" Mr. Gruen was the author of more than a dozen books, including several authorized biographies: "The Private World of Leonard Bernstein"; "Menotti"; "Erik Bruhn, Danseur Noble," a life of the Danish ballet star; and "Keith Haring.
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He's a very accomplished danseur noble and feels that Masumi holds great promise. He encourages her to work hard and to remember the basics. It's hard to say what goes on in his mind, but he cares for Masumi deeply. ; :An aspiring danseur noble from West Germany.
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A danseur noble traditionally was a male ballet dancer who projected great nobility of character. Over the last century the term has been used to define a male principal dancer who performs at the highest theatrical level combining grace with ability. Some use danseur noble as the masculine equivalent to a Prima Ballerina.
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His command of classical technique, his height, his good looks, and his aristocratic bearing made him an ideal candidate for a danseur noble. After only one month's study at the school, he was invited to join the Sadler's Wells Ballet at Covent Garden.
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No one can tell what this aspiring danseur noble will do in the future. ; :A junior of Masumi in the ballet school and her rival. Her mother long ago was Masumi's mother's rival, but she couldn ever never win against Masumi's mother, so she is strict to her daughters. ; :Masumi's teacher.
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Bosl quickly becoming a rising star of the company, he specialized in the danseur noble roles of traditional ballet. Bosl also created roles in symphonie fantastique, Encounter in Three Colours and Casanova in London. He partnered Margot Fonteyn on numerous occasions, she took him on two foreign tours in 1973 and 1974. Bosl died aged 28 of leukemia.
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Vladimir Yaroshenko (Russian: Владимир Ярошенко; born November 2, 1985 in Slavyansk-na-Kubani) – Polish-Russian ballet dancer in type danseur noble, first soloist with Yury Grigorovich's Ballet Theatre, Krasnodar, trained in classical Russian ballet school. Polish resident since 2007, engaged with Teatr Wielki, Warsaw, where since September 2010 is a first soloist, and since January 2020 - a principal dancer of Polish National Ballet under direction of Krzysztof Pastor.
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Since the 1960s, however, the term has lost this honorific aspect and is applied generally to women who are ballet dancers.Edwin Denby (1965). Dancers, Buildings, and People in the Streets In the original Italian, the terms ballerino (a male dancer, usually in ballet) and ballerina do not imply the accomplished and critically acclaimed dancers once meant by the terms ballerina and danseur noble when used in English. Rather, they simply mean one who dances ballet.
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Early in his career, it became clear that Moncion would never be a true danseur noble. He lacked the elegance of bearing and refinement required for princely roles. Yet it was equally clear that he was capable of effective portrayals in many different roles as a premier danseur. He was a dashing figure in the Balanchine dances for the Broadway production of The Chocolate Soldier (1947), swirling and twirling with Mary Ellen Moylan.
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Oxford University Press, USA. In 1951, Willam retired as director of SF Ballet and moved to Utah, where he started teaching ballet in the country's first university ballet department at the University of Utah. With a group of his students, he founded the Utah Civic Ballet (now known as Ballet West) in 1963; the company remained under Christensen's directorship until 1978. Under Balanchine's tutelage at American Ballet, Lew Christensen became the first American-born danseur noble.
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Peter Martins (born 27 October 1946) is a Danish ballet dancer and choreographer. Martins was a principal dancer with the Royal Danish Ballet and with the New York City Ballet, where he joined George Balanchine, Jerome Robbins, and John Taras as balletmaster in 1981. He retired from dancing in 1983, having achieved the rank of danseur noble, becoming Co-Ballet Master-In- Chief with Robbins. From 1990 until January 2018, he was solely responsible for artistic leadership of City Ballet.
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Augustine Albert, also known as Augustine Albert-Himm (28 August 1791 – after 1846) was a French opera singer who sang leading soprano roles at the Paris Opéra from 1806 to 1823. Amongst the many roles she created in their world premieres was the title role of Spontini's Olimpie. Born in Paris and trained at the Conservatoire de Paris, she was also a principal singer of the Chapelle royale until 1830. She was married to Albert, danseur noble of the Paris Opéra.
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Bruhn dancing with Maria Tallchief in 1961 Bruhn was made a Knight of the Order of the Dannebrog, one of Denmark's highest honors, in 1963, the same year he was awarded the Nijinsky Prize in Paris.Gruen, p. 131 After retiring as a danseur noble in 1972, Bruhn danced character roles, such as Madge the Witch in La Sylphide, Dr. Coppelius, and Petrushka. He was director of the Swedish Opera Ballet from 1967 to 1973 and the National Ballet of Canada from 1983 until his death in 1986.
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Often "ballerino" is used in English- based countries as slang. As late as the 1950s a ballerina was the principal female dancer of a ballet company who was also very accomplished in the international world of ballet, especially beyond her own company; female dancers who danced ballet were then called danseuses or simply ballet dancers. Ballerina was a critical accolade bestowed on relatively few female dancers, somewhat similar to the title diva in opera. The male version of this term is danseur noble (French).
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Guido Lauri (23 November 1922 – 27 October 2019) was an Italian dancer, actor, choreographer, ballet master, company director. Born in Rome, he entered the ballet school of then royal Rome Opera House at 6 years-old and in 1939, after a graduation with full marks, he joined the ballet company with the title of primo ballerino étoile.Dal Costanzi al Teatro dell'Opera: dal 1947, Balletto.net A very handsome man, an eclectic artist, a danseur noble with hot-blooded temperament,Alberto Testa, Storia della danza e del balletto – Gremese.
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As a junior member of Ballet Rambert, Bennett made his debut on the professional ballet stage in April 1951 as the peasant Hilarion, the rejected suitor in Giselle, a role that required more acting than dancing. Rambert then took him under her wing and, within eighteen months, transformed him into a brilliant Albrecht, the danseur noble of the ballet. For the next five years, until 1957, Bennett danced with Rambert's company, appearing in both classic and modern works and creating a variety of roles for such inventive choreographers as John Cranko and Robert Joffrey. He also appeared occasionally with the Sadler's Wells Theatre Ballet, where in 1957 he was appointed a principal dancer.
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The result was one of those > electrifying performances when everyone both in the audience and on the > stage is aware that something extraordinary is happening. Bruhn formally resigned from the Danish ballet in 1961, by which time he had become internationally known as a phenomenon, although he continued to dance periodically with the company as a guest artist. In May 1961, he returned to Ballet Theatre for its New York season. In its 5 May issue, Time magazine published a major article on the dancer and his art: > Back home Bruhn, 32, is the idol of the Royal Danish Ballet, where he has > brought new life to the classic roles reserved for a premier danseur noble.
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Erik Bruhn was a complete > dancer – a far cry from the highly specialized artist he was often made out > to be... His moral example to the rest of ballet came through the > concentration and seriousness with which he committed himself to every role. Bruhn authored Beyond Technique with photos by Fred Fehl (1968, reissued as No. 36 of "Dance Perspectives" in 1973), and with Lillian Moore he co-authored Bournonville and Ballet Technique: Studies and Comments on August Bournonville's Etudes Choregraphiques (1961, reprinted 2005). He was the subject of the book Erik Bruhn: Danseur Noble (1979) by John Gruen, written with his cooperation and based in part on extensive interviews. A 2008 biography in Danish by Alexander Meinertz, Erik Bruhn – Billedet indeni (The Picture Within), has yet to be translated into English.
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McKie is the first dancer from Canada to guest-star with the much celebrated trio of the Mariinsky Ballet, the Bolshoi Ballet and the Paris Opera Ballet and says he owes much of this success to fellow Canadian, Reid Anderson who often facilitated initial contact in Paris and Moscow. In a statement to The Toronto Star, the National Ballet of Canada's Artistic Director, Karen Kain, noted that "McKie is a very intelligent dancer and has the spirit of a true artist", "He loves the contemporary and the process of creation but also absolutely embodies the classical danseur noble." McKie continues to have very close ties with the Stuttgart Ballet, where he trained and rose through the company's ranks. He credits his time there as the rare chance to find harmony between a fascination for classical ballet technique and an innermost passion for (expressionist dance) that would provide the impetus for what would become a global dance career.
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Pavel Gerdt as Damis in the Glazunov/Petipa Les Ruses d'Amour (AKA The Trial of Damis or The Lady Soubrette), Saint Petersburg, 1900 Pavel Andreyevich Gerdt (), also known as Paul Gerdt (near Saint Petersburg, Russia, 22 November 1844 – Vamaloki, Finland, 12 August 1917), was the Premier Danseur Noble of the Imperial Ballet, the Bolshoi Kamenny Theatre, and the Mariinsky Theatre for 56 years, making his debut in 1860, and retiring in 1916. His daughter Elisaveta Gerdt was also a prominent ballerina and teacher. Gerdt studied under Christian Johansson, Alexander Pimenov (a pupil of the legendary Charles Didelot), and with Jean-Antoine Petipa (Marius Petipa's father, a master of the old pantomime and a student of Auguste Vestris). He was known as the "Blue Cavalier" of the Saint Petersburg stage, creating the roles of nearly every lead male character throughout the latter half of the 19th century, among them Prince Désiré in The Sleeping Beauty and Prince Coqueluche in The Nutcracker.
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During this time he danced various contemporary and neo-classical ballets, including pieces from choreographers Van Manen, Rudi van Dantzing, Jan Linkens, Nils Christie, Amodio, Balanchine, Micha Van Hoecke y and Ullate himself. Yebra started his career as a freelance dancer at the end of 1996 and joined Australian Ballet as a guest, despite receiving offers from recognized companies like the New York City Ballet, Ballet Estable del Teatro Colón, Scottish Ballet and American Ballet Theatre. He is mostly recognized as a danseur noble and it is from the time he left Ullate's company that he managed to expand his classical and romantic repertoire to include various choreographed versions of Giselle, Don Quixote, La Sylphide, Romeo and Juliet, Swan Lake, Coppélia, Les Sylphides, The Nutcracker, The Sleeping Beauty and variations from Le Corsaire and La Bayadère. His contemporary repertoire is an array of neoclassical-type ballets, including George Balanchine's Theme and Variations, Concerto Barroco, Allegro Brillante and Tschaikovsky Pas de Deux.
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