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Ballet for the rest of his life. He had a new company of young dancers to train and rehearse in the traditions of the
Maryinsky and a young director who believed in his methods. Inglesby had the only person in the world outside Soviet Russia who could produce the classical ballets in their original Petipa/Ivanov forms, which is what she wanted her company to do. Between 1942 and 1948 he re-created full length productions of the classics
89:, fearing that these invaluable records would be lost to posterity in the upheaval of the Bolshevik Revolution and the Civil War that followed. He used these records in his subsequent employment by many of the leading Western ballet companies of the time, and after his death they finished up housed at the Harvard University Library Theatre Collection.
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Back in Riga he found his own ballet company in financial difficulties, so he joined the newly formed
Russian Opera Company as ballet master. The company went on a world tour producing excerpts from classical ballets and operatic interludes. In 1934 this company was disbanded and Sergeyev came to
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Sergeyev was born on 15 September 1876 in St
Petersburg. He was accepted for training by the Imperial Ballet School and he graduated and joined the company in 1894. He was promoted to soloist and régisseur in 1904 and régisseur-général in 1914. He was thus the last ever régisseur-général of the
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in 1941. When he left Sadler's Wells he joined
International Ballet, as ballet master and director of the International Ballet School in Queensberry Mews, South Kensington. He never had a formal contract but it was an arrangement that suited both sides admirably and he stayed with International
39:, St Petersburg. He fled Russia in 1919 and spent the rest of his life in the West, producing ballets for many of the leading western companies of the time. He is remembered for preserving what is now called the
27:, variously written in the Latin alphabet as Nicholas or Nikolai Sergeev, Sergueev or Sergueeff etc.) was a Russian ballet dancer, choreographer and teacher, and
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After disagreements with
Diaghilev he went to Riga as regisseur of the Latvian National Opera Ballet. He also founded his own company and produced Act IV of
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70:, with the aid of sailors at a British base there. Not for nothing did Soviet Russia describe the British and other nations that interfered in the
54:. It was a hazardous journey and the last leg was from Riga on a British warship. He was not the only one the Royal Navy helped to escape.
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in Paris. He had of course known
Diaghilev in St Petersburg when they both worked for the Imperial Ballet. Diaghilev hired him for his
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Company, with
Spessivtseva, Markova and Dolin dancing lead roles at some of the performances. He stayed with the Vic-Wells to produce
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for her at the Paris Opera. This was a huge success, and gained for him the medal of L'Academie
Nationale de Musique et la Danse.
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He worked with
International Ballet until his health started to fail, and he died in Nice on 23 June 1951 aged 74.
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escaped from the Black Sea port of
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choreographies of some 20 classical ballets in the Stepanov notation, what is now known as the
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In 1919 he and his wife fled Russia, as did many Russian ballet professionals after the
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Romanovsky-Krassinsky, H.S.H.The Princess (1960). "Dancing in Petersburg". Gollancz.
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Mona Inglesby with Kay Hunter (2008). "Ballet in the Blitz". Groundnut Publishing.
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company and brought him to London to reproduce in its original form the ballet
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344:"Collection Guide to Nikolai Sergeev Collection: Harvard Theatre Collection"
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Karsavina, Tamara (1930). "Theatre Street". Constable and Co.
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escaped from Murmansk with her husband, the British diplomat
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184:Coppelia
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