Marguerite and Armand
As Marguerite – a Parisian courtesan – lies on her deathbed, she recalls her tragic love affair with Armand in a feverish series of flashbacks.
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UK audiences can relive Tamara Rojo's final ROH performance on 15 July.
From The Rite of Spring to Alice's Adventures in Wonderland, ballet's specially-created roles.
Frederick Ashton created Marguerite and Armand for Rudolf Nureyev and Margot Fonteyn in 1963 as a vehicle for their unique dance partnership. The narrative was drawn from the play La Dame aux camélias by Alexandre Dumas fils, which also inspired Giuseppe Verdi’s La traviata. Ashton concentrates the play’s tragic essence in choreography of great intensity – Fonteyn recalled that rehearsals for the work contained ‘a passion more real than life itself’.
The ballet is set to Franz Liszt’s romantic Piano Sonata in B Minor and depicts the burgeoning love between Marguerite and Armand, which is movingly expressed through passionate lifts and increasingly free movements. However, the lovers’ happiness is threatened by social convention and the ‘gilded cage’ in which Marguerite lives – evoked by Cecil Beaton in his elegant stage designs. The moment at which Marguerite realizes that she must renounce Armand is one of devastating stillness. The final pas de deux, as Marguerite lies dying in Armand’s arms, is one of the most moving in all of ballet.
Generous Philanthropic support from
Lady Ashcroft, Marina Hobson MBE and Lindsay and Sarah Tomlinson
As a mixed programme the performance lasts about 2 hours 35 minutes | including two intervals
|Lighting design||John B Read|