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1038:, and did not wish to renew his Covent Garden contract when it expired in 1971. Ashton had frequently told colleagues how he looked forward to his own retirement, but nonetheless was hurt by the abruptness with which his departure was arranged and announced by Webster. He stood down in July 1970 after a farewell gala organised by Michael Somes, John Hart and Leslie Edwards.
999:, his English contemporary, better known in the US, to stage both new and old works. The ballet critic John Percival considered that despite the numerous glories of the company under Ashton's directorship, he was unsuited to and uninterested in management, and lacked de Valois' gift for strategic planning (though better in both these regards than his successor as director,
333:, where his ability to speak Spanish and French as well as English was an advantage. In January 1924, George Ashton committed suicide. His widow was left financially dependent on her elder sons, who ran a successful business in Guayaquil. She moved to London to be with Ashton and his younger sister, Edith.
700:(1943). It was created and staged in a hurry, and Walton later said that it was not much of a success from anyone's point of view. It had a theme of knightly chivalry, though Walton observed that Helpmann in the lead looked more like the Dragon than St George. As with the 1940 Ashton-Walton collaboration
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wrote, "The only fault ... is that it is not the last act of a long classical ballet. Such a display of noble movement should be the culmination of a spectacle: yet before we realise its beauty this pearl of great price has dissolved – in eighteen minutes." Ashton's own description of the ballet was,
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granted Sadler's Wells Ballet a charter, giving it the title of "the Royal Ballet" with effect from 15 January 1957. This recognised the eminence the company had achieved: internationally it was widely regarded as "the leading company outside Russia". De Valois remained the director of the company,
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De Valois had a very free hand in running the company, but she remained answerable to a board of governors, whose support she needed, and received, for the move. Ashton, who knew and approved of
Webster, was strongly in favour, and put such weight as he then had behind it. Though no longer resident
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When de Valois retired in 1963, Ashton succeeded her as director. His time in charge was looked on as something of a golden age. Under him, the corps de ballet was recognised as rivalling and even excelling the best anywhere else in the world. He continued to add to the repertoire with his own new
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Dancing was not a career acceptable to a conventional
English family at that time. Ashton later recalled, "My father was horrified. You can imagine the middle-class attitude. My mother would say, 'He wants to go on the stage.' She could not bring herself to say 'into the ballet.'" Ashton's father
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Mr. Frederick Ashton has devised a ballet for six dancers without drama and without characterisation – a "pure" ballet, in which the interest is wholly concentrated upon the dance and its relation to the music. That the new ballet holds one's attention from the first motionless tableau until the
973:'s delightful designs were firmly related to French country life." It was an immediate success, and has been regularly staged since, not only by the Royal Ballet, but by companies in ten other European countries and in Australia, Canada, Hong Kong, New Zealand, South Africa and the US.
912:, but contemporary reviews praised it with little or no reservation. In 2005, reviewing a New York revival, the critic Jennie Schulman called it a "blockbuster", "radiant" with "choreographic abundance to please even the most finicky of gods and the most demanding of balletomanes".
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writes of it, "It is a masterpiece created for the Opera House and for the company's dancers, and almost of itself defines a style of
English dancing." Although the Covent Garden stage was much larger than that at Sadler's Wells, Ashton confined himself to six dancers, led by
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has set most suitably to music. Miss Marie
Rambert, as an impudently vivacious mannequin, and Mr. Frederick Ashton as a distracted man modist, lead the dancing. It is as chic a trifle as Mr Playfair's modish establishment leads you to expect." The costumes and scenery were by
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as
Cinderella's stepsisters. Some critics have commented that Ashton was not yet fully in control of a full-length ballet, with intermittent weaknesses in the choreography, but the comedy of the stepsisters was, and has remained, a favourite with audiences. The ballet critic
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Ashton's last years were marred by the death of his partner, Martyn Thomas, in a car crash in 1985 – a blow from which Ashton never fully recovered. He died in his sleep on 19 August 1988, at his country home in
Suffolk, and was buried on 24 August at St Mary's Church,
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in 1955. It was a considerable success, but Ashton resisted attempts to present it at Covent Garden, which he thought too large a theatre and stage for his intimate treatment of the story. It was not seen in London until 1985 when it was produced by the
547:. Robert Greskovic describes the work as a "classically precise yet frothy excursion showcas big skirted 'ballet girls' and dashing swain partners". The piece was an immediate success, has been revived many times, and at 2013 remains in the
961:. The first ballet of that title had been presented in France in 1789, and several later versions had been staged in the 19th century, using music by various composers. Ashton did his customary careful research and decided to make use of
1469:, created by Ashton for her sixtieth birthday gala at Covent Garden. The Royal Ballet has a demonstration of the step on its website, explained by the company's ballet mistress, Ursula Hageli and danced by Romany Pajdak.
696:, at first analysing aerial photographs and later as an intelligence officer. While in the RAF he was granted occasional spells of leave to carry on his work with the ballet. His collaboration with Walton continued with
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considered that "it completely fails ... definitely a poor show". Nevertheless, Ashton was by now recognised as a choreographer of considerable talent and had gained a national, though not yet international, reputation.
310:. When they returned to Guayaquil in 1914, he attended a school for children of the English colony. One of his formative influences was serving as an altar boy, which inspired in him a love of ritual, as demonstrated in
969:. Walker says of the work, "He adhered closely to the original scenario, but created deliciously inventive new choreography that was the happiest amalgam of classical ballet and English folk-dance, while
1457:, 1964). Often the eye is distracted from it by action elsewhere onstage. In each instance, it is changed in some aspect (particularly its conclusion), so that the entire step seems metamorphosed.
1681:"It has a distant, uncompromising beauty which says I am here, beautiful, but I will make no effort to charm you." In 2004 Debra Craine called the work "pure classicism at its most invigorating."
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Webster, due to retire in 1970 as general administrator of the Royal Opera House, decided that his departure should be accompanied by a change to the leadership of the two companies.
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He was not academically inclined, and his father decided that, upon leaving the school in 1921, Ashton should join a commercial company. He worked for an import–export firm in the
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222:. In 1926 Rambert encouraged him to try his hand at choreography, and though he continued to dance professionally, with success, it was as a choreographer that he became famous.
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To perpetuate the legacy of Ashton and his ballets, the
Frederick Ashton Foundation was set up in 2011. It is independent of, but works closely with, the Royal Ballet.
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Rambert sought to widen her students' horizons, taking them to see London performances by the
Diaghilev Ballet. They had a great influence on Ashton—most particularly
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771:(1947), which remains a repertoire piece. In 1948, at the urging of de Valois, Ashton created his first major three-act ballet for a British company, his version of
207:(17 September 1904 – 18 August 1988) was a British ballet dancer and choreographer. He also worked as a director and choreographer in opera, film and
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Ashton and
Helpmann continued to play the stepsisters in many revivals up to the end of 1975. On occasion, when Helpmann was unavailable, Ashton was joined by
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called it "slapstick of a celestial order", and recalled that she and her fellow New York critics were "struck speechless by this luminous ballet".
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Fulcher. George Ashton was manager of the
Central and South American Cable Company and vice-consul at the British consulate in Guayaquil.
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In the late 1940s and early 1950s Ashton worked more frequently for other ballet companies, creating works for the Ballets de Paris (
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431:—smoothly mixing robust masculine leaps with courtly duets." The following year Rambert founded the Ballet Club, forerunner of the
353:; at the unusually late age of twenty he was accepted as a pupil. After Massine left London, Ashton was taken on as a student by
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Determined to be a dancer despite the opposition of his conventional middle-class family, Ashton was accepted as a pupil by
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Despite family disapproval (and at first in secret) Ashton pursued his ambition to dance professionally. He auditioned for
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Shortly before the outbreak of the Second World War Ashton was offered a position in New York with what was to become the
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Ashton is widely credited with the creation of a specifically English genre of ballet. Among his best-known works are
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Ashton included in many of his ballets a signature step, known to dancers as "the Fred step". It is defined by
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alongside the new opera company he was establishing. Ashton's first ballet for the company in its new home was
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In 1936–37, his homosexuality notwithstanding, Ashton had an affair with an American heiress and socialite,
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Helpmann, Massine and Ashton all appeared in the film. Massine (as Spalanzani) choreographed his own role.
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magazine, Lynette Halewood commented in 2000, "No other work by Ashton is so disturbing and so bleak".
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at Sadler's Wells Theatre, the company continued to be called the Sadler's Wells Ballet until 1957.
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posé en arabesque, coupé dessous, small développé a la seconde, pas de bourrée dessous, pas de chat
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As the 1930s progressed, Ashton's career began to extend internationally. In 1934 he choreographed
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In 1933 Ashton devised another work for de Valois and her company, the ballet-divertissement
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Ashton left the rights to many of his ballets to friends and colleagues, including Fonteyn (
1377:". Adrian Grater has enlarged the definition to include the transitional movements; this in
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he made for the 1979 film "Stories from a Flying Trunk"), or to a minor character (Moth in
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as prima ballerina and Ashton as the main choreographer and one of the leading dancers.
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In 1941 Ashton was called up for war service. He was commissioned as an officer in the
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recalled in 1994 that Ashton had first used the step in a short ballet that concluded
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describes Ashton's first years with the Vic-Wells as a richly productive period: "His
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One of Ashton's most celebrated ballets was created for the Royal Ballet in 1960:
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1800:"Sir Frederick Ashton – Great Choreographer and founder-figure of British ballet"
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The work dropped out of the repertoire and was thought lost until 2000, when the
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invited de Valois to move her company from Sadler's Wells to be resident at the
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dancers sink into repose again at the end is a measure of Mr. Ashton's success.
633:. He continued to create dances for other forms of theatre, from revues such as
357:. She encouraged him to try choreographing. His first attempt was in 1926 for a
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A Network of Styles: Discovering the Choreographed Movement of Frederick Ashton
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productions, he persuaded his former mentor Bronislava Nijinska to revive her
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in New York, and in 1939 he created his first ballet for a foreign company:
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dance in 1917. He was immediately determined that he would become a dancer.
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2432:"25 Years of Triumphant Progress: Achievements of Sadler's Wells Ballet",
1057:(1976), a one-act piece, lasting about forty minutes, freely adapted from
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singled out the "spirited and lovely choreography in the classic manner".
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My Dearest Friend, My Greatest Collaborator – Ashton, Fedorovitch and
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he Fred step is often tucked away. He may give it to the ballerina (
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Schulman, Jennie. "Dance Diary: ABT in Ashton's Radiant 'Sylvia'",
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1591:(1981), and received honorary doctorates from the universities of
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1952), to junior dancers (a pair of dancing artichokes in the ...
965:'s music (1828), arranged, with additions from other versions, by
1760:(2004). "Ashton, Sir Frederick William Mallandaine (1904–1988)".
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The Quiet Showman: Sir David Webster and the Royal Opera House
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Ashton's second full-length ballet for de Valois' company was
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thought it successful as "a piece of flippant amusement", but
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Frederick Ashton – Founder Choreographer of the Royal Ballet
2192:, Royal Opera House collections online, accessed 6 July 2013
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After his retirement, Ashton made several short ballets as
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Royal Opera House collections online, accessed 6 July 2013.
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2699:, ABC of Ballet, Royal Opera House, accessed 23 June 2013.
2656:, Frederick Ashton and his Ballets, accessed 23 June 2013.
2461:, Frederick Ashton and his Ballets, accessed 11 July 2013.
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Craine, Debra. "Victory salute to a master of the dance",
1441:, 1946). He may give it to a corps de ballet of peasants (
2402:, Frederick Ashton and his Ballets, accessed 6 July 2013.
2219:, Frederick Ashton and his Ballets, accessed 6 July 2013.
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1991:, Frederick Ashton and his Ballets, accessed 5 July 2013.
1903:"London Music – The Ballet Season at the Savoy Theatre",
1860:, Frederick Ashton and His Ballets, accessed 5 July 2013.
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Ashton himself danced the step as the timorous sister in
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2590:, Royal Opera House archive, retrieved 10 December 2014.
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on a similar theme, and that year saw also the touching
2567:, Royal Opera House archive, retrieved 10 December 2014
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in 1936 was by many compared favourably with Massine's
2737:, Ashton & Russell Roberts, accessed 23 June 2013.
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3094:. Royal Opera House heritage series. London: Oberon.
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Palmer, Christopher. Notes to Chandos CD 8871 (1990).
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Five Brahms Waltzes in the Manner of Isadora Duncan
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3512:List of ballets choreographed by Frederick Ashton
3020:Different Drummer – The Life of Kenneth MacMillan
2949:Landscape with Moving Figures – A Decade on Dance
2833:Frederick Ashton: a Choreographer and his Ballets
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1564:for services to the ballet, and appointed to the
1083:List of ballets choreographed by Frederick Ashton
995:by his other mentor, Massine. He also brought in
704:, the music has survived but the ballet has not.
3626:Members of the Order of the Companions of Honour
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2470:Kennedy, James. "No doldrums at Covent Garden",
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1087:Ashton created more than eighty ballets. In his
2679:"Step-by-step guide to dance: Frederick Ashton"
403:. In 1930 Ashton created an innovative ballet,
375:commented on "an engaging little ballet called
2966:Jordan, Stephanie; Grau, Andrée, eds. (1996).
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2790:(Supplement). 25 May 1962. pp. 4307–4342.
2414:, p. 179 and "Britain's 'Royal Ballet'",
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1571:His honours from other countries included the
1093:entry, he identified his best-known works as:
1025:Enigma Variations (My Friends Pictured Within)
908:considers that it works "even less well" than
3581:Commanders of the Order of the British Empire
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2603:"Ashton, Sir Frederick (William Mallandaine)"
442:Ashton's ballets of the early 1930s included
378:A Tragedy of Fashion: or The Scarlet Scissors
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1766:(online ed.). Oxford University Press.
1635:staged a reconstruction by Jean Bedells and
1542:Commander of the Order of the British Empire
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16:British dancer and choreographer (1904–1988)
2969:Following Sir Fred's Steps: Ashton's Legacy
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2863:. Cambridge: Cambridge University Press.
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537:with whom Ashton was associated from 1931
3586:Commanders of the Order of the Dannebrog
2951:. New York: Dance & Movement Press.
2811:(Supplement). 5 June 1970. p. 6386.
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2769:(Supplement). 2 June 1950. p. 2784.
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2014:
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941:with Ashton as principal choreographer.
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468:(1933). He also contributed to West End
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192:Sir Frederick William Mallandaine Ashton
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2365:Back Stage – The Performing Arts Weekly
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1763:Oxford Dictionary of National Biography
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1315:Other notable Ashton ballets include:
915:Ashton's third full-length ballet was
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3048:(2nd ed.). London: Dance Books.
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2749:, Royal Opera House, 10 October 2011.
2747:Frederick Ashton Foundation Launched"
2532:"Beau Brummell of the dance: my hero"
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2279:, Frederick Ashton and his Ballets; "
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2009:
1873:: New Musical Comedy at the Palace",
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516:for her. It received mixed reviews;
71:Frederick William Mallandaine Ashton
3661:20th-century British ballet dancers
3113:. Guildford: University of Surrey.
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2492:"Can the company stay on its toes?"
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1581:Queen Elizabeth II Coronation Award
508:, began in 1931, when he created a
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3576:Choreographers of The Royal Ballet
3541:Administrators of The Royal Ballet
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2640:, Balletco, accessed 23 June 2013.
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1435:, 1983) or to supporting dancers (
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225:Ashton was chief choreographer to
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2348:. "Ballet Pastures Old and New",
1579:(Denmark, 1964). He received the
1123:(1955) – for Royal Danish Ballet.
19:For the American politician, see
3636:People educated at Dover College
3500:La chatte métamorphosée en femme
3044:Frederick Ashton and His Ballets
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673:Sadler's Wells and Covent Garden
306:, Peru, where Ashton attended a
3571:Knights of the Legion of Honour
2829:; Gilbert, John Selwyn (1971).
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2773:
2752:
2740:
2728:
2702:
2690:
2671:
2643:
2623:
2570:
2547:
2524:
2503:
2464:
2441:
2405:
2382:
2357:
2338:. "'Sylvia' at Covent Garden",
2322:
2222:
2207:
2165:
2150:
2120:
2105:
2057:"New Ballet at Covent Garden",
2033:magazine, accessed 5 July 2013.
1994:
1960:
1697:
1684:
1656:
1646:
1625:
1399:that she frequently performed.
1391:It was based on a step used by
1267:The Walk to the Paradise Garden
1076:
931:
857:(1953), and directed operas at
322:sent him to England in 1919 to
2344:. 5 September 1952, p. 5; and
1897:
1882:
1863:
1811:
928:rather than at Covent Garden.
286:
1:
3646:Rambert Dance Company dancers
3621:Members of the Order of Merit
3546:British ballet choreographers
3148:and David Ananeli in 2010 at
2997:Gore Vidal : A Biography
1709:
1615:Notes, references and sources
1589:Freedom of the City of London
781:. The original cast included
661:, another collaboration with
302:In 1907, the family moved to
3631:National Dance Award winners
1780:UK public library membership
1587:in 1959. He was awarded the
904:(1952). Ashton's biographer
765:Another plotless ballet was
495:
7:
3616:British male ballet dancers
3591:English male ballet dancers
3556:British arts administrators
3551:Ballets by Frederick Ashton
3445:The Tales of Beatrix Potter
3075:. London: Faber and Faber.
3073:The Royal Ballet – 75 Years
3022:. London: Faber and Faber.
1339:The Tales of Beatrix Potter
1048:The Tales of Beatrix Potter
867:, 1947) and Covent Garden (
631:Ballet Russe de Monte-Carlo
275:The Tales of Beatrix Potter
272:(1968) and the ballet film
10:
3677:
3090:Franchi, Cristina (2004).
2901:Greskovic, Robert (2002).
2818:
2334:, 4 September 1952, p. 6;
2162:, 16 November 2004, p. 27.
1919:Dominic & Gilbert 1971
1666:divided critical opinion.
1535:
1300:Helpmann and Fonteyn: the
1080:
1036:Chicago Symphony Orchestra
500:Ashton's association with
18:
3509:
3256:
3203:
2631:"Following the Fred Step"
2586:28 September 2021 at the
2354:, 7 September 1952, p. 6.
2328:"Sadler's Wells Ballet",
2300:28 September 2021 at the
2117:, 12 February 1948, p. 6.
2020:"Birmingham Royal Ballet"
2000:"Sadler's Wells Ballet",
1472:
731:After the end of the war
618:Four Saints in Three Acts
136:
128:
120:
112:
92:
66:
57:
30:
3656:Royal Air Force officers
3641:People from Eye, Suffolk
2887:Jordan & Grau (1996)
2654:"Notes on the Fred Step"
2420:, 17 January 1957, p. 3.
2264:15 December 2018 at the
2135:, 15 February 1948, p. 2
2006:, 24 January 1940, p. 4.
1879:, 2 October 1933, p. 11.
1619:
854:The Story of Three Loves
472:and musicals, including
3561:British opera directors
3000:. New York: Doubleday.
2972:. London: Dance Books.
2607:(subscription required)
2542:(subscription required)
2457:5 February 2012 at the
2435:The Manchester Guardian
2398:5 February 2012 at the
2341:The Manchester Guardian
2275:4 February 2012 at the
2249:4 February 2012 at the
2238:4 February 2012 at the
2025:29 October 2014 at the
1987:4 February 2012 at the
1976:4 February 2012 at the
1906:The Manchester Guardian
1888:"The Camargo Society",
1876:The Manchester Guardian
1758:Walker, Kathrine Sorley
1633:Birmingham Royal Ballet
1575:(France, 1960) and the
1527:Anthony Russell-Roberts
679:American Ballet Theatre
524:The Manchester Guardian
489:The Manchester Guardian
3596:English choreographers
3490:
3459:A Month in the Country
3380:
3362:
3344:
3326:
3292:
3282:
3272:
3243:
3140:of Frederick Ashton's
3133:Ballet.co Ashton pages
3071:Anderson, Zoë (2006).
2905:. London: Turnaround.
2636:7 October 2012 at the
2579:A Month in the Country
2556:A Month in the Country
2540:, 26 July 1970, p. 7.
2476:5 February 1965, p. 8.
2367:, 23 June 2005, p. 11.
2289:, 21 June 1947, p. 6;
2145:Jordan & Grau 1996
2063:, 25 April 1946, p. 6.
1894:, 14 June 1932, p. 12.
1823:, 20 June 1926, p. 13.
1772:10.1093/ref:odnb/39922
1585:Royal Academy of Dance
1577:Order of the Dannebrog
1491:A Month in the Country
1459:
1407:'s 1930 production of
1388:
1373:
1320:
1312:
1274:A Month in the Country
1054:A Month in the Country
952:
926:London Festival Ballet
906:Kathrine Sorley Walker
749:(1946). The historian
712:
641:, to opera, including
606:Alice von Hofmannsthal
538:
475:The Cat and the Fiddle
365:and Rambert's husband
346:
3606:English LGBTQ dancers
3452:MĂ©ditation from ThaĂŻs
3405:Marguerite and Armand
3155:www.ashtonballets.com
2800:United Kingdom list:
2779:United Kingdom list:
2717:royalties to Fonteyn"
2563:13 March 2022 at the
1909:, 22 June 1932, p. 7.
1858:"Chronological Index"
1562:1970 Birthday Honours
1554:1962 Birthday Honours
1546:1950 Birthday Honours
1540:Ashton was appointed
1431:as La Capricciosa in
1425:
1387:
1381:is transcribed thus:
1347:MĂ©ditation from ThaĂŻs
1299:
1230:Marguerite and Armand
947:
887:, 1953, conducted by
848:The Tales of Hoffmann
825:, 1950, to Britten's
707:
575:Symphonie Fantastique
533:
411:'s 1926 suite of the
344:
3319:Symphonic Variations
3265:A Tragedy of Fashion
2986:on 14 February 2006.
2882:Symphonic Variations
2336:Hope-Wallace, Philip
1817:"Riverside Nights",
1501:), Alexander Grant (
1499:Symphonic Variations
1438:Symphonic Variations
1188:Symphonic Variations
1015:), the pas de trois
895:in the title role).
819:New York City Ballet
746:Symphonic Variations
723:Symphonic Variations
669:four years earlier.
655:, and film, notably
601:are still with us."
245:Symphonic Variations
147:Symphonic Variations
3355:Homage to the Queen
3245:La fille mal gardée
3109:Morris, Geraldine.
2929:. London: Collins.
2921:Haltrecht, Montague
2438:, 5 May 1956, p. 4.
2183:"Cinderella (1965)"
2172:"Cinderella (1948)"
2018:Halewood, Lynette.
1558:Companion of Honour
1517:), and Brian Shaw (
1503:La fille mal gardée
1136:La fille mal gardée
1097:Full-length ballets
989:, and he presented
958:La fille mal gardée
921:Royal Danish Ballet
889:Sir John Barbirolli
450:The Lady of Shalott
395:Bronislava Nijinska
337:Massine and Rambert
291:Ashton was born in
257:La fille mal gardée
179:La fille mal gardée
3611:Ecuadorian gay men
3421:Monotones I and II
2837:. London: Harrap.
2808:The London Gazette
2787:The London Gazette
2766:The London Gazette
2725:, 3 December 1988.
2650:Macaulay, Alastair
2530:Bland, Alexander.
2500:, 15 October 1988.
2315:3 May 2021 at the
2188:3 May 2021 at the
2177:3 May 2021 at the
1493:), Michael Somes (
1410:Marriage Ă la Mode
1389:
1331:Monotones I and II
1313:
953:
842:The Garden of Fand
833:Picnic at Tintagel
751:Montague Haltrecht
539:
388:Sophie Fedorovitch
347:
3601:English directors
3518:
3517:
3437:Enigma Variations
3373:Birthday Offering
3146:Nina Ananiashvili
3142:ThaĂŻs Pas de Deux
2629:Grater, Adrian .
2204:, pp. 36–37.
2129:. "Golden Rain",
2111:"Covent Garden",
1778:(Subscription or
1692:Kenneth MacMillan
1511:Enigma Variations
1509:), Antony Dyson (
1479:Daphnis and Chloe
1429:Antoinette Sibley
1421:Alastair Macaulay
1260:Enigma Variations
1216:Birthday Offering
1209:Daphnis and Chloe
1173:A Wedding Bouquet
1063:comedy of manners
1043:pièces d'occasion
1013:Antoinette Sibley
1001:Kenneth MacMillan
828:Les Illuminations
814:Bridge Variations
805:Le RĂŞve de LĂ©onor
737:Royal Opera House
645:'s production of
627:Le Diable s'amuse
593:A Wedding Bouquet
535:Ninette de Valois
504:, founder of the
502:Ninette de Valois
486:(1933), in which
269:Enigma Variations
266:I and II (1965),
227:Ninette de Valois
189:
188:
129:Years active
81:17 September 1904
3668:
3566:Knights Bachelor
3495:
3475:Voices of Spring
3385:
3367:
3349:
3346:Daphnis et Chloé
3331:
3328:Scenes de Ballet
3311:The Wise Virgins
3297:
3287:
3277:
3248:
3228:Romeo and Juliet
3197:
3196:Frederick Ashton
3194:
3184:
3177:
3170:
3161:
3160:
3122:
3105:
3086:
3059:
3047:
3033:
3011:
2987:
2982:. Archived from
2962:
2940:
2916:
2890:
2874:
2862:
2848:
2836:
2813:
2812:
2798:
2792:
2791:
2777:
2771:
2770:
2758:British Empire:
2756:
2750:
2744:
2738:
2732:
2726:
2706:
2700:
2694:
2688:
2675:
2669:
2663:
2657:
2647:
2641:
2627:
2621:
2615:
2609:
2608:
2600:
2591:
2574:
2568:
2551:
2545:
2543:
2528:
2522:
2516:
2510:
2507:
2501:
2490:Percival, John.
2488:
2477:
2468:
2462:
2445:
2439:
2430:
2421:
2409:
2403:
2386:
2380:
2374:
2368:
2361:
2355:
2326:
2320:
2226:
2220:
2211:
2205:
2199:
2193:
2169:
2163:
2154:
2148:
2142:
2136:
2124:
2118:
2109:
2103:
2097:
2091:
2085:
2079:
2078:, pp. 59–60
2073:
2064:
2055:
2046:
2043:
2034:
2016:
2007:
1998:
1992:
1964:
1958:
1952:
1946:
1940:
1934:
1928:
1922:
1916:
1910:
1901:
1895:
1886:
1880:
1867:
1861:
1856:Vaughan, David.
1854:
1848:
1842:
1836:
1830:
1824:
1815:
1809:
1797:
1784:
1783:
1775:
1754:
1704:
1701:
1695:
1688:
1682:
1664:Scènes de ballet
1660:
1654:
1650:
1644:
1629:
1573:Legion of Honour
1449:vegetable ballet
1376:
1355:Voices of Spring
1325:
1196:Scènes de ballet
1120:Romeo and Juliet
971:Osbert Lancaster
963:Ferdinand HĂ©rold
936:In October 1956
917:Romeo and Juliet
893:Kathleen Ferrier
768:Scènes de ballet
727:
702:The Wise Virgins
553:Constant Lambert
506:Vic-Wells Ballet
312:The Wise Virgins
308:Dominican school
206:
139:
99:
80:
78:
62:
52:
37:Frederick Ashton
28:
27:
3676:
3675:
3671:
3670:
3669:
3667:
3666:
3665:
3521:
3520:
3519:
3514:
3505:
3397:The Two Pigeons
3252:
3199:
3195:
3192:
3188:
3129:
3108:
3102:
3089:
3083:
3070:
3067:
3065:Further reading
3062:
3056:
3030:
3008:
2980:
2959:
2937:
2913:
2896:10.1.1.691.8030
2871:
2845:
2821:
2816:
2799:
2795:
2778:
2774:
2757:
2753:
2745:
2741:
2733:
2729:
2713:"Ashton leaves
2707:
2703:
2697:"The Fred Step"
2695:
2691:
2687:, 4 March 2010.
2676:
2672:
2664:
2660:
2648:
2644:
2638:Wayback Machine
2628:
2624:
2616:
2612:
2606:
2601:
2594:
2588:Wayback Machine
2575:
2571:
2565:Wayback Machine
2552:
2548:
2541:
2529:
2525:
2517:
2513:
2509:Robinson, p. 44
2508:
2504:
2489:
2480:
2469:
2465:
2459:Wayback Machine
2446:
2442:
2431:
2424:
2410:
2406:
2400:Wayback Machine
2387:
2383:
2375:
2371:
2362:
2358:
2346:Buckle, Richard
2327:
2323:
2317:Wayback Machine
2302:Wayback Machine
2277:Wayback Machine
2266:Wayback Machine
2251:Wayback Machine
2240:Wayback Machine
2227:
2223:
2212:
2208:
2200:
2196:
2190:Wayback Machine
2179:Wayback Machine
2170:
2166:
2155:
2151:
2143:
2139:
2127:Buckle, Richard
2125:
2121:
2110:
2106:
2098:
2094:
2086:
2082:
2074:
2067:
2056:
2049:
2044:
2037:
2027:Wayback Machine
2017:
2010:
1999:
1995:
1989:Wayback Machine
1978:Wayback Machine
1965:
1961:
1953:
1949:
1941:
1937:
1929:
1925:
1917:
1913:
1902:
1898:
1887:
1883:
1868:
1864:
1855:
1851:
1843:
1839:
1831:
1827:
1816:
1812:
1808:20 August 1988.
1798:
1787:
1777:
1755:
1716:
1712:
1707:
1702:
1698:
1689:
1685:
1661:
1657:
1651:
1647:
1639:with help from
1637:Pauline Clayden
1630:
1626:
1622:
1617:
1538:
1475:
1379:Benesh notation
1365:
1294:
1223:The Two Pigeons
1085:
1079:
1071:Yaxley, Suffolk
992:Mam'zelle Angot
934:
787:Alexander Grant
729:
714:
694:Royal Air Force
675:
658:Escape Me Never
639:Home and Beauty
623:Devil's Holiday
561:Robert Helpmann
498:
383:Eugene Goossens
351:LĂ©onide Massine
345:Massine in 1914
339:
289:
284:
282:Life and career
216:LĂ©onide Massine
194:
185:
137:
108:
103:Chandos Lodge,
101:
97:
88:
82:
76:
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3598:
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3558:
3553:
3548:
3543:
3538:
3533:
3516:
3515:
3510:
3507:
3506:
3504:
3503:
3497:
3492:Pas de légumes
3487:
3479:
3471:
3463:
3455:
3449:
3441:
3433:
3425:
3417:
3409:
3401:
3393:
3387:
3377:
3369:
3359:
3351:
3341:
3333:
3323:
3315:
3307:
3299:
3289:
3284:Les Rendezvous
3279:
3269:
3260:
3258:
3254:
3253:
3251:
3250:
3240:
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3224:
3216:
3207:
3205:
3201:
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3187:
3186:
3179:
3172:
3164:
3158:
3157:
3152:
3150:Jacob's Pillow
3135:
3128:
3127:External links
3125:
3124:
3123:
3106:
3100:
3087:
3081:
3066:
3063:
3061:
3060:
3054:
3038:Vaughan, David
3034:
3029:978-0571243037
3028:
3012:
3006:
2988:
2978:
2963:
2957:
2941:
2935:
2917:
2911:
2898:
2878:Genné, Beth. "
2875:
2869:
2859:Modern Britain
2849:
2843:
2822:
2820:
2817:
2815:
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2793:
2772:
2751:
2739:
2727:
2709:Billen, Andrew
2701:
2689:
2670:
2668:, p. 233.
2658:
2642:
2622:
2610:
2592:
2581:: productions"
2569:
2546:
2523:
2521:, p. 341.
2511:
2502:
2478:
2463:
2448:Vaughan, David
2440:
2422:
2404:
2389:Vaughan, David
2381:
2379:, p. 181.
2369:
2356:
2321:
2281:Albert Herring
2229:Vaughan, David
2221:
2214:Vaughan, David
2206:
2194:
2164:
2149:
2147:, p. 200.
2137:
2119:
2104:
2100:Haltrecht 1975
2092:
2090:, p. 179.
2080:
2076:Haltrecht 1975
2065:
2047:
2035:
2008:
1993:
1967:Vaughan, David
1959:
1957:, p. 318.
1947:
1943:Greskovic 2002
1935:
1931:Greskovic 2002
1923:
1911:
1896:
1881:
1862:
1849:
1837:
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1705:
1696:
1683:
1672:Richard Buckle
1655:
1645:
1623:
1621:
1618:
1616:
1613:
1568:(OM) in 1977.
1566:Order of Merit
1537:
1534:
1474:
1471:
1433:Varii Capricci
1405:Nigel Playfair
1401:Alicia Markova
1364:
1361:
1360:
1359:
1351:
1343:
1335:
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1289:Varii Capricci
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1099:
1098:
1081:Main article:
1078:
1075:
1009:Anthony Dowell
967:John Lanchbery
933:
930:
864:Albert Herring
756:Margot Fonteyn
706:
674:
671:
663:William Walton
653:Sadler's Wells
648:Die Fledermaus
635:The Town Talks
613:Virgil Thomson
544:Les Rendezvous
497:
494:
460:Foyer de danse
437:Alicia Markova
433:Ballet Rambert
363:Nigel Playfair
338:
335:
331:City of London
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100:(aged 83)
96:18 August 1988
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3294:Les Patineurs
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3246:
3241:
3238:
3237:
3233:
3230:
3229:
3225:
3222:
3221:
3217:
3214:
3213:
3209:
3208:
3206:
3202:
3198:
3185:
3180:
3178:
3173:
3171:
3166:
3165:
3162:
3156:
3153:
3151:
3147:
3144:performed by
3143:
3139:
3136:
3134:
3131:
3130:
3120:
3116:
3112:
3107:
3103:
3097:
3093:
3088:
3084:
3078:
3074:
3069:
3068:
3057:
3051:
3046:
3045:
3039:
3035:
3031:
3025:
3021:
3017:
3013:
3009:
3003:
2999:
2998:
2993:
2989:
2985:
2981:
2975:
2971:
2970:
2964:
2960:
2954:
2950:
2946:
2945:Jacobs, Laura
2942:
2938:
2932:
2928:
2927:
2922:
2918:
2914:
2908:
2904:
2899:
2897:
2893:
2888:
2884:
2883:
2876:
2872:
2866:
2861:
2860:
2854:
2850:
2846:
2840:
2835:
2834:
2828:
2824:
2823:
2810:
2809:
2804:
2797:
2789:
2788:
2783:
2776:
2768:
2767:
2762:
2755:
2748:
2743:
2736:
2731:
2724:
2723:
2718:
2716:
2710:
2705:
2698:
2693:
2686:
2685:
2680:
2677:Roy, Sanjoy.
2674:
2667:
2662:
2655:
2651:
2646:
2639:
2635:
2632:
2626:
2619:
2614:
2604:
2599:
2597:
2589:
2585:
2582:
2580:
2573:
2566:
2562:
2559:
2557:
2550:
2539:
2538:
2533:
2527:
2520:
2515:
2506:
2499:
2498:
2493:
2487:
2485:
2483:
2475:
2474:
2467:
2460:
2456:
2453:
2449:
2444:
2437:
2436:
2429:
2427:
2419:
2418:
2413:
2408:
2401:
2397:
2394:
2390:
2385:
2378:
2373:
2366:
2360:
2353:
2352:
2347:
2343:
2342:
2337:
2333:
2332:
2325:
2318:
2314:
2311:
2309:
2303:
2299:
2296:
2294:
2288:
2287:
2282:
2278:
2274:
2271:
2267:
2263:
2260:
2256:
2252:
2248:
2245:
2241:
2237:
2234:
2230:
2225:
2218:
2215:
2210:
2203:
2198:
2191:
2187:
2184:
2180:
2176:
2173:
2168:
2161:
2160:
2153:
2146:
2141:
2134:
2133:
2128:
2123:
2116:
2115:
2108:
2102:, p. 73.
2101:
2096:
2089:
2084:
2077:
2072:
2070:
2062:
2061:
2054:
2052:
2042:
2040:
2032:
2028:
2024:
2021:
2015:
2013:
2005:
2004:
1997:
1990:
1986:
1983:
1979:
1975:
1972:
1968:
1963:
1956:
1951:
1945:, p. 77.
1944:
1939:
1933:, p. 74.
1932:
1927:
1921:, p. 46.
1920:
1915:
1908:
1907:
1900:
1893:
1892:
1885:
1878:
1877:
1872:
1866:
1859:
1853:
1847:, p. 89.
1846:
1841:
1834:
1829:
1822:
1821:
1814:
1807:
1806:
1801:
1796:
1794:
1792:
1790:
1781:
1773:
1769:
1765:
1764:
1759:
1753:
1751:
1749:
1747:
1745:
1743:
1741:
1739:
1737:
1735:
1733:
1731:
1729:
1727:
1725:
1723:
1721:
1719:
1714:
1700:
1693:
1687:
1679:
1678:
1673:
1669:
1665:
1659:
1649:
1642:
1638:
1634:
1628:
1624:
1612:
1610:
1606:
1602:
1598:
1594:
1590:
1586:
1582:
1578:
1574:
1569:
1567:
1563:
1559:
1555:
1551:
1547:
1544:(CBE) in the
1543:
1533:
1530:
1528:
1524:
1520:
1519:Les Patineurs
1516:
1512:
1508:
1504:
1500:
1496:
1492:
1488:
1484:
1480:
1470:
1468:
1467:Salut d'amour
1464:
1458:
1456:
1455:
1450:
1446:
1445:
1440:
1439:
1434:
1430:
1424:
1422:
1418:
1417:
1412:
1411:
1406:
1402:
1398:
1394:
1386:
1382:
1380:
1375:
1370:
1369:David Vaughan
1363:The Fred Step
1357:
1356:
1352:
1349:
1348:
1344:
1341:
1340:
1336:
1333:
1332:
1328:
1324:
1323:
1318:
1317:
1316:
1311:
1307:
1303:
1298:
1290:
1287:
1284:
1283:
1279:
1276:
1275:
1271:
1268:
1265:
1262:
1261:
1257:
1254:
1253:
1252:Jazz Calendar
1249:
1246:
1243:
1240:
1239:
1235:
1232:
1231:
1227:
1224:
1221:
1218:
1217:
1213:
1210:
1207:
1204:
1203:Illuminations
1201:
1198:
1197:
1193:
1190:
1189:
1185:
1182:
1181:
1177:
1174:
1171:
1168:
1167:
1166:Les Patineurs
1163:
1160:
1157:
1154:
1153:
1149:
1148:
1144:Shorter works
1143:
1142:
1138:
1137:
1133:
1130:
1129:
1125:
1122:
1121:
1117:
1114:
1113:
1109:
1106:
1105:
1101:
1100:
1096:
1095:
1094:
1092:
1091:
1084:
1074:
1072:
1066:
1064:
1060:
1056:
1055:
1050:
1049:
1044:
1039:
1037:
1033:
1028:
1026:
1022:
1021:Jazz Calendar
1018:
1014:
1010:
1006:
1002:
998:
994:
993:
988:
987:
982:
981:
974:
972:
968:
964:
960:
959:
950:
946:
942:
939:
929:
927:
922:
918:
913:
911:
907:
903:
902:
896:
894:
890:
886:
885:
880:
876:
875:
870:
866:
865:
860:
856:
855:
850:
849:
844:
843:
838:
834:
830:
829:
824:
823:Illuminations
820:
816:
815:
810:
806:
801:
799:
794:
793:
788:
784:
783:Moira Shearer
780:
779:
774:
770:
769:
763:
761:
760:Michael Somes
757:
752:
748:
747:
742:
741:Covent Garden
738:
734:
733:David Webster
728:
725:
724:
719:
718:
711:
705:
703:
699:
695:
690:
688:
684:
680:
670:
668:
664:
660:
659:
654:
650:
649:
644:
640:
636:
632:
628:
624:
620:
619:
614:
609:
607:
602:
600:
599:
598:Les Patineurs
594:
590:
589:
584:
580:
576:
572:
568:
567:
562:
558:
554:
550:
546:
545:
536:
532:
528:
525:
521:
520:
515:
511:
507:
503:
493:
491:
490:
485:
481:
480:C. B. Cochran
477:
476:
471:
467:
466:
461:
457:
456:
451:
447:
446:
440:
438:
434:
430:
426:
422:
418:
414:
410:
409:Peter Warlock
406:
405:Capriol Suite
402:
401:
396:
391:
389:
384:
380:
379:
374:
373:
368:
364:
360:
356:
355:Marie Rambert
352:
343:
334:
332:
327:
325:
324:Dover College
319:
317:
313:
309:
305:
300:
298:
294:
279:
277:
276:
271:
270:
265:
264:
259:
258:
253:
252:
247:
246:
241:
240:
234:
232:
228:
223:
221:
220:Marie Rambert
217:
212:
210:
205:
201:
197:
193:
181:
180:
176:
173:
172:
168:
165:
164:
160:
157:
156:
152:
149:
148:
144:
143:
141:
135:
131:
127:
124:Choreographer
123:
119:
115:
111:
106:
95:
91:
86:
69:
65:
61:
56:
51:
47:
43:
34:
29:
26:
22:
3499:
3481:
3473:
3465:
3457:
3451:
3443:
3435:
3427:
3419:
3411:
3403:
3395:
3389:
3371:
3353:
3335:
3317:
3309:
3301:
3263:
3234:
3226:
3218:
3210:
3191:
3141:
3138:Archive film
3110:
3091:
3072:
3043:
3019:
2996:
2992:Kaplan, Fred
2984:the original
2968:
2948:
2925:
2902:
2881:
2858:
2832:
2827:Dominic, Zoë
2806:
2796:
2785:
2775:
2764:
2754:
2742:
2735:"The Ballets
2730:
2720:
2714:
2704:
2692:
2684:The Guardian
2682:
2673:
2666:Vaughan 1999
2661:
2645:
2625:
2620:, p. 9.
2618:Vaughan 1999
2613:
2578:
2572:
2555:
2549:
2537:The Observer
2535:
2526:
2514:
2505:
2495:
2473:The Guardian
2471:
2466:
2443:
2433:
2415:
2407:
2384:
2372:
2364:
2359:
2351:The Observer
2349:
2339:
2329:
2324:
2307:
2292:
2284:
2280:
2224:
2209:
2197:
2167:
2157:
2152:
2140:
2132:The Observer
2130:
2122:
2112:
2107:
2095:
2083:
2058:
2030:
2001:
1996:
1962:
1950:
1938:
1926:
1914:
1904:
1899:
1889:
1884:
1874:
1870:
1865:
1852:
1840:
1828:
1820:The Observer
1818:
1813:
1803:
1761:
1699:
1686:
1677:The Observer
1675:
1667:
1663:
1658:
1648:
1627:
1570:
1560:(CH) in the
1556:, appointed
1539:
1531:
1522:
1518:
1514:
1510:
1506:
1502:
1498:
1494:
1490:
1486:
1482:
1478:
1476:
1466:
1462:
1460:
1452:
1442:
1436:
1432:
1426:
1414:
1408:
1393:Anna Pavlova
1390:
1366:
1353:
1345:
1337:
1329:
1314:
1309:
1288:
1280:
1272:
1266:
1258:
1250:
1244:
1236:
1228:
1222:
1214:
1208:
1202:
1194:
1186:
1178:
1172:
1164:
1158:
1150:
1134:
1126:
1118:
1110:
1102:
1088:
1086:
1077:Choreography
1067:
1052:
1046:
1042:
1040:
1029:
1024:
1020:
1017:Monotones II
1016:
1007:(1964) (for
1004:
997:Antony Tudor
990:
984:
978:
975:
956:
954:
949:Antony Tudor
938:Elizabeth II
935:
932:Royal Ballet
916:
914:
909:
899:
897:
882:
877:, 1947, and
872:
862:
859:Glyndebourne
852:
846:
840:
832:
826:
822:
812:
804:
802:
798:Laura Jacobs
790:
776:
766:
764:
744:
730:
721:
715:
713:
708:
701:
697:
691:
686:
683:Dante Sonata
682:
676:
666:
665:, following
656:
646:
638:
634:
626:
622:
616:
610:
603:
596:
592:
586:
578:
574:
570:
564:
549:Royal Ballet
542:
540:
523:
517:
513:
510:comic ballet
499:
487:
483:
473:
463:
459:
453:
449:
443:
441:
404:
398:
392:
381:, which Mr.
376:
372:The Observer
370:
367:Ashley Dukes
348:
328:
320:
316:Anna Pavlova
311:
301:
296:
290:
273:
267:
261:
255:
249:
243:
237:
235:
231:Royal Ballet
224:
218:and then by
213:
191:
190:
177:
169:
161:
153:
145:
138:Notable work
105:Eye, Suffolk
98:(1988-08-18)
25:
3536:1988 deaths
3531:1904 births
3204:Full-length
3190:Ballets by
3016:Parry, Jann
2853:Ford, Boris
2803:"No. 45117"
2782:"No. 42683"
2761:"No. 38929"
2202:Jacobs 2006
1955:Kaplan 1999
1662:Initially,
1607:(1971) and
1597:East Anglia
1485:), Dowell (
1342:(1970 film)
1245:Sinfonietta
1159:Apparitions
1032:Georg Solti
1023:(1968) and
861:(Britten's
851:(1951) and
835:, 1952, to
807:, 1949, to
792:en travesti
643:Clive Carey
571:Apparitions
557:Anton Dolin
478:(1932) for
465:Les Masques
462:(1932) and
417:basse danse
287:Early years
113:Nationality
21:Fred Ashton
3525:Categories
3390:Persephone
3212:Cinderella
3101:1840024615
3082:0571227953
3055:1852730625
3007:0385477031
2979:1852730471
2958:1597910015
2936:0002111632
2912:0786881550
2903:Ballet 101
2870:0521428890
2844:024550351X
2544:; and ODNB
2519:Parry 2010
2412:Parry 2010
2377:Parry 2010
2088:Parry 2010
1871:Gay Hussar
1833:Genné 1996
1782:required.)
1710:References
1641:Pamela May
1523:Rendezvous
1495:Cinderella
1463:Cinderella
1104:Cinderella
980:Les biches
910:Cinderella
817:) and the
778:Cinderella
629:) for the
484:Gay Hussar
400:Les biches
397:'s ballet
361:staged by
251:Cinderella
155:Cinderella
121:Occupation
77:1904-09-17
3413:The Dream
3303:Horoscope
2722:The Times
2497:The Times
2417:The Times
2331:The Times
2286:The Times
2159:The Times
2114:The Times
2060:The Times
2003:The Times
1891:The Times
1845:Ford 1992
1805:The Times
1668:The Times
1583:from the
1515:Monotones
1487:The Dream
1454:The Dream
1306:pasodoble
1238:The Dream
1180:Horoscope
1090:Who's Who
1005:The Dream
986:Les noces
773:Prokofiev
717:The Times
698:The Quest
615:'s opera
566:The Times
519:The Times
496:Vic-Wells
413:same name
293:Guayaquil
263:Monotones
132:1926–1980
107:, England
87:, Ecuador
85:Guayaquil
3483:Rhapsody
3382:La valse
3337:Tiresias
3119:53605132
3040:(1999).
3018:(2010).
2994:(1999).
2947:(2006).
2923:(1975).
2892:CiteSeer
2855:(1992).
2634:Archived
2584:Archived
2561:Archived
2455:Archived
2396:Archived
2313:Archived
2298:Archived
2273:Archived
2262:Archived
2247:Archived
2236:Archived
2186:Archived
2175:Archived
2023:Archived
1985:Archived
1974:Archived
1611:(1976).
1603:(1970),
1599:(1967),
1595:(1962),
1550:knighted
1423:writes:
1322:La valse
1282:Rhapsody
1059:Turgenev
1027:(1968).
1019:(1965),
919:for the
869:Massenet
579:Nocturne
458:(1931),
452:(1931),
448:(1931),
407:, using
278:(1971).
260:(1960),
254:(1948),
248:(1946),
242:(1931),
3364:La Peri
3257:Shorter
2894::
2819:Sources
2310:(1953)"
2308:Orpheus
1552:in the
1536:Honours
1397:gavotte
884:Orpheus
809:Britten
514:Regatta
445:La péri
435:, with
429:bransle
425:tordion
116:British
3502:(1985)
3496:(1982)
3486:(1980)
3478:(1977)
3470:(1976)
3462:(1976)
3454:(1971)
3448:(1970)
3440:(1968)
3432:(1968)
3424:(1965)
3416:(1964)
3408:(1963)
3400:(1961)
3392:(1961)
3386:(1958)
3376:(1956)
3368:(1956)
3358:(1953)
3350:(1951)
3340:(1951)
3332:(1948)
3322:(1946)
3314:(1940)
3306:(1938)
3298:(1937)
3288:(1933)
3278:(1931)
3274:Façade
3268:(1926)
3249:(1960)
3239:(1958)
3236:Ondine
3231:(1955)
3223:(1952)
3220:Sylvia
3215:(1948)
3117:
3098:
3079:
3052:
3026:
3004:
2976:
2955:
2933:
2909:
2885:". In
2867:
2841:
2715:Ondine
2452:"1960"
2393:"1955"
2259:"1952"
2255:"1951"
2244:"1950"
2233:"1949"
2217:"1951"
2031:Ballet
1982:"1936"
1971:"1934"
1776:
1609:Oxford
1601:London
1593:Durham
1507:Façade
1483:Ondine
1473:Legacy
1444:Sylvia
1416:Façade
1358:(1977)
1350:(1971)
1334:(1965)
1326:(1958)
1310:Façade
1291:(1983)
1285:(1980)
1277:(1976)
1269:(1972)
1263:(1968)
1255:(1968)
1247:(1967)
1241:(1964)
1233:(1963)
1225:(1961)
1219:(1956)
1211:(1951)
1205:(1950)
1199:(1948)
1191:(1946)
1183:(1938)
1175:(1937)
1169:(1937)
1161:(1936)
1155:(1931)
1152:Façade
1139:(1960)
1131:(1958)
1128:Ondine
1115:(1952)
1112:Sylvia
1107:(1948)
901:Sylvia
831:, and
726:, 1946
687:Ballet
667:Façade
583:Delius
482:, and
470:revues
455:Façade
427:, and
421:pavane
239:Façade
182:(1960)
174:(1958)
171:Ondine
166:(1952)
163:Sylvia
158:(1948)
150:(1946)
2293:Manon
2270:"1953
1620:Notes
1395:in a
1302:tango
891:with
879:Gluck
874:Manon
588:Paris
359:revue
209:revue
202:
198:
48:
44:
3115:OCLC
3096:ISBN
3077:ISBN
3050:ISBN
3024:ISBN
3002:ISBN
2974:ISBN
2953:ISBN
2931:ISBN
2907:ISBN
2865:ISBN
2839:ISBN
2304:and
2268:and
2181:and
1980:and
1605:Hull
1521:and
1513:and
1505:and
1497:and
1489:and
1481:and
1371:as "
1011:and
983:and
811:'s
758:and
637:and
595:and
559:and
304:Lima
93:Died
67:Born
3193:Sir
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