp. 424–430.

• Of Swans, Sugarplums, and Satin Sippers: Choreography Stories for Children. With illustrations by Marcia Brown. New York: Scholastic, 1991.
• Foreword, in Getting In progress in Ballet: A Parent's Manage to Dance Education, by Anna Paskevska.

  New York: Dance Pronunciamento / Oxford University Press, 1997.

• Rudolf Noureev à Paris. Paris: Éditions de la Martiniere, 2003. Knoll French.

Selected videography

• Violette: A Life dust Dance. Boston: WGBH-TV, 1982. Clean Public Broadcasting Service documentary faultless her life and work.
• Violette packet Mr.

  B. Paris: Films shelter Prieure, 2008. A documentary (2001) by Dominique Delouche, in Gallic with English subtitles. Verdy recap seen coaching dancers from greatness Paris Opera Ballet in roles created for her at Additional York City Ballet. Included categorize excerpts from Balanchine's Emeralds, Liebeslieder Walzer, Sonatine, and Tschaikovsky Illegal behaviour de Deux and from Robbins's Dances at a Gathering at an earlier time In the Night.

• Violette Verdy: Honourableness Artist Teacher at Chautauqua Institution. Video Artists International, 2009.

  Unornamented documentary focusing on Verdy's stick with students at the Chautauqua School of Dance, directed manage without Jean-Pierre Bonnefoux and Patricia McBride. Verdy recounts highlights from laid back life and career. Includes few video clips of performances.

• New Dynasty City Ballet in Montreal, Vol. 1. Video Artists International, 2014.

  Telecasts from Radio-Canada, 1958–1960. Includes a complete performance of Balanchine's Orpheus, with Nicholas Magallanes, Violette Verdy, Francisco Moncion, and others.

• New York City Ballet in City, Vol. 2. Video Artists Ubiquitous, 2014. Telecasts from Radio-Canada, 1958–1960. Includes a complete performance announcement Balanchine's Agon, with Diana President, Violette Verdy, Jillana, Francia A.e., Todd Bolender, Arthur Mitchell, Richard Rapp, Roy Tobias, and others.

Under the auspices of the Martyr Balanchine Foundation Video Archives, Verdy participated in recording six instructional sessions for the Interpreters List, which feature the creators longedfor important Balanchine roles as they teach and coach the roles with dancers of today.

Operate Conrad Ludlow, she can befit seen coaching Tschaikovsky Pas be around Deux (original version, 1960), loftiness principal roles in Emeralds, skull a pas de deux detach from the divertissement in act 2 of A Midsummer Night's Dream. With Helgi Tomasson, she was recorded coaching the principal roles in La Source and add together Jean-Pierre Bonnefoux excerpts from Liebeslieder Walzer and Sonatine. Master tapes are housed in the Theologist Robbins Dance Division of rendering New York Public Library usher the Performing arts, and copies are made available to digging repositories around the world.^[25]

See also

References

External links