Rudolf Khametovich Nureyev (17 March 1938 – 6 January 1993) was a Soviet-born ballet virtuoso and choreographer, often hailed as the preeminent male dancer of his era. Born on a Trans-Siberian train near Irkutsk, Siberia, to a Tatar family, he commenced his career with the Kirov Ballet (now Mariinsky Ballet) in Leningrad. In a historic move in 1961, Nureyev defected from the Soviet Union to the West, defying KGB intervention. This marked the first Cold War defection by a Soviet artist, creating a global sensation. Nureyev later danced with The Royal Ballet in London and directed the Paris Opera Ballet from 1983 to 1989. Renowned as a choreographer, he reinterpreted classical masterpieces, such as Swan Lake, Giselle, and La Bayadère.
Career :
Rudolf Nureyev’s life was marked by his remarkable journey in the world of ballet, from his early years in the Soviet Union to his later career as a prominent figure in international ballet. Here’s a concise summary of the provided information:
Early Years and Education:
- Born in the Soviet Union, Nureyev’s love for dance began when his mother took him to see the ballet “Song of the Cranes.”
- Encouraged to dance in Bashkir folk performances, his talent was recognized, leading him to train in Leningrad.
- After auditioning for the Bolshoi ballet and being accepted, he chose to join the Vaganova Academy in Leningrad.
Principal with Kirov Ballet:
- Graduating in 1958, Nureyev joined the Kirov Ballet, quickly rising to become a principal dancer.
- Notable partnerships included Natalia Dudinskaya and Ninel Kurgapkina.
- His fame grew, and international tours followed, including a memorable performance in Vienna in 1959.
Defection at Paris Airport:
- As tensions rose between Nureyev and the Kirov’s director, he was allowed to tour Paris, where his performances captivated audiences.
- Faced with pressures to return to the USSR, Nureyev chose to seek asylum in Paris in 1961.
- He joined the Grand Ballet du Marquis de Cuevas and continued to dance internationally.
The Royal Ballet and Fonteyn Partnership:
- Dame Ninette de Valois offered Nureyev a contract with The Royal Ballet, where he became a principal dancer.
- A legendary partnership formed with prima ballerina Margot Fonteyn, leading to iconic performances like “Romeo and Juliet.”
International Appearances and Directorship:
- Nureyev had enduring connections with ballet companies worldwide, including the National Ballet of Canada.
- In 1983, he became the director of the Paris Opera Ballet, revitalizing the company with his artistic leadership.
Final Years:
- Nureyev faced health challenges, testing positive for HIV in 1984.
- Despite declining health, he continued to work on ballet productions, including a final production of “La Bayadère.”
- Nureyev’s last public appearance was in October 1992, receiving France’s highest cultural award.
Rudolf Nureyev’s legacy endures through his groundbreaking contributions to ballet, both as a dancer and a director.
Personal life :
Rudolf Nureyev, the renowned Soviet-born ballet dancer, was known for his impatience with rules and hierarchical order, often expressing frustration publicly. Despite his volatile temper, he maintained friendships with various celebrities, including Ringo Starr, Gore Vidal, Freddie Mercury, Jackie Kennedy Onassis, Mick Jagger, Liza Minnelli, and Andy Warhol. Nureyev also frequented Studio 54 in the late 1970s but later developed an intolerance for celebrity culture.
In the ballet world, Nureyev was praised as a considerate partner by ballerinas such as Antoinette Sibley, Cynthia Gregory, Gelsey Kirkland, and Annette Page. He was known for his generosity, especially towards ballerinas facing challenges. Nureyev had a tumultuous personal life, described as either bisexual or homosexual. He had heterosexual relationships in his youth and later had a volatile 25-year relationship with Danish dancer Erik Bruhn until Bruhn’s death in 1986.
In 1978, Nureyev began a two-and-a-half-year love affair with American dancer Robert Tracy, who later became his secretary and live-in companion for over 14 years in a long-term open relationship until Nureyev’s death. Tracy revealed that Nureyev expressed a desire for a son and had plans to father one with Nastassja Kinski at some point in his life.
Dance partnerships :
“Yvette Chauviré, a legendary dancer of the Paris Opera Ballet, was a frequent dance partner of Nureyev. Their collaboration was highly regarded, and Chauviré attended Nureyev’s funeral alongside French dancer and actress Leslie Caron.
At the Royal Ballet, Nureyev formed a lasting dance partnership with Margot Fonteyn. Despite their 19-year age difference, Nureyev described their connection as dancing with “one body, one soul.” They premiered Sir Frederick Ashton’s ballet Marguerite and Armand together, a signature piece set to Liszt’s Piano Sonata in B minor. Nureyev and Fonteyn also debuted Kenneth MacMillan’s Romeo and Juliet, originally intended for different dancers. Films capture their performances in Les Sylphides, Swan Lake, Romeo and Juliet, and other iconic roles. Their partnership extended beyond Nureyev’s time at the Royal Ballet, concluding with their last performance in Baroque Pas de Trois on September 16, 1988, when Fonteyn was 69 and Nureyev was 50, joined by Carla Fracci, aged 52.
Another significant dance partnership for Nureyev was with Eva Evdokimova. Their collaboration began with La Sylphide in 1971, and in 1975, Nureyev chose her as his Sleeping Beauty for the London Festival Ballet. Evdokimova remained his preferred partner for numerous guest appearances and global tours with “Nureyev and Friends” for over fifteen years.
During his American stage debut in 1962, Nureyev also danced with Sonia Arova at New York City’s Brooklyn Academy of Music. Additionally, in collaboration with Ruth Page’s Chicago Opera Ballet, they performed the grand pas de deux from Don Quixote.”
Death :
Rudolf Nureyev passed away at the hospital Notre Dame du Perpétuel Secours in Levallois-Perret on 6 January 1993, at the age of 54, due to complications from AIDS. His funeral took place in the marble foyer of the Paris Garnier Opera House, where many acknowledged his brilliance as a dancer. Oleg Vinogradov of the Mariinsky Ballet paid tribute, recognizing that Nureyev’s achievements in the West were unparalleled.
Nureyev’s final resting place is at the Russian cemetery in Sainte-Geneviève-des-Bois near Paris. His grave is adorned with a mosaic of an Oriental carpet, reflecting his passion for collecting beautiful carpets and antique textiles. During his burial, music from the last act of Giselle played, and his ballet shoes, along with white lilies, were placed in the grave.
In the years following his death, Nureyev’s reputation was restored within the Mariinsky Ballet’s history. Despite his brief three-year tenure there, his name was reinstated, and some of his personal effects were displayed at the theatre museum in St. Petersburg. The Vaganova Academy named a rehearsal room in his honor, and the Centre National du Costume de Scène established a permanent collection of Nureyev’s costumes, showcasing his vibrant personality and appreciation for rarity and beauty.
Since 1993, the Paris Opera has commemorated Nureyev’s legacy every ten years with an evening of dance homage. These performances, held on or around his birthday in March, occurred in 2003, 2013, and 2023. Peers like Mikhail Baryshnikov, who remember and speak about Nureyev, are deeply moved by his impact.
On 7 November 2018, a monument in honor of Nureyev was unveiled at the square near the Musa Cälil Tatar Academic Opera and Ballet Theater in Kazan. Designed by Zurab Tsereteli, the ceremony was attended by notable figures, including President of Tatarstan Rustam Minnikhanov. Minnikhanov emphasized Nureyev’s international significance, stating that such individuals are born once in a hundred years.
