Dame Margot Fonteyn, a name synonymous with grace and balletic brilliance, remains an icon in the world of dance. Born Margaret Hookham on May 18, 1919, in Reigate, Surrey, England, she ascended to become the first homegrown English ballerina to achieve international superstardom. Her remarkable musicality, flawless technique, and profound character portrayals captivated audiences worldwide, especially after her legendary partnership with Russian ballet dancer Rudolf Nureyev. Fonteyn’s legacy extends beyond her technical prowess; she became a beloved national figure, embodying the spirit of English ballet. She passed away on February 21, 1991, in Panama City, Panama, leaving behind an indelible mark on the art form.
Fonteyn’s journey to ballet stardom commenced in her early teens. Her formative years included dance studies in Shanghai under the tutelage of George Goncharov, laying the foundation for her exceptional technique. Upon returning to London, she honed her skills further under the guidance of Serafima Astafieva and at the prestigious Sadler’s Wells Ballet School. Her professional debut arrived in 1934 with the Vic-Wells Ballet, marking the beginning of an illustrious career. The departure of Alicia Markova from the company in 1935 proved to be a pivotal moment for the young Fonteyn. She seamlessly stepped into Markova’s classical roles, most notably Giselle, quickly establishing herself as a principal dancer within the Vic-Wells Ballet and signaling the rise of a new ballet luminary.
In 1939, Fonteyn’s portrayal of Aurora in the revival of The Sleeping Beauty cemented her status as a ballet icon. Her interpretation of the iconic princess is still revered as the definitive Aurora of that era, showcasing her technical brilliance and innate understanding of classical ballet tradition. Beyond the established classical repertoire, Fonteyn’s artistic versatility shone brightly in her collaborations with renowned choreographer Frederick Ashton. She originated leading roles in numerous Ashton ballets, including Horoscope, Symphonic Variations, and Daphnis and Chloë. Notably, Ashton’s Ondine is often cited as her most magnificent creation, a testament to their artistic synergy and Fonteyn’s dramatic range. Her performances in revivals of Michel Fokine’s masterpieces, The Firebird and Petrushka, were equally lauded, further demonstrating her mastery across diverse choreographic styles.
Fonteyn’s repertoire expanded further to include Kenneth MacMillan’s dramatic Romeo and Juliet (1965) and John Cranko’s Poème de l’extase (1970). However, it was her partnership with Rudolf Nureyev that ignited a global sensation and redefined her artistic trajectory. Beginning in the early 1960s, their on-stage chemistry was electrifying, enriching Fonteyn’s characterizations with a new depth and passion. Together, they became synonymous with iconic classical ballets such as Swan Lake, Raymonda, and Le Corsaire pas de deux. New ballets were specifically created to showcase their unparalleled partnership, cementing their legendary status in ballet history.
After 1959, while officially retiring from the Royal Ballet as a principal dancer, Fonteyn continued to grace the stage as a guest artist with the company and embarked on extensive international tours. Her enduring connection with the Royal Ballet remained strong, even as her global appeal soared. Her marriage in 1955 to Roberto Emilio Arias, former Panamanian ambassador to Great Britain, added another dimension to her life, intertwining her artistic career with international affairs. Fonteyn’s contributions to dance were recognized with numerous accolades. She was appointed president of the Royal Academy of Dancing in 1954 and honored as Dame Commander of the Order of the British Empire (DBE) in 1956, solidifying her position as a national treasure.
Recognizing the importance of preserving her artistry, several of Fonteyn’s ballet performances were filmed, including Swan Lake (in both 1937 and 1966 versions), Romeo and Juliet (1966), and Sleeping Beauty (1959). These recordings serve as invaluable resources for aspiring dancers and ballet enthusiasts, ensuring her interpretations continue to inspire future generations. In the late 1970s, as performing demands lessened, Fonteyn transitioned to television presentations, sharing her expertise and passion for dance with a wider audience. She also authored several books, including her autobiography, Margot Fonteyn: Autobiography (1975), A Dancer’s World (1979), and The Magic of Dance (1979), further cementing her legacy as not only a dancer but also a writer and communicator of the art form she so profoundly influenced. Dame Margot Fonteyn remained an active and influential figure in the world of dance until her passing, a testament to her lifelong dedication and enduring impact on ballet.
