Melissa Hayden

gestorben

Tanz - Logo

Ballerina and teacher Melissa Hayden – called by Lincoln Kirstein “the nearest thing to a ‘star’ in our starless company” – died this past August of pancreatic cancer at her home in Winston-Salem, North Carolina. She was 83.
Hayden, a native of Canada born as Mildred Herman danced with the (now-disbanded) corps de ballet of Radio City Music Hall, and, intermittently, with Ballet Theatre. In 1952, Hayden appeared as a ballet dancer in Charlie Chaplin’s “Limelight,” where she was credited as one of the film’s four choreographers.

However, Hayden’s career was principally spent as a dancer for George Balanchine at NYCB, which she joined in 1949, and rejoined from 1954 to 1973. Indeed, she was the first dancer to leave Balanchine and be accepted back by him, and also the first Balanchine ballerina to return to the stage after having had a child. For her retirement, Balanchine made the ballet “Cortège Hongrois” – the only work he ever made to acknowledge the retirement of an NYCB company member. After NYCB, she served briefly as the head of Pacific Northwest Ballet in Seattle and opened her own school in New York. She was a member of the faculty at the North Carolina School of the Arts, ...

Weiterlesen mit dem digitalen Monats-Abo

Sie sind bereits Abonnent von tanz? Loggen Sie sich hier ein
  • Alle tanz-Artikel online lesen
  • Zugang zum ePaper
  • Lesegenuss auf allen Endgeräten
  • Zugang zum Onlinearchiv von tanz

Sie können alle Vorteile des Abos
sofort nutzen

Digital-Abo testen

Tanz November 2006
Rubrik: Celebrities, Seite 28
von Mindy Aloff

Vergriffen
Weitere Beiträge
Leserbrief

Was ist der Unterschied zwischen modernem und zeitgenössischem Tanz?
Andreas Bernard, Berlin

Lieber Andreas Bernard,
George Balanchine behauptete, Tanz sei immer zeitgenössisch. Was meinte er damit? Der Tanz als darstellende Kunst ist immer an den lebendigen, an den im Hier und Heute lebenden Tänzer, d. h. tanzenden Menschen und an den lebendigen, an den im Hier und...

Tanz-Symposium Grete Wiesenthal

War es Kitsch oder unbeschwerter Charme, schwingend getanzte Form des Jugendstils oder Walzerklebrigkeit? Noch ist eine ganze Reihe Damen zu befragen, die bei Grete Wiesenthal (1885-1970) persönlich an der Wiener Akademie studiert haben. Und noch heute wird an der Ballettschule der Wiener Staats­oper Wiesenthal-Technik unterrichtet. Auch in den Tanzbeiträgen des...

Johan Inger, Sidi Larbi Cherkaoui: «Blanco», «End»

The Cullberg 2006 double bill consists of “End” by Sidi Larbi Cherkaoui and “Blanco” by Johan Inger. The central theme throughout is the motif of the Wall, in a political as well as metaphorical, psycho­lo­­gical and spiritual sense.The wall has become Johan Inger’s trademark; in “Blanco” it is a huge wavy screen on the right side of the stage that somehow seems to...