334:. Eager to work with George Balanchine, she promptly joined the company where, with rare exceptions, she would spend the next twenty years of her performing career. Although her French training and her petite physique set her apart from most female dancers in the company, she seemed to have an instinctive understanding of Balanchine's choreographic aesthetic; her quip that she feared sticking out "like a French poodle among a troupe of borzois" was widely circulated, but any personal anxiety was quickly dispelled by her well-received performances. She was soon dancing major roles in the repertory, giving dazzling performances in
202:, a seacoast town in the Finistère department of Brittany, in northwestern France, she was christened Nelly Armande Guillerm by her parents. Her father, Renan Guillerm, died when she was a few months old; her mother, Jeanne Chateaureynaud, a schoolteacher, enrolled her daughter in dance lessons because she seemed to have so much energy. Considered a prodigy, she began her ballet training at the age of eight, in 1942, during the German occupation of northern France, and moved with her mother (who sought the best possible teachers for her daughter) to Paris at the height of the German occupation. Following studies in Paris with
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255:, which proved to be a significant turning point in her development as an interpretive artist. Widely recognized for her musicality, precision, and wit, she would thereafter tour the United States with Les Ballets de Paris (1953) and London Festival Ballet (1954-1955), appearing in leading roles with the ballet company of Teatro alla Scala (1955-1956) in Milan and with Ballet Rambert (1957) in London. With La Scala Ballet she danced the title roles in full-length productions of
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489:, an illustrious but notoriously bureaucratic organization. After three years there, a change in the French government administration led her to leave Paris and return to the United States in 1980. She then became associate director and later sole artistic director of the Boston Ballet, a post she held until 1984. Thereafter, she was engaged to head the faculty of the ballet program at the
247:. Critical praise for her sincere acting and pure classical ballet technique won her contacts and contracts with several European ballet companies. She went on to dance with the reorganized Ballets des Champs-Élysées, the Ballet de Marigny, and Les Ballets de Paris de Roland Petit. With the last-named troupe, she created the role of the heroine of Petit's
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which entered the New York City Ballet repertory in 1958. As a guest artist, she appeared frequently in performances at the
Metropolitan Opera House in New York and on tour. In productions mounted by England's Royal Ballet, the Paris Opera Ballet, and the Boston Ballet, she danced the ballerina roles
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Among the companies with which she accepted guest teaching residencies were London's Royal Ballet, the Paris Opera Ballet, the
Australian Ballet, the Royal Danish Ballet, the Teatro alla Scala, the Stuttgart Ballett, the Hamburg Ballett, the Bayeriches Staatsballett in Munich, and the Bolshoi Ballet
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Recognized as a gifted choreographer, Verdy mounted, after 1965, numerous works for
American and European ballet companies. She was also internationally renowned as a teacher of ballet technique. In her classes and coaching sessions, she emphasized the joy of dancing over the rigors of routine, even
672:
Under the auspices of the George
Balanchine Foundation Video Archives, Verdy participated in recording six coaching sessions for the Interpreters Archive, which feature the creators of important Balanchine roles as they teach and coach the roles with dancers of today. With
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Video
Artists International, 2009. A documentary focusing on Verdy's work with students at the Chautauqua School of Dance, directed by Jean-Pierre Bonnefoux and Patricia McBride. Verdy recounts highlights from her life and career. Includes rare video clips of
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Paris: Films du
Prieure, 2008. A documentary (2001) by Dominique Delouche, in French with English subtitles. Verdy is seen coaching dancers from the Paris Opera Ballet in roles created for her at New York City Ballet. Included are excerpts from Balanchine's
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in Moscow, where she became the first foreign teacher invited since the 1917 Revolution. In 2008, the School of
American Ballet announced that Verdy would serve as their first, and, initially, only, permanent guest teacher.
460:, set to three Chopin nocturnes, allowed her to display the finest nuances of meaning in movement. Among other notable roles in Verdy's repertory was that of Creusa, the "other woman" in Birgit Cullberg's
364:, who equaled her vivacity and technical aplomb on stage. Recognizing her musicality and kinesthetic intelligence, Balanchine created numerous parts for her over the years, including leading roles in
295:, and, in 1957, to an invitation to join that company. Verdy accepted the invitation and moved to New York City. With her new company she quickly charmed American audiences in such repertory works as
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Master tapes are housed in the Jerome
Robbins Dance Division of the New York Public Library for the Performing arts, and copies are made available to research repositories around the world.
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at the Théâtre Sarah-Bernhardt in Paris. Soon afterward, she became a member of Petit's
Ballets des Champs-Élysées, where she appeared in numerous small roles over the next few years.
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has been performed by many ballerinas in numerous international companies, but few have come close to the musicality, wit, and technical bravura of Verdy's original interpretation.
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Award, the 2003 Artistic
Achievements Award from the School of American Ballet, the 2005 Grand Prix Gold Medal at the International Ballet Festival of Miami, and the 2007
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a showpiece of her extraordinary musicality set to a quick Chopin Ă©tude (op. 25, no.4), remains a challenge for ballerinas to this day. The choreography of
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New York International Ballet Competition, Sunday Evening, June 26, 2005, Honoring Violette Verdy (New York: Lincoln Center, 2005).
243:. Berger insisted she adopt a stage name, and Roland Petit suggested Violette Verdy, reminiscent of both a flower and the composer
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with Diana Adams, Violette Verdy, Jillana, Francia Russell, Todd Bolender, Arthur Mitchell, Richard Rapp, Roy Tobias, and others.
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Video Artists International, 2014. Telecasts from Radio-Canada, 1958–1960. Includes a complete performance of Balanchine's
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Video Artists International, 2014. Telecasts from Radio-Canada, 1958–1960. Includes a complete performance of Balanchine's
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544:(1997). Two honors were bestowed by the French government. In 1973, during her performing career, she was named a
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where she performed in the world premieres of several works created specifically for her by choreographers
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When American Ballet Theatre was temporarily disbanded in 1958, Verdy was the only member invited to join
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From 1949 onward, she was also often seen dancing on French, British, Canadian, and American television.
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New York: Marcel Dekker, 1977. Includes the text of the ballet scenario adapted from Théophile Gautier.
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Walter Terry, "Violette Verdy: Can She Restore the Glory of the Paris Opera Ballet?" Dance Scrapbook,
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A film made during the London Festival Ballet tour of America brought Verdy to the attention of
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Boston: WGBH-TV, 1982. A Public Broadcasting Service documentary of her life and work.
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With illustrations by Marcia Brown. New York: McGraw-Hill, 1970. A book for children.
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and both with a decidedly French flavor. She also gave brilliant performances in
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Violette Verdy, faculty biography, Jacobs School of Music, Indiana University.
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by Anna Paskevska. New York: Dance Publishing / Oxford University Press, 1997.
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845:"Violette Verdy, a 'Theatrical' Star of Balanchine's City Ballet, Dies at 82"
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an international dance magazine. She was given a Doctor of Humane Letters by
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822:(Pantin, France: Centre National de la Danse, 2008). A biography, in French.
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in the United States. From 1958 to 1977 she was a principal dancer with the
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The George Balanchine Foundation, Balanchine Catalogue, "Violette Verdy,"
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with Nicholas Magallanes, Violette Verdy, Francisco Moncion, and others.
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compiled by Francis Mason. New York: Doubleday, 1991), pp. 424–430.
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Francis Mason, "The Paris Opera: A Conversation with Violette Verdy."
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Of Swans, Sugarplums, and Satin Sippers: Ballet Stories for Children.
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http://infor/music/indiana.edu/facultuy/current/verdy-violette.shtml
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Numerous awards and honors were bestowed on Verdy, including a 1968
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In the 1960s, Verdy was briefly married to the writer and filmmaker
1150:(London: Dance Books, and New York: Proscenium Publishers, 2003).
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267:; with Ballet Rambert she danced the light-hearted Swanhilda in
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Getting Started in Ballet: A Parent's Guide to Dance Education,
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With illustrations by Marcia Brown. New York: Scholastic, 1991.
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548:; thirty-five years later, she was honored with the knight of
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http://www.balanchine.org/balanchine/03/gbfvideoarchives.html
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Violette Verdy: The Artist Teacher at Chautauqua Institution.
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959:(New Haven and London: Yale University Press, 2003), p. 287.
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as she maintained the purity of her technical instruction.
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Of all these roles, Verdy is perhaps most identified with
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set to the final movement of Tchaikovsky's Suite No. 3 by
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Repertory in Review: 40 Years of the New York City Ballet
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in both these works, she embodied the Romantic spirit of
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Debra Craine and Judith Mackrell, "Verdy, Violette," in
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Mary Ellen Hunt, "How It's Done: Scintillating Speed,"
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Jacobs School of Music, news release, 3 February 2009.
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In 1949, Guillerm was chosen by German cinema director
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Jacobs School of Music, news release, 3 February 2009.
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http://info.music.indiana.edu.new/page/print/9826.html
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Jacobs School of Music, new release, 3 February 2009.
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Giselle, Swan Lake, La Sylphide, The Sleeping Beauty,
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606:Paris: Éditions de la Martiniere, 2003. In French.
214:, she made her professional debut in 1945, in the
154:; 1 December 1933 – 8 February 2016) was a French
16:French ballet dancer, choreographer, and professor
1172:The George Balanchine Foundation Video Archives,
998:(February–March 2013). A descriptive analysis of
681:(original version, 1960), the principal roles in
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1019:(New York: Simon & Schuster, 2004), p. 386).
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758:List of Legion of Honour recipients by name (V)
546:Chevalier dans l'Ordre des Arts et des Lettres
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780:Victoria Huckenpahler, "Verdy, Violette," in
431:'s music in the latter. Since its premiere,
512:on 8 February 2016, after a short illness.
279:, which became one of her signature roles.
1148:Grace under Pressure: Dancing through Time
908:"Violette Verdy, ballet dancer - obituary"
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184:Jacobs School of Music, Indiana University
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662:New York City Ballet in Montreal, Vol. 2.
652:New York City Ballet in Montreal, Vol. 1.
870:Ballerina: A Biography of Violette Verdy
628:Emeralds, Liebeslieder Walzer, Sonatine,
438:Verdy was also favored by choreographer
818:Dominique Delouche et Florence Poudru,
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955:Nancy Reynolds and Malcolm McCormack,
251:(The Wolf, 1953), set to the music of
1278:Indiana University Bloomington alumni
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1032:(New York: Dial Press, 1977), p. 191.
843:Kisselgoff, Anna (February 9, 2016).
407:, the opening ballet of the triptych
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1258:Mae L. Wien Faculty Award recipients
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689:from the divertissement in act 2 of
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536:(1972) and Doctor of Arts from both
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273:and the more dramatic title role in
1002:with commentary by Violette Verdy.
970:http://www.blanchine.org/balanchine
782:International Encyclopedia of Dance
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1298:21st-century French women writers
1293:20th-century French women writers
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576:"Violette Verdy on the Bolshoi."
1288:People from Bloomington, Indiana
985:(Oxford University Press, 2000).
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263:, both choreographed for her by
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1308:French women children's writers
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872:(New York: Audience Arts,1978).
571:Giselle, a Role for a Lifetime.
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1065:"Violette Verdy (1933 – 2016)"
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583:Memoir by Violette Verdy, in
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745:Children's literature portal
301:Offenbach in the Underworld,
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677:, she can be seen coaching
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1318:French non-fiction writers
1176:. Retrieved 14 April 2015.
1006:. Retrieved 10 April 2015.
972:. Retrieved 10 April 2015.
937:. Retrieved 13 April 2015.
888:. Retrieved 12 April 2015.
797:. Retrieved 10 April 2015.
691:A Midsummer Night's Dream.
617:Violette: A Life in Dance.
319:based on the 1888 play by
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1004:http://pointemagazine.com
1000:Tschaikovsky Pas de Deux,
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366:Tschaikovsky Pas de Deux
1283:People from Pont-l'Abbé
1070:Opera National De Paris
868:Victoria Huckenpahler,
763:Legion of Honour Museum
604:Rudolf Noureev Ă Paris.
580:15 (Summer 1987) 15–38.
293:American Ballet Theatre
1313:French autobiographers
1087:14 (Fall 1986), 23-30.
585:I Remember Balanchine,
565:Giselle, or The Wilis.
491:Jacobs School of Music
454:Dances at a Gathering,
206:and later with Madame
152:Nelly Armande Guillerm
45:Nelly Armande-Guillerm
1228:French schoolteachers
1223:French choreographers
703:Jean-Pierre Bonnefoux
636:Dances at a Gathering
555:, presented in 2008.
445:Dances at a Gathering
358:Theme and Variations,
323:and choreographed by
309:Theme and Variations,
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611:Selected videography
510:Bloomington, Indiana
332:New York City Ballet
233:to star in his film
194:Early life in Europe
172:New York City Ballet
78:Bloomington, Indiana
707:Liebeslieder Walzer
634:and from Robbins's
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374:Liebeslieder Walzer
360:often partnered by
345:Divertimento No. 15
208:Rousanne Sarkissian
1159:Igor Youskevitch,
1106:on 22 January 2016
1054:(30 January 1977).
916:, 10 February 2016
849:The New York Times
623:Violette et Mr. B.
495:Indiana University
487:Paris Opera Ballet
442:, who cast her in
283:Dancing in America
166:in France and the
164:Paris Opera Ballet
90:Indiana University
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559:Selected writings
516:Honors and awards
419:. Partnered with
353:Stars and Stripes
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321:August Strindberg
313:George Balanchine
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232:
231:Ludwig Berger
227:
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191:
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177:
173:
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168:Boston Ballet
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160:choreographer
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136:
132:
128:
124:
121:
117:
110:
107:
105:choreographer
104:
101:
100:
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94:
91:
88:
84:
79:
69:
65:
60:
43:
39:
35:Verdy in 1967
32:
27:
20:
1168:
1160:
1155:
1147:
1142:
1131:, retrieved
1125:
1119:
1108:, retrieved
1104:the original
1098:
1092:
1084:
1079:
1068:
1059:
1051:
1046:
1037:
1029:
1024:
1016:
1011:
999:
995:
990:
982:
977:
964:
956:
951:
942:
929:
918:, retrieved
911:
882:
877:
869:
864:
854:February 11,
852:. Retrieved
848:
819:
814:
789:
781:
776:
710:
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631:
627:
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584:
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529:
526:Irène Lidova
521:
519:
507:
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480:
470:
466:
461:
458:In the Night
457:
453:
450:In the Night
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437:
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408:
404:
402:
397:
396:(1972), and
393:
389:
385:
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373:
369:
365:
357:
335:
329:
316:
308:
305:Antony Tudor
300:
296:
286:
274:
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260:
256:
248:
240:
234:
228:
223:
220:Roland Petit
215:
197:
151:
147:
146:
72:(2016-02-08)
1213:2016 deaths
1208:1933 births
1133:12 February
1110:12 February
920:11 February
687:pas de deux
540:(1987) and
530:Ballet2000,
483:Colin Clark
448:(1969) and
429:Tchaikovsky
413:, and with
317:Miss Julie,
200:Pont-l'Abbé
188:Bloomington
123:Colin Clark
96:Occupations
59:Pont-l'Abbé
1202:Categories
769:References
477:Later life
394:Pulcinella
386:Glinkaiana
257:Cinderella
125:(divorced)
51:1933-12-01
1161:Playbill,
711:Sonatine.
701:and with
699:La Source
683:Emeralds,
471:Coppélia.
390:La Source
327:in 1950.
289:Nora Kaye
236:Ballerina
156:ballerina
102:Ballerina
717:See also
656:Orpheus,
550:France's
405:Emeralds
400:(1973).
398:Sonatine
392:(1968),
388:(1967),
384:(1967),
382:Emeralds
380:(1962),
376:(1960),
372:(1960),
368:(1960),
270:Coppélia
224:Le Poète
198:Born in
61:, France
1099:History
276:Giselle
249:Le Loup
108:teacher
685:and a
462:Medea,
410:Jewels
356:, and
341:Apollo
150:(born
130:Awards
119:Spouse
111:writer
80:, U.S.
693:With
666:Agon,
425:Fauré
186:, in
1193:IMDb
1135:2016
1112:2016
922:2016
856:2016
709:and
638:and
630:and
469:and
299:and
259:and
210:and
178:and
67:Died
41:Born
1191:at
493:at
222:'s
218:of
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910:,
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847:.
827:^
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497:.
351:,
347:,
343:,
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1073:.
858:.
53:)
49:(
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