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Ballet, as Anthony Russell-Roberts used to say, was in his blood. His mother, a fine pianist, was the sister of Frederick Ashton, The Royal Ballet’s Founder Choreographer, who was a frequent visitor to the family home. The young Anthony regularly listened to stories about dancers, choreographers and the theatre and, early on, was brought to see performances at the Royal Opera House. He imagined that he might one day become part of his uncle’s world but with no obvious route into it he went to Oxford reading Philosophy, Politics and Economics. Afterwards, deciding his preferred career as a professional painter could well be precarious, he became a general management trainee with the brewers Watney Mann in 1965, three years later going into property development.

However, the theatre still called to him and in 1976 he worked with both the Glyndebourne and Kent Opera companies as a junior stage manager. Combining back-stage experience with his knowledge of business he was then able to launch his career as an arts administrator. In 1977 he was appointed Assistant to the General Director of the Royal Opera House, two years later going on to become the Artistic Administrator at the Paris Opera. He returned to Covent Garden as Administrative Director of The Royal Ballet in 1983, a post he would retain until his retirement in 2009.

During those years Russell-Roberts worked closely with four of the Company’s artistic directors, Norman Morrice, Anthony Dowell, Ross Stretton and Monica Mason, collaborating on creative and marketing strategies, shaping budgets and overseeing foreign touring. Balancing the demands of finance and creativity was a delicate art but Russell-Roberts was ever mindful of his need to respect and facilitate the vision of each Director. Above all he was a tireless defender of The Royal Ballet itself, in particular during one of the darkest times in its history when, between 1997 and 2000 the Royal Opera House went dark for renovations. The Company was rendered homeless during that time and Russell-Roberts was indefatigable in warding off threats of closure and cuts to the number of dancers, leaving no stone unturned to find new sources of funding to keep the Company together and afloat. Due in no small part to him, it weathered the storm intact and in remarkably good financial shape.

On his death in 1988, Frederick Ashton bequeathed several of his works to individuals close to him leaving his nephew, Russell-Roberts, as residual legatee. However, this left the problem of how to manage the future of the Ashton repertory and a trust was formed in 2004. This was superseded in 2012 by a charitable foundation, The Frederick Ashton Foundation, whose stated aim is to protect and promote Ashton’s choreographic legacy for future generations. Russell-Roberts was a trustee of the Ashton Foundation until 2021, and then remained as patron, continuing to be a fierce advocate for his uncle’s ballets for the rest of his life. He was appointed a CBE in 2004.

Kevin O’Hare, Director of The Royal Ballet, said: ‘Anthony was a crucial part of The Royal Ballet for over two decades and a brilliant and lovely man. With his inimitable humour and sharp tactical approach to negotiations, he steered us through the closure and reopening of the Royal Opera House with great finesse and worked tirelessly to secure our world-class facilities. As Sir Fred’s nephew, he was steeped in the Company’s legacy and he loved nothing better than to witness its ongoing success at home in Covent Garden and on numerous international tours. He was an inspiring mentor to many of us, playful and generous in his knowledge and unstinting in his belief in The Royal Ballet.'

The first night of the Ashton Celebrated programme in June will be dedicated to the memory of Anthony Russell-Roberts.