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Margot Fonteyn. Dame Margaret Evelyn de Arias DBE ( née Hookham; 18 May 1919 – 21 February 1991), known by the stage name Margot Fonteyn, was an English ballerina. [1] [2] She is widely regarded as one of the greatest classical ballet dancers of all time. She spent her entire career as a dancer with the Royal Ballet, eventually being ...
En el Royal Ballet de Londres, Nureyev fue el "partner" por excelencia de la famosísima Margot Fonteyn, 19 años mayor que él. La apasionada virtuosidad de Nureyev demostró ser el perfecto complemento de la madurez y elegancia de Fonteyn; de esta manera, la relación de pareja artística que ellos extendieron por largo tiempo, rejuveneció la carrera de ella y estableció la de él.
Margot Fonteyn. Margot Fonteyn de Arias, born Margaret Hookham on May 18, 1919, in Reigate, Surrey, England, was an extraordinary and beloved classical ballerina, whose career extended from 1934 to 1979. As a dancer for England’s Royal Ballet, she help put British ballet on the international map. Her father was British and her mother was the ...
2 de dic. de 2020 · Aquí nos gustaría mostrarte una descripción, pero el sitio web que estás mirando no lo permite.
29 de may. de 2018 · Fonteyn, Dame Margot (1919–91) English ballerina. She was a member of the Royal Ballet (1934–59), and a guest artist with every major US and European ballet company. Fonteyn made her debut (1935) in Sir Frederick Ashton's production of The Fairy's Kiss. She was acclaimed as one of the most exquisite classical dancers of the 20th century.
Margot Fonteyn. Dame Margot Fonteyn de Arias (născută Margaret Hookham în 18 mai 1919, Reigate, Surrey, Anglia — d. 21 februarie 1991, Ciudad de Panamá) a fost o balerină britanică, una din cele mai remarcabile din secolul al XX-lea, a fost declarată „prima ballerina assoluta” a țării sale. Din partea mamei ei a avut rădăcini ...
1 de may. de 2019 · Margot Fonteyn and Classicism. In one section of Frederick Ashton’s Symphonic Variations, five dancers move, sometimes in question-and-answer alternation, but the central ballerina stands still. She’s in one corner of the stage, downstage right; her arms are by her sides; she stands with one foot crossed over the ankle of her supporting leg ...
