Imperial Dancer: Mathilde Kschessinska and the Romanovs by Coryne Hall Page A
Authors: Coryne Hall
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and suddenly they are left with nothing (as after the Revolution) it is their will to survive that keeps them going. Mathilde Kschessinska had such a strong will. She decided to enjoy her life regardless of the circumstances and she survived with dignity. In her youth she said to her father ‘I want to experience all the happiness I am allowed’ – and she did.
Natalia Makarova
A CKNOWLEDGEMENTS
T here are several people who were involved in this project at the outset and it is fair to say that without their help during the initial stages the book would probably never have been written.
First of all, my thanks to Dr Stephen de Angelis, for invaluable research materials, photographs, and help with the diary entries of Nicholas II; Senta Driver, for assistance with the American archives and who undertook all the research in the Harvard Theatre Collection; Natalia Stewart who, in between her job at the Royal Opera House, translated all the Russian letters as well as providing comments and explanations; Dr Zinaida Peregudova of the State Archives of the Russian Federation for providing, and permitting me to quote from, unpublished material; Beryl Morina, Chief Examiner, Classical Ballet (Russian Method Branch), NATD, for her personal recollections of Mathilde; Barbara Gregory, for permission to quote from the works of John Gregory, whose book Nicholas Legat, Heritage of a Ballet Master (Dance Books, 1978) remains the standard work; Professor Tim Scholl, for generously allowing me to quote from his AATSEEL Conference Paper based on his own archival research into Kschessinska’s early diaries and memoirs; Katrina Warne for the loan of Russian books; and Paul Kulikovsky, who gave me the video which finally convinced me to write the book.
I was privileged to spend two days in the home of the late Lady Menuhin, going through the Kschessinska letters in the Menuhin archives. I would like to express my gratitude to the heirs of Lady Menuhin for allowing me to see these letters, and to Susanne Baumgarten of the Menuhin archives for facilitating this. Unfortunately, the letters were sold at auction before the book was completed and it has not been possible to make contact with the new owner(s). I have therefore used information from the letters without quoting from the text.
To my great regret, and despite the best efforts of several people in Spain, no reply was received to my request for access to the archives held by Grand Duke Andrei’s family.
Nevertheless, this book would not have been possible without the help of a large number of people and I would like to express my thanks to everyone listed below. Others have asked to remain anonymous and in respecting their wishes my gratitude is no less great.
In Britain: Leonard Bartle, the National Arts Education Archive; Eunice Biedryski Bartell, President, The Russian Ballet Society; Mary Clarke, editor, The Dancing Times ; Joy and Graeme Cruickshank, Theatre Information Group/Society for Dance Research; Richard Davis, Archivist, The Brotherton Library, Leeds University; Diana de Courcy-Ireland; Express Newspapers; Nigel Grant, Dance Teachers On-line; Jonathan Gray and the staff of the Theatre Museum; Paul Grove; Jane Jackson and the staff of the Royal Opera House Archives; Chris Jones, National Resource Centre for Dance; Sonja Kielty; Ian Lilburn; Nesta MacDonald; Natalia Makarova; Lady Rose McLaren; Mikhail Messerer, Company Guest Ballet Teacher, The Royal Ballet; Ann Morrow; James Munson; Bridget Paine and the staff of Bordon Library; Portsmouth Library; Carol Relf; Ian Shapiro, Argyll-Etkin Ltd; Roger Short; Karen Stringer; The London Library; Richard Thornton; Dawn Tudor; Moya Vahey, Chairman, The Legat Foundation; John Van der Kiste; Hugo Vickers; Mollie Whittaker-Axon; John Wimbles; Sue and Mike Woolmans; Marion Wynn; Charlotte Zeepvat; and Frank Taylor of Interworld for his forbearance.
In Denmark: Anne Dyhr, Det Kongelige Bibliotek; Anna Lerche von Lowzow and Marcus
Natalia Makarova
A CKNOWLEDGEMENTS
T here are several people who were involved in this project at the outset and it is fair to say that without their help during the initial stages the book would probably never have been written.
First of all, my thanks to Dr Stephen de Angelis, for invaluable research materials, photographs, and help with the diary entries of Nicholas II; Senta Driver, for assistance with the American archives and who undertook all the research in the Harvard Theatre Collection; Natalia Stewart who, in between her job at the Royal Opera House, translated all the Russian letters as well as providing comments and explanations; Dr Zinaida Peregudova of the State Archives of the Russian Federation for providing, and permitting me to quote from, unpublished material; Beryl Morina, Chief Examiner, Classical Ballet (Russian Method Branch), NATD, for her personal recollections of Mathilde; Barbara Gregory, for permission to quote from the works of John Gregory, whose book Nicholas Legat, Heritage of a Ballet Master (Dance Books, 1978) remains the standard work; Professor Tim Scholl, for generously allowing me to quote from his AATSEEL Conference Paper based on his own archival research into Kschessinska’s early diaries and memoirs; Katrina Warne for the loan of Russian books; and Paul Kulikovsky, who gave me the video which finally convinced me to write the book.
I was privileged to spend two days in the home of the late Lady Menuhin, going through the Kschessinska letters in the Menuhin archives. I would like to express my gratitude to the heirs of Lady Menuhin for allowing me to see these letters, and to Susanne Baumgarten of the Menuhin archives for facilitating this. Unfortunately, the letters were sold at auction before the book was completed and it has not been possible to make contact with the new owner(s). I have therefore used information from the letters without quoting from the text.
To my great regret, and despite the best efforts of several people in Spain, no reply was received to my request for access to the archives held by Grand Duke Andrei’s family.
Nevertheless, this book would not have been possible without the help of a large number of people and I would like to express my thanks to everyone listed below. Others have asked to remain anonymous and in respecting their wishes my gratitude is no less great.
In Britain: Leonard Bartle, the National Arts Education Archive; Eunice Biedryski Bartell, President, The Russian Ballet Society; Mary Clarke, editor, The Dancing Times ; Joy and Graeme Cruickshank, Theatre Information Group/Society for Dance Research; Richard Davis, Archivist, The Brotherton Library, Leeds University; Diana de Courcy-Ireland; Express Newspapers; Nigel Grant, Dance Teachers On-line; Jonathan Gray and the staff of the Theatre Museum; Paul Grove; Jane Jackson and the staff of the Royal Opera House Archives; Chris Jones, National Resource Centre for Dance; Sonja Kielty; Ian Lilburn; Nesta MacDonald; Natalia Makarova; Lady Rose McLaren; Mikhail Messerer, Company Guest Ballet Teacher, The Royal Ballet; Ann Morrow; James Munson; Bridget Paine and the staff of Bordon Library; Portsmouth Library; Carol Relf; Ian Shapiro, Argyll-Etkin Ltd; Roger Short; Karen Stringer; The London Library; Richard Thornton; Dawn Tudor; Moya Vahey, Chairman, The Legat Foundation; John Van der Kiste; Hugo Vickers; Mollie Whittaker-Axon; John Wimbles; Sue and Mike Woolmans; Marion Wynn; Charlotte Zeepvat; and Frank Taylor of Interworld for his forbearance.
In Denmark: Anne Dyhr, Det Kongelige Bibliotek; Anna Lerche von Lowzow and Marcus
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