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1010:, 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,
344:, 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.
711:(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
984:'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.
923:, 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
558:. 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
972:. 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
1480:, 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.
707:, 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.
321:. 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
980:. 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
1468:, 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.
1692:"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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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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782:(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
218:(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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442:—smoothly mixing robust masculine leaps with courtly duets." The following year Rambert founded the Ballet Club, forerunner of the
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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 (
1388:". 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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1811:"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.
644:. He continued to create dances for other forms of theatre, from revues such as
368:. 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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2443:"25 Years of Triumphant Progress: Achievements of Sadler's Wells Ballet",
1068:(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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1602:(1981), and received honorary doctorates from the universities of
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1952), to junior dancers (a pair of dancing artichokes in the ...
976:'s music (1828), arranged, with additions from other versions, by
1771:(2004). "Ashton, Sir Frederick William Mallandaine (1904–1988)".
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1536:). Rights to most of his other ballets were left to his nephew,
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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
2203:, 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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2710:, ABC of Ballet, Royal Opera House, accessed 23 June 2013.
2667:, Frederick Ashton and his Ballets, accessed 23 June 2013.
2472:, Frederick Ashton and his Ballets, accessed 11 July 2013.
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Craine, Debra. "Victory salute to a master of the dance",
1452:, 1946). He may give it to a corps de ballet of peasants (
2413:, Frederick Ashton and his Ballets, accessed 6 July 2013.
2230:, Frederick Ashton and his Ballets, accessed 6 July 2013.
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2002:, Frederick Ashton and his Ballets, accessed 5 July 2013.
1914:"London Music – The Ballet Season at the Savoy Theatre",
1871:, 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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2601:, Royal Opera House archive, retrieved 10 December 2014.
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on a similar theme, and that year saw also the touching
2578:, Royal Opera House archive, retrieved 10 December 2014
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in 1936 was by many compared favourably with Massine's
2748:, Ashton & Russell Roberts, accessed 23 June 2013.
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3105:. 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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3523:List of ballets choreographed by Frederick Ashton
3031:Different Drummer – The Life of Kenneth MacMillan
2960:Landscape with Moving Figures – A Decade on Dance
2844:Frederick Ashton: a Choreographer and his Ballets
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1575:for services to the ballet, and appointed to the
1094:List of ballets choreographed by Frederick Ashton
1006:by his other mentor, Massine. He also brought in
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3637:Members of the Order of the Companions of Honour
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2481:Kennedy, James. "No doldrums at Covent Garden",
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1098:Ashton created more than eighty ballets. In his
2690:"Step-by-step guide to dance: Frederick Ashton"
414:. In 1930 Ashton created an innovative ballet,
386:commented on "an engaging little ballet called
2977:Jordan, Stephanie; Grau, Andrée, eds. (1996).
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2801:(Supplement). 25 May 1962. pp. 4307–4342.
2425:, p. 179 and "Britain's 'Royal Ballet'",
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1582:His honours from other countries included the
1104:entry, he identified his best-known works as:
1036:Enigma Variations (My Friends Pictured Within)
919:considers that it works "even less well" than
3592:Commanders of the Order of the British Empire
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2614:"Ashton, Sir Frederick (William Mallandaine)"
453:Ashton's ballets of the early 1930s included
389:A Tragedy of Fashion: or The Scarlet Scissors
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1777:(online ed.). Oxford University Press.
1646:staged a reconstruction by Jean Bedells and
1553:Commander of the Order of the British Empire
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27:British dancer and choreographer (1904–1988)
2980:Following Sir Fred's Steps: Ashton's Legacy
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2874:. Cambridge: Cambridge University Press.
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3597:Commanders of the Order of the Dannebrog
2962:. New York: Dance & Movement Press.
2822:(Supplement). 5 June 1970. p. 6386.
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2780:(Supplement). 2 June 1950. p. 2784.
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479:(1933). He also contributed to West End
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203:Sir Frederick William Mallandaine Ashton
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2376:Back Stage – The Performing Arts Weekly
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1774:Oxford Dictionary of National Biography
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3059:(2nd ed.). London: Dance Books.
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2760:, Royal Opera House, 10 October 2011.
2758:Frederick Ashton Foundation Launched"
2543:"Beau Brummell of the dance: my hero"
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2290:, Frederick Ashton and his Ballets; "
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1884:: New Musical Comedy at the Palace",
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82:Frederick William Mallandaine Ashton
3672:20th-century British ballet dancers
3124:. Guildford: University of Surrey.
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2503:"Can the company stay on its toes?"
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1592:Queen Elizabeth II Coronation Award
519:, began in 1931, when he created a
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3587:Choreographers of The Royal Ballet
3552:Administrators of The Royal Ballet
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2651:, Balletco, accessed 23 June 2013.
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1446:, 1983) or to supporting dancers (
1424:. It is not seen in Ashton's 1931
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236:Ashton was chief choreographer to
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2359:. "Ballet Pastures Old and New",
1590:(Denmark, 1964). He received the
1134:(1955) – for Royal Danish Ballet.
30:For the American politician, see
3647:People educated at Dover College
3511:La chatte métamorphosée en femme
3055:Frederick Ashton and His Ballets
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684:Sadler's Wells and Covent Garden
317:, Peru, where Ashton attended a
3582:Knights of the Legion of Honour
2840:; Gilbert, John Selwyn (1971).
2805:
2784:
2763:
2751:
2739:
2713:
2701:
2682:
2654:
2634:
2581:
2558:
2535:
2514:
2475:
2452:
2416:
2393:
2368:
2349:. "'Sylvia' at Covent Garden",
2333:
2233:
2218:
2176:
2161:
2131:
2116:
2068:"New Ballet at Covent Garden",
2044:magazine, accessed 5 July 2013.
2005:
1971:
1708:
1695:
1667:
1657:
1636:
1410:that she frequently performed.
1402:It was based on a step used by
1278:The Walk to the Paradise Garden
1087:
942:
868:(1953), and directed operas at
333:sent him to England in 1919 to
2355:. 5 September 1952, p. 5; and
1908:
1893:
1874:
1822:
939:rather than at Covent Garden.
297:
13:
1:
3657:Rambert Dance Company dancers
3632:Members of the Order of Merit
3557:British ballet choreographers
3159:and David Ananeli in 2010 at
3008:Gore Vidal : A Biography
1720:
1626:Notes, references and sources
1600:Freedom of the City of London
792:. The original cast included
672:, another collaboration with
313:In 1907, the family moved to
3642:National Dance Award winners
1791:UK public library membership
1598:in 1959. He was awarded the
915:(1952). Ashton's biographer
776:Another plotless ballet was
506:
7:
3627:British male ballet dancers
3602:English male ballet dancers
3567:British arts administrators
3562:Ballets by Frederick Ashton
3456:The Tales of Beatrix Potter
3086:. London: Faber and Faber.
3084:The Royal Ballet – 75 Years
3033:. London: Faber and Faber.
1350:The Tales of Beatrix Potter
1059:The Tales of Beatrix Potter
878:, 1947) and Covent Garden (
642:Ballet Russe de Monte-Carlo
286:The Tales of Beatrix Potter
283:(1968) and the ballet film
18:Sir Frederick Ashton's
10:
3688:
3101:Franchi, Cristina (2004).
2912:Greskovic, Robert (2002).
2829:
2345:, 4 September 1952, p. 6;
2173:, 16 November 2004, p. 27.
1930:Dominic & Gilbert 1971
1677:divided critical opinion.
1546:
1311:Helpmann and Fonteyn: the
1091:
1047:Chicago Symphony Orchestra
511:Ashton's association with
29:
3520:
3267:
3214:
2642:"Following the Fred Step"
2597:28 September 2021 at the
2365:, 7 September 1952, p. 6.
2339:"Sadler's Wells Ballet",
2311:28 September 2021 at the
2128:, 12 February 1948, p. 6.
2031:"Birmingham Royal Ballet"
2011:"Sadler's Wells Ballet",
1483:
742:After the end of the war
629:Four Saints in Three Acts
147:
139:
131:
123:
103:
77:
68:
41:
3667:Royal Air Force officers
3652:People from Eye, Suffolk
2898:Jordan & Grau (1996)
2665:"Notes on the Fred Step"
2431:, 17 January 1957, p. 3.
2275:15 December 2018 at the
2146:, 15 February 1948, p. 2
2017:, 24 January 1940, p. 4.
1890:, 2 October 1933, p. 11.
1630:
865:The Story of Three Loves
483:and musicals, including
3572:British opera directors
3011:. New York: Doubleday.
2983:. London: Dance Books.
2618:(subscription required)
2553:(subscription required)
2468:5 February 2012 at the
2446:The Manchester Guardian
2409:5 February 2012 at the
2352:The Manchester Guardian
2286:4 February 2012 at the
2260:4 February 2012 at the
2249:4 February 2012 at the
2036:29 October 2014 at the
1998:4 February 2012 at the
1987:4 February 2012 at the
1917:The Manchester Guardian
1899:"The Camargo Society",
1887:The Manchester Guardian
1769:Walker, Kathrine Sorley
1644:Birmingham Royal Ballet
1586:(France, 1960) and the
1538:Anthony Russell-Roberts
690:American Ballet Theatre
535:The Manchester Guardian
500:The Manchester Guardian
3607:English choreographers
3501:
3470:A Month in the Country
3391:
3373:
3355:
3337:
3303:
3293:
3283:
3254:
3151:of Frederick Ashton's
3144:Ballet.co Ashton pages
3082:Anderson, Zoë (2006).
2916:. London: Turnaround.
2647:7 October 2012 at the
2590:A Month in the Country
2567:A Month in the Country
2551:, 26 July 1970, p. 7.
2487:5 February 1965, p. 8.
2378:, 23 June 2005, p. 11.
2300:, 21 June 1947, p. 6;
2156:Jordan & Grau 1996
2074:, 25 April 1946, p. 6.
1905:, 14 June 1932, p. 12.
1834:, 20 June 1926, p. 13.
1783:10.1093/ref:odnb/39922
1596:Royal Academy of Dance
1588:Order of the Dannebrog
1502:A Month in the Country
1470:
1418:'s 1930 production of
1399:
1384:
1331:
1323:
1285:A Month in the Country
1065:A Month in the Country
963:
937:London Festival Ballet
917:Kathrine Sorley Walker
760:(1946). The historian
723:
652:, to opera, including
617:Alice von Hofmannsthal
549:
486:The Cat and the Fiddle
376:and Rambert's husband
357:
3617:English LGBTQ dancers
3463:MĂ©ditation from ThaĂŻs
3416:Marguerite and Armand
3166:www.ashtonballets.com
2811:United Kingdom list:
2790:United Kingdom list:
2728:royalties to Fonteyn"
2574:13 March 2022 at the
1920:, 22 June 1932, p. 7.
1869:"Chronological Index"
1573:1970 Birthday Honours
1565:1962 Birthday Honours
1557:1950 Birthday Honours
1551:Ashton was appointed
1442:as La Capricciosa in
1436:
1398:
1392:is transcribed thus:
1358:MĂ©ditation from ThaĂŻs
1310:
1241:Marguerite and Armand
958:
898:, 1953, conducted by
859:The Tales of Hoffmann
836:, 1950, to Britten's
718:
586:Symphonie Fantastique
544:
422:'s 1926 suite of the
355:
3330:Symphonic Variations
3276:A Tragedy of Fashion
2997:on 14 February 2006.
2893:Symphonic Variations
2347:Hope-Wallace, Philip
1828:"Riverside Nights",
1512:), Alexander Grant (
1510:Symphonic Variations
1449:Symphonic Variations
1199:Symphonic Variations
1026:), the pas de trois
906:in the title role).
830:New York City Ballet
757:Symphonic Variations
734:Symphonic Variations
680:four years earlier.
666:, and film, notably
612:are still with us."
256:Symphonic Variations
158:Symphonic Variations
3366:Homage to the Queen
3256:La fille mal gardée
3120:Morris, Geraldine.
2940:. London: Collins.
2932:Haltrecht, Montague
2449:, 5 May 1956, p. 4.
2194:"Cinderella (1965)"
2183:"Cinderella (1948)"
2029:Halewood, Lynette.
1569:Companion of Honour
1528:), and Brian Shaw (
1514:La fille mal gardée
1147:La fille mal gardée
1108:Full-length ballets
1000:, and he presented
969:La fille mal gardée
932:Royal Danish Ballet
900:Sir John Barbirolli
461:The Lady of Shalott
406:Bronislava Nijinska
348:Massine and Rambert
302:Ashton was born in
268:La fille mal gardée
190:La fille mal gardée
3622:Ecuadorian gay men
3432:Monotones I and II
2848:. London: Harrap.
2819:The London Gazette
2798:The London Gazette
2777:The London Gazette
2736:, 3 December 1988.
2661:Macaulay, Alastair
2541:Bland, Alexander.
2511:, 15 October 1988.
2326:3 May 2021 at the
2199:3 May 2021 at the
2188:3 May 2021 at the
1504:), Michael Somes (
1421:Marriage Ă la Mode
1400:
1342:Monotones I and II
1324:
964:
853:The Garden of Fand
844:Picnic at Tintagel
762:Montague Haltrecht
550:
399:Sophie Fedorovitch
358:
3612:English directors
3529:
3528:
3448:Enigma Variations
3384:Birthday Offering
3157:Nina Ananiashvili
3153:ThaĂŻs Pas de Deux
2640:Grater, Adrian .
2215:, pp. 36–37.
2140:. "Golden Rain",
2122:"Covent Garden",
1789:(Subscription or
1703:Kenneth MacMillan
1522:Enigma Variations
1520:), Antony Dyson (
1490:Daphnis and Chloe
1440:Antoinette Sibley
1432:Alastair Macaulay
1271:Enigma Variations
1227:Birthday Offering
1220:Daphnis and Chloe
1184:A Wedding Bouquet
1074:comedy of manners
1054:pièces d'occasion
1024:Antoinette Sibley
1012:Kenneth MacMillan
839:Les Illuminations
825:Bridge Variations
816:Le RĂŞve de LĂ©onor
748:Royal Opera House
656:'s production of
638:Le Diable s'amuse
604:A Wedding Bouquet
546:Ninette de Valois
515:, founder of the
513:Ninette de Valois
497:(1933), in which
280:Enigma Variations
277:I and II (1965),
238:Ninette de Valois
200:
199:
140:Years active
92:17 September 1904
16:(Redirected from
3679:
3577:Knights Bachelor
3506:
3486:Voices of Spring
3396:
3378:
3360:
3357:Daphnis et Chloé
3342:
3339:Scenes de Ballet
3322:The Wise Virgins
3308:
3298:
3288:
3259:
3239:Romeo and Juliet
3208:
3207:Frederick Ashton
3205:
3195:
3188:
3181:
3172:
3171:
3133:
3116:
3097:
3070:
3058:
3044:
3022:
2998:
2993:. Archived from
2973:
2951:
2927:
2901:
2885:
2873:
2859:
2847:
2824:
2823:
2809:
2803:
2802:
2788:
2782:
2781:
2769:British Empire:
2767:
2761:
2755:
2749:
2743:
2737:
2717:
2711:
2705:
2699:
2686:
2680:
2674:
2668:
2658:
2652:
2638:
2632:
2626:
2620:
2619:
2611:
2602:
2585:
2579:
2562:
2556:
2554:
2539:
2533:
2527:
2521:
2518:
2512:
2501:Percival, John.
2499:
2488:
2479:
2473:
2456:
2450:
2441:
2432:
2420:
2414:
2397:
2391:
2385:
2379:
2372:
2366:
2337:
2331:
2237:
2231:
2222:
2216:
2210:
2204:
2180:
2174:
2165:
2159:
2153:
2147:
2135:
2129:
2120:
2114:
2108:
2102:
2096:
2090:
2089:, pp. 59–60
2084:
2075:
2066:
2057:
2054:
2045:
2027:
2018:
2009:
2003:
1975:
1969:
1963:
1957:
1951:
1945:
1939:
1933:
1927:
1921:
1912:
1906:
1897:
1891:
1878:
1872:
1867:Vaughan, David.
1865:
1859:
1853:
1847:
1841:
1835:
1826:
1820:
1808:
1795:
1794:
1786:
1765:
1715:
1712:
1706:
1699:
1693:
1675:Scènes de ballet
1671:
1665:
1661:
1655:
1640:
1584:Legion of Honour
1460:vegetable ballet
1387:
1366:Voices of Spring
1336:
1207:Scènes de ballet
1131:Romeo and Juliet
982:Osbert Lancaster
974:Ferdinand HĂ©rold
947:In October 1956
928:Romeo and Juliet
904:Kathleen Ferrier
779:Scènes de ballet
738:
713:The Wise Virgins
564:Constant Lambert
517:Vic-Wells Ballet
323:The Wise Virgins
319:Dominican school
217:
150:
110:
91:
89:
73:
63:
48:Frederick Ashton
39:
38:
21:
3687:
3686:
3682:
3681:
3680:
3678:
3677:
3676:
3532:
3531:
3530:
3525:
3516:
3408:The Two Pigeons
3263:
3210:
3206:
3203:
3199:
3140:
3119:
3113:
3100:
3094:
3081:
3078:
3076:Further reading
3073:
3067:
3041:
3019:
2991:
2970:
2948:
2924:
2907:10.1.1.691.8030
2882:
2856:
2832:
2827:
2810:
2806:
2789:
2785:
2768:
2764:
2756:
2752:
2744:
2740:
2724:"Ashton leaves
2718:
2714:
2708:"The Fred Step"
2706:
2702:
2698:, 4 March 2010.
2687:
2683:
2675:
2671:
2659:
2655:
2649:Wayback Machine
2639:
2635:
2627:
2623:
2617:
2612:
2605:
2599:Wayback Machine
2586:
2582:
2576:Wayback Machine
2563:
2559:
2552:
2540:
2536:
2528:
2524:
2520:Robinson, p. 44
2519:
2515:
2500:
2491:
2480:
2476:
2470:Wayback Machine
2457:
2453:
2442:
2435:
2421:
2417:
2411:Wayback Machine
2398:
2394:
2386:
2382:
2373:
2369:
2357:Buckle, Richard
2338:
2334:
2328:Wayback Machine
2313:Wayback Machine
2288:Wayback Machine
2277:Wayback Machine
2262:Wayback Machine
2251:Wayback Machine
2238:
2234:
2223:
2219:
2211:
2207:
2201:Wayback Machine
2190:Wayback Machine
2181:
2177:
2166:
2162:
2154:
2150:
2138:Buckle, Richard
2136:
2132:
2121:
2117:
2109:
2105:
2097:
2093:
2085:
2078:
2067:
2060:
2055:
2048:
2038:Wayback Machine
2028:
2021:
2010:
2006:
2000:Wayback Machine
1989:Wayback Machine
1976:
1972:
1964:
1960:
1952:
1948:
1940:
1936:
1928:
1924:
1913:
1909:
1898:
1894:
1879:
1875:
1866:
1862:
1854:
1850:
1842:
1838:
1827:
1823:
1819:20 August 1988.
1809:
1798:
1788:
1766:
1727:
1723:
1718:
1713:
1709:
1700:
1696:
1672:
1668:
1662:
1658:
1650:with help from
1648:Pauline Clayden
1641:
1637:
1633:
1628:
1549:
1486:
1390:Benesh notation
1376:
1305:
1234:The Two Pigeons
1096:
1090:
1082:Yaxley, Suffolk
1003:Mam'zelle Angot
945:
798:Alexander Grant
740:
725:
705:Royal Air Force
686:
669:Escape Me Never
650:Home and Beauty
634:Devil's Holiday
572:Robert Helpmann
509:
394:Eugene Goossens
362:LĂ©onide Massine
356:Massine in 1914
350:
300:
295:
293:Life and career
227:LĂ©onide Massine
205:
196:
148:
119:
114:Chandos Lodge,
112:
108:
99:
93:
87:
85:
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3594:
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3574:
3569:
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3559:
3554:
3549:
3544:
3527:
3526:
3521:
3518:
3517:
3515:
3514:
3508:
3503:Pas de légumes
3498:
3490:
3482:
3474:
3466:
3460:
3452:
3444:
3436:
3428:
3420:
3412:
3404:
3398:
3388:
3380:
3370:
3362:
3352:
3344:
3334:
3326:
3318:
3310:
3300:
3295:Les Rendezvous
3290:
3280:
3271:
3269:
3265:
3264:
3262:
3261:
3251:
3243:
3235:
3227:
3218:
3216:
3212:
3211:
3198:
3197:
3190:
3183:
3175:
3169:
3168:
3163:
3161:Jacob's Pillow
3146:
3139:
3138:External links
3136:
3135:
3134:
3117:
3111:
3098:
3092:
3077:
3074:
3072:
3071:
3065:
3049:Vaughan, David
3045:
3040:978-0571243037
3039:
3023:
3017:
2999:
2989:
2974:
2968:
2952:
2946:
2928:
2922:
2909:
2889:Genné, Beth. "
2886:
2880:
2870:Modern Britain
2860:
2854:
2833:
2831:
2828:
2826:
2825:
2804:
2783:
2762:
2750:
2738:
2720:Billen, Andrew
2712:
2700:
2681:
2679:, p. 233.
2669:
2653:
2633:
2621:
2603:
2592:: productions"
2580:
2557:
2534:
2532:, p. 341.
2522:
2513:
2489:
2474:
2459:Vaughan, David
2451:
2433:
2415:
2400:Vaughan, David
2392:
2390:, p. 181.
2380:
2367:
2332:
2292:Albert Herring
2240:Vaughan, David
2232:
2225:Vaughan, David
2217:
2205:
2175:
2160:
2158:, p. 200.
2148:
2130:
2115:
2111:Haltrecht 1975
2103:
2101:, p. 179.
2091:
2087:Haltrecht 1975
2076:
2058:
2046:
2019:
2004:
1978:Vaughan, David
1970:
1968:, p. 318.
1958:
1954:Greskovic 2002
1946:
1942:Greskovic 2002
1934:
1922:
1907:
1892:
1873:
1860:
1848:
1836:
1821:
1796:
1724:
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1719:
1717:
1716:
1707:
1694:
1683:Richard Buckle
1666:
1656:
1634:
1632:
1629:
1627:
1624:
1579:(OM) in 1977.
1577:Order of Merit
1548:
1545:
1485:
1482:
1444:Varii Capricci
1416:Nigel Playfair
1412:Alicia Markova
1375:
1372:
1371:
1370:
1362:
1354:
1346:
1338:
1304:
1303:
1300:Varii Capricci
1297:
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1143:
1135:
1127:
1119:
1110:
1109:
1092:Main article:
1089:
1086:
1020:Anthony Dowell
978:John Lanchbery
944:
941:
875:Albert Herring
767:Margot Fonteyn
717:
685:
682:
674:William Walton
664:Sadler's Wells
659:Die Fledermaus
646:The Town Talks
624:Virgil Thomson
555:Les Rendezvous
508:
505:
471:Foyer de danse
448:Alicia Markova
444:Ballet Rambert
374:Nigel Playfair
349:
346:
342:City of London
299:
296:
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113:
111:(aged 83)
107:18 August 1988
105:
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3440:Jazz Calendar
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3307:
3306:
3305:Les Patineurs
3301:
3297:
3296:
3291:
3287:
3286:
3281:
3278:
3277:
3273:
3272:
3270:
3266:
3258:
3257:
3252:
3249:
3248:
3244:
3241:
3240:
3236:
3233:
3232:
3228:
3225:
3224:
3220:
3219:
3217:
3213:
3209:
3196:
3191:
3189:
3184:
3182:
3177:
3176:
3173:
3167:
3164:
3162:
3158:
3155:performed by
3154:
3150:
3147:
3145:
3142:
3141:
3131:
3127:
3123:
3118:
3114:
3108:
3104:
3099:
3095:
3089:
3085:
3080:
3079:
3068:
3062:
3057:
3056:
3050:
3046:
3042:
3036:
3032:
3028:
3024:
3020:
3014:
3010:
3009:
3004:
3000:
2996:
2992:
2986:
2982:
2981:
2975:
2971:
2965:
2961:
2957:
2956:Jacobs, Laura
2953:
2949:
2943:
2939:
2938:
2933:
2929:
2925:
2919:
2915:
2910:
2908:
2904:
2899:
2895:
2894:
2887:
2883:
2877:
2872:
2871:
2865:
2861:
2857:
2851:
2846:
2845:
2839:
2835:
2834:
2821:
2820:
2815:
2808:
2800:
2799:
2794:
2787:
2779:
2778:
2773:
2766:
2759:
2754:
2747:
2742:
2735:
2734:
2729:
2727:
2721:
2716:
2709:
2704:
2697:
2696:
2691:
2688:Roy, Sanjoy.
2685:
2678:
2673:
2666:
2662:
2657:
2650:
2646:
2643:
2637:
2630:
2625:
2615:
2610:
2608:
2600:
2596:
2593:
2591:
2584:
2577:
2573:
2570:
2568:
2561:
2550:
2549:
2544:
2538:
2531:
2526:
2517:
2510:
2509:
2504:
2498:
2496:
2494:
2486:
2485:
2478:
2471:
2467:
2464:
2460:
2455:
2448:
2447:
2440:
2438:
2430:
2429:
2424:
2419:
2412:
2408:
2405:
2401:
2396:
2389:
2384:
2377:
2371:
2364:
2363:
2358:
2354:
2353:
2348:
2344:
2343:
2336:
2329:
2325:
2322:
2320:
2314:
2310:
2307:
2305:
2299:
2298:
2293:
2289:
2285:
2282:
2278:
2274:
2271:
2267:
2263:
2259:
2256:
2252:
2248:
2245:
2241:
2236:
2229:
2226:
2221:
2214:
2209:
2202:
2198:
2195:
2191:
2187:
2184:
2179:
2172:
2171:
2164:
2157:
2152:
2145:
2144:
2139:
2134:
2127:
2126:
2119:
2113:, p. 73.
2112:
2107:
2100:
2095:
2088:
2083:
2081:
2073:
2072:
2065:
2063:
2053:
2051:
2043:
2039:
2035:
2032:
2026:
2024:
2016:
2015:
2008:
2001:
1997:
1994:
1990:
1986:
1983:
1979:
1974:
1967:
1962:
1956:, p. 77.
1955:
1950:
1944:, p. 74.
1943:
1938:
1932:, p. 46.
1931:
1926:
1919:
1918:
1911:
1904:
1903:
1896:
1889:
1888:
1883:
1877:
1870:
1864:
1858:, p. 89.
1857:
1852:
1845:
1840:
1833:
1832:
1825:
1818:
1817:
1812:
1807:
1805:
1803:
1801:
1792:
1784:
1780:
1776:
1775:
1770:
1764:
1762:
1760:
1758:
1756:
1754:
1752:
1750:
1748:
1746:
1744:
1742:
1740:
1738:
1736:
1734:
1732:
1730:
1725:
1711:
1704:
1698:
1690:
1689:
1684:
1680:
1676:
1670:
1660:
1653:
1649:
1645:
1639:
1635:
1623:
1621:
1617:
1613:
1609:
1605:
1601:
1597:
1593:
1589:
1585:
1580:
1578:
1574:
1570:
1566:
1562:
1558:
1555:(CBE) in the
1554:
1544:
1541:
1539:
1535:
1531:
1530:Les Patineurs
1527:
1523:
1519:
1515:
1511:
1507:
1503:
1499:
1495:
1491:
1481:
1479:
1478:Salut d'amour
1475:
1469:
1467:
1466:
1461:
1457:
1456:
1451:
1450:
1445:
1441:
1435:
1433:
1429:
1428:
1423:
1422:
1417:
1413:
1409:
1405:
1397:
1393:
1391:
1386:
1381:
1380:David Vaughan
1374:The Fred Step
1368:
1367:
1363:
1360:
1359:
1355:
1352:
1351:
1347:
1344:
1343:
1339:
1335:
1334:
1329:
1328:
1327:
1322:
1318:
1314:
1309:
1301:
1298:
1295:
1294:
1290:
1287:
1286:
1282:
1279:
1276:
1273:
1272:
1268:
1265:
1264:
1263:Jazz Calendar
1260:
1257:
1254:
1251:
1250:
1246:
1243:
1242:
1238:
1235:
1232:
1229:
1228:
1224:
1221:
1218:
1215:
1214:Illuminations
1212:
1209:
1208:
1204:
1201:
1200:
1196:
1193:
1192:
1188:
1185:
1182:
1179:
1178:
1177:Les Patineurs
1174:
1171:
1168:
1165:
1164:
1160:
1159:
1155:Shorter works
1154:
1153:
1149:
1148:
1144:
1141:
1140:
1136:
1133:
1132:
1128:
1125:
1124:
1120:
1117:
1116:
1112:
1111:
1107:
1106:
1105:
1103:
1102:
1095:
1085:
1083:
1077:
1075:
1071:
1067:
1066:
1061:
1060:
1055:
1050:
1048:
1044:
1039:
1037:
1033:
1032:Jazz Calendar
1029:
1025:
1021:
1017:
1013:
1009:
1005:
1004:
999:
998:
993:
992:
985:
983:
979:
975:
971:
970:
961:
957:
953:
950:
940:
938:
933:
929:
924:
922:
918:
914:
913:
907:
905:
901:
897:
896:
891:
887:
886:
881:
877:
876:
871:
867:
866:
861:
860:
855:
854:
849:
845:
841:
840:
835:
834:Illuminations
831:
827:
826:
821:
817:
812:
810:
805:
804:
799:
795:
794:Moira Shearer
791:
790:
785:
781:
780:
774:
772:
771:Michael Somes
768:
763:
759:
758:
753:
752:Covent Garden
749:
745:
744:David Webster
739:
736:
735:
730:
729:
722:
716:
714:
710:
706:
701:
699:
695:
691:
681:
679:
675:
671:
670:
665:
661:
660:
655:
651:
647:
643:
639:
635:
631:
630:
625:
620:
618:
613:
611:
610:
609:Les Patineurs
605:
601:
600:
595:
591:
587:
583:
579:
578:
573:
569:
565:
561:
557:
556:
547:
543:
539:
536:
532:
531:
526:
522:
518:
514:
504:
502:
501:
496:
492:
491:C. B. Cochran
488:
487:
482:
478:
477:
472:
468:
467:
462:
458:
457:
451:
449:
445:
441:
437:
433:
429:
425:
421:
420:Peter Warlock
417:
416:Capriol Suite
413:
412:
407:
402:
400:
395:
391:
390:
385:
384:
379:
375:
371:
367:
366:Marie Rambert
363:
354:
345:
343:
338:
336:
335:Dover College
330:
328:
324:
320:
316:
311:
309:
305:
290:
288:
287:
282:
281:
276:
275:
270:
269:
264:
263:
258:
257:
252:
251:
245:
243:
239:
234:
232:
231:Marie Rambert
228:
223:
221:
216:
212:
208:
204:
192:
191:
187:
184:
183:
179:
176:
175:
171:
168:
167:
163:
160:
159:
155:
154:
152:
146:
142:
138:
135:Choreographer
134:
130:
126:
122:
117:
106:
102:
97:
80:
76:
72:
67:
62:
58:
54:
45:
40:
37:
33:
19:
3510:
3492:
3484:
3476:
3468:
3462:
3454:
3446:
3438:
3430:
3422:
3414:
3406:
3400:
3382:
3364:
3346:
3328:
3320:
3312:
3274:
3245:
3237:
3229:
3221:
3202:
3152:
3149:Archive film
3121:
3102:
3083:
3054:
3030:
3007:
3003:Kaplan, Fred
2995:the original
2979:
2959:
2936:
2913:
2892:
2869:
2843:
2838:Dominic, Zoë
2817:
2807:
2796:
2786:
2775:
2765:
2753:
2746:"The Ballets
2741:
2731:
2725:
2715:
2703:
2695:The Guardian
2693:
2684:
2677:Vaughan 1999
2672:
2656:
2636:
2631:, p. 9.
2629:Vaughan 1999
2624:
2589:
2583:
2566:
2560:
2548:The Observer
2546:
2537:
2525:
2516:
2506:
2484:The Guardian
2482:
2477:
2454:
2444:
2426:
2418:
2395:
2383:
2375:
2370:
2362:The Observer
2360:
2350:
2340:
2335:
2318:
2303:
2295:
2291:
2235:
2220:
2208:
2178:
2168:
2163:
2151:
2143:The Observer
2141:
2133:
2123:
2118:
2106:
2094:
2069:
2041:
2012:
2007:
1973:
1961:
1949:
1937:
1925:
1915:
1910:
1900:
1895:
1885:
1881:
1876:
1863:
1851:
1839:
1831:The Observer
1829:
1824:
1814:
1772:
1710:
1697:
1688:The Observer
1686:
1678:
1674:
1669:
1659:
1638:
1581:
1571:(CH) in the
1567:, appointed
1550:
1542:
1533:
1529:
1525:
1521:
1517:
1513:
1509:
1505:
1501:
1497:
1493:
1489:
1487:
1477:
1473:
1471:
1463:
1453:
1447:
1443:
1437:
1425:
1419:
1404:Anna Pavlova
1401:
1377:
1364:
1356:
1348:
1340:
1325:
1320:
1299:
1291:
1283:
1277:
1269:
1261:
1255:
1247:
1239:
1233:
1225:
1219:
1213:
1205:
1197:
1189:
1183:
1175:
1169:
1161:
1145:
1137:
1129:
1121:
1113:
1099:
1097:
1088:Choreography
1078:
1063:
1057:
1053:
1051:
1040:
1035:
1031:
1028:Monotones II
1027:
1018:(1964) (for
1015:
1008:Antony Tudor
1001:
995:
989:
986:
967:
965:
960:Antony Tudor
949:Elizabeth II
946:
943:Royal Ballet
927:
925:
920:
910:
908:
893:
888:, 1947, and
883:
873:
870:Glyndebourne
863:
857:
851:
843:
837:
833:
823:
815:
813:
809:Laura Jacobs
801:
787:
777:
775:
755:
741:
732:
726:
724:
719:
712:
708:
702:
697:
694:Dante Sonata
693:
687:
677:
676:, following
667:
657:
649:
645:
637:
633:
627:
621:
614:
607:
603:
597:
589:
585:
581:
575:
560:Royal Ballet
553:
551:
534:
528:
524:
521:comic ballet
510:
498:
494:
484:
474:
470:
464:
460:
454:
452:
415:
409:
403:
392:, which Mr.
387:
383:The Observer
381:
378:Ashley Dukes
359:
339:
331:
327:Anna Pavlova
322:
312:
307:
301:
284:
278:
272:
266:
260:
254:
248:
246:
242:Royal Ballet
235:
229:and then by
224:
202:
201:
188:
180:
172:
164:
156:
149:Notable work
116:Eye, Suffolk
109:(1988-08-18)
36:
3547:1988 deaths
3542:1904 births
3215:Full-length
3201:Ballets by
3027:Parry, Jann
2864:Ford, Boris
2814:"No. 45117"
2793:"No. 42683"
2772:"No. 38929"
2213:Jacobs 2006
1966:Kaplan 1999
1673:Initially,
1618:(1971) and
1608:East Anglia
1496:), Dowell (
1353:(1970 film)
1256:Sinfonietta
1170:Apparitions
1043:Georg Solti
1034:(1968) and
872:(Britten's
862:(1951) and
846:, 1952, to
818:, 1949, to
803:en travesti
654:Clive Carey
582:Apparitions
568:Anton Dolin
489:(1932) for
476:Les Masques
473:(1932) and
428:basse danse
298:Early years
124:Nationality
32:Fred Ashton
3536:Categories
3401:Persephone
3223:Cinderella
3112:1840024615
3093:0571227953
3066:1852730625
3018:0385477031
2990:1852730471
2969:1597910015
2947:0002111632
2923:0786881550
2914:Ballet 101
2881:0521428890
2855:024550351X
2555:; and ODNB
2530:Parry 2010
2423:Parry 2010
2388:Parry 2010
2099:Parry 2010
1882:Gay Hussar
1844:Genné 1996
1793:required.)
1721:References
1652:Pamela May
1534:Rendezvous
1506:Cinderella
1474:Cinderella
1115:Cinderella
991:Les biches
921:Cinderella
828:) and the
789:Cinderella
640:) for the
495:Gay Hussar
411:Les biches
408:'s ballet
372:staged by
262:Cinderella
166:Cinderella
132:Occupation
88:1904-09-17
3424:The Dream
3314:Horoscope
2733:The Times
2508:The Times
2428:The Times
2342:The Times
2297:The Times
2170:The Times
2125:The Times
2071:The Times
2014:The Times
1902:The Times
1856:Ford 1992
1816:The Times
1679:The Times
1594:from the
1526:Monotones
1498:The Dream
1465:The Dream
1317:pasodoble
1249:The Dream
1191:Horoscope
1101:Who's Who
1016:The Dream
997:Les noces
784:Prokofiev
728:The Times
709:The Quest
626:'s opera
577:The Times
530:The Times
507:Vic-Wells
424:same name
304:Guayaquil
274:Monotones
143:1926–1980
118:, England
98:, Ecuador
96:Guayaquil
3494:Rhapsody
3393:La valse
3348:Tiresias
3130:53605132
3051:(1999).
3029:(2010).
3005:(1999).
2958:(2006).
2934:(1975).
2903:CiteSeer
2866:(1992).
2645:Archived
2595:Archived
2572:Archived
2466:Archived
2407:Archived
2324:Archived
2309:Archived
2284:Archived
2273:Archived
2258:Archived
2247:Archived
2197:Archived
2186:Archived
2034:Archived
1996:Archived
1985:Archived
1622:(1976).
1614:(1970),
1610:(1967),
1606:(1962),
1561:knighted
1434:writes:
1333:La valse
1293:Rhapsody
1070:Turgenev
1038:(1968).
1030:(1965),
930:for the
880:Massenet
590:Nocturne
469:(1931),
463:(1931),
459:(1931),
418:, using
289:(1971).
271:(1960),
265:(1948),
259:(1946),
253:(1931),
3375:La Peri
3268:Shorter
2905::
2830:Sources
2321:(1953)"
2319:Orpheus
1563:in the
1547:Honours
1408:gavotte
895:Orpheus
820:Britten
525:Regatta
456:La péri
446:, with
440:bransle
436:tordion
127:British
3513:(1985)
3507:(1982)
3497:(1980)
3489:(1977)
3481:(1976)
3473:(1976)
3465:(1971)
3459:(1970)
3451:(1968)
3443:(1968)
3435:(1965)
3427:(1964)
3419:(1963)
3411:(1961)
3403:(1961)
3397:(1958)
3387:(1956)
3379:(1956)
3369:(1953)
3361:(1951)
3351:(1951)
3343:(1948)
3333:(1946)
3325:(1940)
3317:(1938)
3309:(1937)
3299:(1933)
3289:(1931)
3285:Façade
3279:(1926)
3260:(1960)
3250:(1958)
3247:Ondine
3242:(1955)
3234:(1952)
3231:Sylvia
3226:(1948)
3128:
3109:
3090:
3063:
3037:
3015:
2987:
2966:
2944:
2920:
2896:". In
2878:
2852:
2726:Ondine
2463:"1960"
2404:"1955"
2270:"1952"
2266:"1951"
2255:"1950"
2244:"1949"
2228:"1951"
2042:Ballet
1993:"1936"
1982:"1934"
1787:
1620:Oxford
1612:London
1604:Durham
1518:Façade
1494:Ondine
1484:Legacy
1455:Sylvia
1427:Façade
1369:(1977)
1361:(1971)
1345:(1965)
1337:(1958)
1321:Façade
1302:(1983)
1296:(1980)
1288:(1976)
1280:(1972)
1274:(1968)
1266:(1968)
1258:(1967)
1252:(1964)
1244:(1963)
1236:(1961)
1230:(1956)
1222:(1951)
1216:(1950)
1210:(1948)
1202:(1946)
1194:(1938)
1186:(1937)
1180:(1937)
1172:(1936)
1166:(1931)
1163:Façade
1150:(1960)
1142:(1958)
1139:Ondine
1126:(1952)
1123:Sylvia
1118:(1948)
912:Sylvia
842:, and
737:, 1946
698:Ballet
678:Façade
594:Delius
493:, and
481:revues
466:Façade
438:, and
432:pavane
250:Façade
193:(1960)
185:(1958)
182:Ondine
177:(1952)
174:Sylvia
169:(1948)
161:(1946)
2304:Manon
2281:"1953
1631:Notes
1406:in a
1313:tango
902:with
890:Gluck
885:Manon
599:Paris
370:revue
220:revue
213:
209:
59:
55:
3126:OCLC
3107:ISBN
3088:ISBN
3061:ISBN
3035:ISBN
3013:ISBN
2985:ISBN
2964:ISBN
2942:ISBN
2918:ISBN
2876:ISBN
2850:ISBN
2315:and
2279:and
2192:and
1991:and
1616:Hull
1532:and
1524:and
1516:and
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