virtuoso dancer who dazzled in a number of functions created for him by Frederick Ashton
Although Margot Fonteyn is widely regarded as the inspiration behind some of the most successful ballets of Frederick Ashton, the same could be said of Alexander Grant, who died at age 86. Grant had an unusual combination of classical and pure virtuosity unparalleled sense of characterization and drama. In his most famous role, the pretender to fool Alain Ashton kept the Evil Girl (1960), combining savage madness, with a childlike innocence and pathos. When it becomes clear that her marriage to heroin was canceled, looks around for a girl, any girl who can give your precious ring, engagement light. No dancer has the letter, the heartbreaking moment more efficiently.
Grant was born in Wellington, New Zealand. He began dancing lessons from age seven and won a scholarship to study in England. However, World War II intervened and he was 21 when he finally arrived at the Sadler Wells Ballet School in London in 1946. His student days were brief. He joined Wells newly formed Ballet Theatre Sadler, but only two weeks after his first tour with the company, he was transferred to the Covent Garden company. Ashton has noted from the start, and threw him into the folk duo in the facade. It was Ashton who gave him his first dramatic role created a dance involving jumping through a hoop, in Sirenes ballet.
His big break came after nearly two years with the company when it comes to Leonide Massine ballet scene Mam'zelle Angot. Grant chose for his own role - the actor barber who wins the heart of the heroine - and the path of Grant's career was established. He later won a success in other parts of Massine's own, the miller of the cocked hat, but the ballet by Massine created for him in 1951, Donald beams, proved a disappointment.
time, Grant has established himself as one of the most interesting of the company dancers in various parts created by Ashton. In Cinderella (1948), played the fool with a series of dazzling dishes that showed his virtuosity at best. His performance was a series of melancholy, which came with the idea that happiness is Prince's own loss of a beloved companion. He was the leader of the hijackers Bryaxis Daphnis and Chloe (1951), a role that required him to run on stage, which leads to the dancer with one hand above his head, before turning around its neck, and then the lowering of the mass. In Sylvia (1952), played Eros, all still standing, posing as a statue, almost all the law first.
In 1971, when physical disability was beginning to limit the frequency, but not the efficacy, dance (Grant had two hip replacements during his career), was appointed director of Ballet for all, educational group at the Royal Ballet. In 1976 he was appointed director of the National Ballet of Canada, a position he held for seven years. Expanded the repertoire of the company with a series of ballets by Ashton, John Cranko's Onegin popular and staging of North American in August Bournonville's Napoli. It also feeds on young choreographers.
Find best price for : --Festival----Royal----Enigma----Beatrix----Massine----Léonide----Ashton----London----Ballet----Grant----Alexander----Fonteyn----Margot----Frederick--
ไม่มีความคิดเห็น:
แสดงความคิดเห็น