Nureyev, Rudolf. (1938–1993) & Fonteyn, Margot. (1919–1991). "Marguerite and Armand" - Signed Photograph. Original photograph by John Blomfield from a pas de deux in Marguerite and Armand of the most famous pairing of ballet dancers in the 1960s and 70s. Signed by both. 8.75 x 7 inches (22.4 x 17.6 cm). Small tear to left edge, else fine.
Sir Frederick Ashton choreographed Marguerite and Armand for Fonteyn and Nureyev, which no other couple danced until the 21st century. The 1963 premiere was well publicized before its opening and teamed them with Michael Somes, who played the disapproving father. Composed as a series of pas de deux, interrupted by only one solo, the ballet built intensity from the initial coup de foudre to the death scene. According to Somes, the pairing of Nureyev and Fonteyn was brilliant, as they were not partners but two stars of equal talent who pushed each other to their best performances.
From the collection of Paul McMahon, a critic, photographer and artist who worked for more than 13 years touring with Marlene Dietrich as the icon’s stage manager, announcer, dresser, secretary and escort, and later spent 25 years as an arts and entertainment reviewer and photographer with Gay Community News, Esplanade, Tommy’s Connection, The Mirror, Bay Windows and other publications.
Nureyev, Rudolf. (1938–1993) & Fonteyn, Margot. (1919–1991). "Marguerite and Armand" - Signed Photograph. Original photograph by John Blomfield from a pas de deux in Marguerite and Armand of the most famous pairing of ballet dancers in the 1960s and 70s. Signed by both. 8.75 x 7 inches (22.4 x 17.6 cm). Small tear to left edge, else fine.
Sir Frederick Ashton choreographed Marguerite and Armand for Fonteyn and Nureyev, which no other couple danced until the 21st century. The 1963 premiere was well publicized before its opening and teamed them with Michael Somes, who played the disapproving father. Composed as a series of pas de deux, interrupted by only one solo, the ballet built intensity from the initial coup de foudre to the death scene. According to Somes, the pairing of Nureyev and Fonteyn was brilliant, as they were not partners but two stars of equal talent who pushed each other to their best performances.
From the collection of Paul McMahon, a critic, photographer and artist who worked for more than 13 years touring with Marlene Dietrich as the icon’s stage manager, announcer, dresser, secretary and escort, and later spent 25 years as an arts and entertainment reviewer and photographer with Gay Community News, Esplanade, Tommy’s Connection, The Mirror, Bay Windows and other publications.