About the Book
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 24. Chapters: Adeline Genee, Alban Lendorf, Anine Frolich, Antoine Bournonville, August Bournonville, Caroline Muller (mezzo-soprano), Eline Heger, Ellen Price, Elna Lassen, Else Hojgaard, Erik Bruhn, Flemming Flindt, Frank Andersen, Harald Lander, Harald Scharff, Henning Kronstam, Johanne Rosing, Johan Kobborg, Kirsten Ralov, Kirsten Simone, Louise Rasmussen, Lucile Grahn, Margot Lander, Margrethe Schall, Marie Christine Bjorn, Niels Bjorn Larsen, Nikolaj Hubbe, Palle Jacobsen, Peter Martins, Poul Gnatt, Sorella Englund, Stanley Williams (ballet), Thomas Lund (dancer), Valda Valkyrien. Excerpt: Erik Belton Evers Bruhn (October 3, 1928 - April 1, 1986) was a Danish danseur, choreographer, company director, actor, and author. Erik Bruhn was born in Copenhagen, Denmark, the fourth child and first son of Ellen (nee Evers), owner of a hairdressing salon, and third child of Ernst Bruhn. His parents married shortly before his birth. Bruhn began training with the Royal Danish Ballet when he was nine years old, and made his unofficial debut on the stage of Copenhagen's Royal Opera House in 1946, dancing the role of Adonis in Harald Lander's ballet Thorvaldsen. He was taken permanently into the company in 1947 at the age of eighteen. Bruhn took the first of his frequent sabbaticals from the Danish company in 1947, dancing for six months with the short-lived Metropolitan Ballet in England, where he formed his first major partnership, with the Bulgarian ballerina Sonia Arova. He returned to the Royal Danish Ballet in the spring of 1948 and was promoted to soloist in 1949, the highest level a dancer can attain in the Danish ballet. Later in 1949, he again took a leave of absence and joined American Ballet Theatre in New York, where he would dance regularly for the next nine years, although his home company continued to be the Royal Danish Ballet. The turning point in Bruhn's international career came on May 1, 1955 with his debut in the role of Albrecht in Giselle partnering Dame Alicia Markova, nearly twenty years his senior, in a matinee with Ballet Theatre in New York after only three days of rehearsal. The performance caused a sensation. Dance critic John Martin, writing in the New York Times, called it "a date to write down in the history books, for it was as if the greatest Giselle of today were handing over a sacred trust to what is probably the greatest Albrecht of tomorrow." In an article entitled "The Matinee that Made History" in Dance News in June 1955, P.W. Machester wrote: Technically exacting as it is, the role of Albrecht is not beyond the capabilities
