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George Zoritch

george zoritch, george zoritch ballet dancer
George Zoritch 6 June 1917 – 1 November 2009, born in Moscow, was an American ballet dancer who starred in performances by Ballet Russe companies on stages all over the United States from the 1930s to the 1960s Internationally known, he was one of the most glamorous figures and striking personalities in mid-twentieth-century ballet

Contents

  • 1 Early life and training
  • 2 Professional career
    • 21 Ballet Russe companies
    • 22 Broadway and Hollywood
    • 23 Back to ballet
  • 3 Later years
  • 4 References

Early life and training

Born Yuri Zoritch in Moscow during the Russian Revolution in June 1917, he was taken by his mother, an opera singer who had been deserted by her husband, to the quieter city of Kovno Kaunas, the provisional capital of Lithuania Known as "Little Paris" because of ts rich cultural and academic life, the city offered refuge from the revolutionary strife of Moscow There, Madam Zoritch joined the opera company at the National Opera and Ballet Theater, while Yuri and his brother began their first dance lessons When Yuri was 14 years old, the family relocated to Paris to advance his training A promising student, he won a scholarship to study with one of the most prominent teachers in the city, Olga Preobrajenskaya, a former star of the Russian Imperial Ballet In later years, he would polish his classical technique through study with such famous pedagogues as Anatole Vilzak, Anatole Oboukhoff, and Bronislava Nijinska

Professional career

After only nine months' study with Preobrajenskaya, young Yuri, or Youra, was given his first professional job in 1932 by the dancer and actress Ida Rubenstein, who had a short season booked at the Paris Opera featuring ballets created by Michel Fokine Following this engagement, Zoritch rapidly became a sought-after performer in a number of companies linked with former stars of Sergei Diaghilev's famous Ballets Russes

Ballet Russe companies

An engagement with Nijinska's Ballets de Paris in 1935 led to his long-time membership in the two Ballets Russes offshoots formed after Diaghilev's death in 1929: Ballet Russe de Monte Carlo, directed by René Blum, and Original Ballet Russe, directed by Colonel Wassily de Basil In the de Basil company, the 18-year-old Zoritch became a favorite of the choreographer Léonide Massine, who cast him in no fewer than eleven ballets, notably Symphonie Fantastique 1936, set to the hallucinatory music of Hector Berlioz Massine and Tamara Toumanova took the lead roles of the Young Musician and the Beloved Zoritch danced in the Melancholy pas de trois in the first movement Reveries, as the Young Shepherd in the third movement Scene in the Fields, and, with Roman Jasinski and Paul Petroff, as one of the three Monsters in the fifth movement Dream of the Night of the Sabbath

In 1938, after a dispute with Colonel de Basil, René Blum won legal rights to the name Ballet Russe de Monte Carlo, which he soon sold to wealthy American businessmen With Massine as artistic director, they created a company expressly to tour the United States and to present occasional seasons in Monte Carlo and London Yuri Zoritch, now known as George, was one of its principal male dancers, along with Igor Youskevitch and Frederic Franklin They often danced with ballerinas Alexandra Danilova, Rosella Hightower, and Nathalie Krassovska During the company's American tours over the next few years, Zoritch's startling good looks and winning personality on stage attracted increased attention to his dancing "It is impossible for him to make a bad line, to move unrhythmically," wrote one critic, "for there is a catlike smoothness about everything he does"

Zoritch was notable in two new roles in vastly different works by Massine: in Bogatyri 1938, set to music by Alexander Borodin, he portrayed Khan, the fearsome Mongol leader, and in The New Yorker 1940, set to music by George Gershwin, he was the magazine's signature character of the effete Eustace Tilley Neither of these works enjoyed much success, however, and both were soon dropped from the repertory Between these two, Zoritch appeared in a more substantial ballet, as the Fiancé in Frederick Ashton's Devil's Holiday, a major work in a prologue and three scenes set to music by Vincenzo Tommasini on themes of Niccolo Paganini Presented at the Metropolitan Opera House in October 1939 it had a star-studded cast and a complicated love story that required the Devil himself to sort out Hence Ashton's alternate title: Le Diable s'Amuse

Broadway and Hollywood

During the 1940s, Zoritch had a parallel career in Broadway musicals and Hollywood movies

  • 1943 Early to Bed A musical comedy with book and lyrics by George Mason Jr, music by Thomas "Fats" Waller, and dances by Robert Alton Zoritch appeared as Pablo, dancing with Jane Deering to "Slightly Less Than Wonderful"
  • 1944 Rhapsody An operetta with book by Leonard Louis Levenson and Arnold Sundgaard, music by Fritz Kreisler, and choreography by David Lichine Zoritch danced with Patricia Bowman in "Chinese Porcelain Ballet" in act 1 and "Midnight Ballet" in act 2
  • 1946 Night and Day A fictionalized biopic of Cole Porter, directed by Michael Curtiz and starring Cary Grant and Alexis Smith Zoritch danced with Milada Mladova in a sultry "Begin the Beguine"
  • 1947 Escape Me Never A musical love story set in 1900 Venice, with Errol Flynn, Ida Lupino, Eleanor Parker, and Gig Young, who plays a composer of a ballet score Zoritch dances the male lead in the ballet
  • 1949 Samson and Delilah A Cecil B DeMille epic, starring Victor Mature and Hedy Lamarr as the biblical lovers Zoritch was eye-catching as the Sword Dancer
  • 1949 Look for the Silver Lining A fictionalized biopic of vaudeville and Broadway star Marilyn Miller, starring June Haver, Ray Bolger, and Gordon MacRae Zoritch appears in a balletic pas de trois with June Haver and Oleg Tupine while Gordon MacRae sings the waltz song "A Kiss in the Dark," written by Victor Herbert with lyrics by Buddy da Sylva
  • 1950 Pardon Our French A musical revue with sketches by Ole Olson and Chic Johnson, music by Victor Young and Harry Sukman, and dances by various choreographers Zoritch appeared as the Shadow Dancer in the opening number to the title tune; as the First Lover of Patricia Denise in "Venezia and Her Three Lovers," choreographed by Ernst Matray; and as a dancer in "A Face in the Crowd" and "The Polker Polka"
  • 1956 Helen of Troy A Technicolor epic directed by Robert Wise, with Rossana Podestá in the title role Zoritch appears as an uncredited dancer

Of Zoritch's performance in Night and Day, a writer in the Hollywood Reporter commented, "If the handsome Zoritch can act the way he dances and looks, there is another new-name star from this film: Unfortunately, Zoritch never shed his thick Russian accent, which doomed his chances of ever taking speaking parts

Back to ballet

In 1951, Zoritch went to France and joined Le Grand Ballet du Marquis de Cuevas Based in Cannes in summer and Deauville in winter, this company had regular seasons in Paris and often toured in France and other countries of western Europe Wherever it performed, it was extremely popular with audiences It had an illustrious roster of ballerinas, including Tamara ToumanovaAlicia Markova, and Nathalie Krassovska, and a strong repertory of Russian classics as well as works by Harold Lander, George Balanchine, George Skibine, and John Taras Zoritch danced the princely roles but was often cast in works that showcased the beauty of his physical features rather than the artistry of his dancing He once took eighteen curtain calls after a performance of Le Spectre de la Rose, in a new version choreographed by Bronislava Nijinska Costumed as the Spectre in a sheer, rose-colored body stocking with a single strand of small roses trailing across his bare chest and over one shoulder, his beautifully proportioned figure was perfectly revealed It is little wonder at the audience's prolonged applause There is a famous photograph by Maurice Seymour of Zoritch in this role, standing in repose with arms curved softly aloft, that has been much admired and frequently reproduced

In 1957, at age 40, Zoritch returned to the United States and rejoined Ballet Russe de Monte Carlo, then under the direction of Sergei Denham He soon demonstrated that he was, in the words of Walter Terry, "the perfect cavalier" for the company's current ballerinas and distinguished guests such as Alicia Alonso and Yvette Chauviré Ann Barzel supported this judgment, claiming that Zoritch's "elegance was the backbone of the classics" in the company repertory These included Giselle, The Nutcracker, Raymonda, and act 2 of Swan Lake Basides these Russian classics, Zoritch excelled in other works in the repertory He was particularly acclaimed as the Poet in Michel Fokine's Romantic reverie Les Sylphides, set to the music of Frédéric Chopin

In the course of his long career, Zoritch's most famous role, however, was in a revolutionary work created in the early twentieth century: Vaslav Nijinsky's L'Après-midi d'un Faune, set to Claude Debussy's symphonic poem in 1912 Debussy's Prélude à l'Après-midi d'un Faune 1894, inspired by an 1876 poem of Stéphane Mallarmé, was considered by some music historians as "the beginning of modern music" Nijinsky's choreography was certainly new and modern, very different from previously seen forms of theatrical dance George Zoritch was ideally suited to reinterpret Nijinsky's vision of a lusty young woodland creature lounging in the heat of a summer afternoon With a figure that had been likened to "a Greek youth sculpted by Praxiteles," he projected an elegant eroticism particularly suited to the role

Later years

Having become an American citizen, Zoritch settled down in his new, adopted country and moved gradually from performing to teaching He played an important part in the growth of regional ballet across the United States but remained associated with the Ballet Russe de Monte Carlo until 1962, when the company was dissolved In 1964, he opened a ballet school in West Hollywood, California, where he exercised strict discipline and often employed sarcasm in giving corrections to his pupils Finding children disagreeable, he preferred older students, to whom he gave master classes Leaving California, he joined the dance faculty at the University of Arizona in Tucson He established a home there and taught at the university from 1972 to 1987 He never really stopped teaching Amazingly spry and upright even in old age, he had been known to teach from a wheelchair if the opportunity arose In 1994, he was a recipient of a Vaslav Nijinsky Medal, sponsored by the Polish Artists Agency in Warsaw, for work in honor of Nijinsky, referring to his performances of Nijinsky's roles in Le Spectre de la Rose and L'Après-midi d'un Faune

In his memoir, Zoritch readily acknowledged that he was not a bravura technician Declaring that artistry was more important than technique for dancers like him, he wrote, "Good ballet dancing is not simply a gathering of a vocabulary of steps; it is more like a good conversation, having theme and meaning None of us older dancers enjoyed the phenomenal techniques displayed by today's dancers We enjoyed, however, a mood, a quality, and artistry, which comes from keen individual perception"

Zoritch's personality, charm, and wisdom survive delightfully in the 2005 documentary film Ballets Russes, a priceless reunion of the survivors from the post-Diaghilev days Four years later, in 2009, he was hospitalized after a fall in his home in Tucson He died in November, at age 92, beloved by former colleagues and students alike

References

  1. ^ Horst Koegler, "Zoritch, George," in The Concise Oxford Dictionary of Ballet, 2d ed New York: Oxford University Press, 1932
  2. ^ "George Zoritch," recipient of a Lifetime Achievement Award, 2002, Corps de BAllet International, online, http://wwwcorps-de-balletorg/awards/lifetime-achievement-award/george-zoritch
  3. ^ Vicente Garcia-Márquez, The Ballets Russes: Colonel de Basil's Ballets Russes de Monte Carlo, 1932-1952 New York: Knopf, 1990, pp 158-159
  4. ^ Judith Chazin-Bennahum, René Blum and the Ballets Russes: In Search of a Lost Life New York: Oxford University Press, 2011
  5. ^ Walter Terry, quoted in Jack Anderson, The One and Only: The Ballet Russe de Monte Carlo Brooklyn, NY: Dance Horizons, 1981, p 48
  6. ^ Leslie Norton Léonide Massine and 20th-Century Ballet Jefferson, NC: McFarland, 2004
  7. ^ David Vaughan, Frederick Ashton and His Ballets New York: Knopf, 1977, p 472
  8. ^ Richard C Norton, A Chronology of American Musical Theater, vol 2 New York: Oxford University Press, 2002
  9. ^ "George Zoritch," at Internet Movie Database, online: http://wwwimdb
  10. ^ Quoted in "George Zoritch," Corps de BAllet International online: http://wwwcorps-de-balletorg
  11. ^ Irène Lidova, "Grand Ballet du Marquis de Cuevas," in International Encyclopedia of Dance, edited by Selma Jeanne Cohen and others New York: Oxford University Press, 1998, vol 3, p 226
  12. ^ Maurice Seymour, photograph of George Zoritch in costume for Le Spectre de la Rose, in Jerome Robbins Dance Division of the New York Public Library for the Performing arts
  13. ^ Walter Terry and Ann Barzel, quoted in Jack Anderson, The One and Only: The Ballet Russe de Monte Carlo 1981, p 172
  14. ^ Horst Koegler, "Zoritch, George," in The Concise Oxford Dictionary of Ballet, 2d ed 1982
  15. ^ Pierre Boulez, Stocktakings from an Apprenticeship, translated by Stephen Walsh Oxford, UK: Clarendon, Press, 1991
  16. ^ William Como, "George Zoritch today, as Premier Danseur and Teacher He Prefers Elegance and Tradition," Dance Magazine New York, September 1964, pp 48-51, 71-73
  17. ^ Mary Clarke, "George Zoritch," obituary, The Guardian Manchester, UK, 9 December 2009
  18. ^ "Awards to Americans in Honor of Nijinsky," New York Times, 26 November 1994
  19. ^ George Zoritch, Ballet Mystique: Behind the glamour of the Ballet Russe Mountain View, Calif: Cynara Editions, 2000
  20. ^ Ballets Russes A documentary film written and directed by Daniel Geller and Dayna Goldfine Released by Geller/Goldfine Productions, 2005 Available on DVD The film includes a charming sequence in which Zoritch and Nathalie Krassovska, both nearing 90, recall their long-ago partnership in Giselle
  21. ^ Anna Kisselgoff, "George Zoritch, Star of Ballet Russe Companies, Is Dead at 92," obituary, New York Times, 6 November 2009


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