Word: markova
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Dates: during 1940-1949
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...already adopted her mother's maiden name ("Who could dance with a name like Hookham?"), still later changed Fontes to Fonteyn (pronounced Fontaine). She worked with Markova in ballet after ballet, studying her technique, watching every motion and emotion...
Margot remembers the day Markova left the company. "Madame [de Valois] was talking to my mother. She said rather casually, 'I think we'll drop the classical ballets for a year and next year I'll put Margot in Giselle.' I absolutely died of fright...
...Cast. She got a chance to warm up. After her 16th birthday, she took over Markova's role in Ashton's Les Rendezvous. Already, for the conservative Morning Post, she had "some of that intoxicating quality always associated with the great dancers." After her first Swan Lake, the Daily Telegraph granted her "that rare title 'ballerina.' " Her first Giselle, at 17, was, said the News-Chronicle, "the partial fulfillment of a promise she makes every time she dances." By the time she was 20 she had completed the great classical trilogy with Sleeping Beauty...
...inevitable song about how lonely a fellow can be in this big town with all the people 'round. This one is followed by a ballet number on the same theme which employs every cliche of dance and plot. It is very well danced by Viola Essen, but Markova couldn't make choreography interesting...
...week, Conductor Dorati had more cause than usual to kick the furniture. He had been brought to Manhattan to be music director of a new "World's Fair of Music." A 70-piece orchestra, plus such big name help as Benny Goodman and Ella Fitzgerald, Ballet Dancers Alicia Markova and Anton Dolin, had been signed up to lure lookers and listeners into Grand Central Palace...