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Yvette Chauviré obituary Yvette Chauviré obituary
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Two quite remarkable ballerinas emerged from France in the 20th century. The latter years were dominated by Sylvie Guillem; Yvette Chauviré, who has died aged 99, was important in the years following the second world war. Fine-boned and dark-haired, she had a brilliant classical technique which she used not for showy effect but as a language for interpreting character and expressing poetry. She was perceived as the perfect example of the Franco-Italian school of ballet. Two quite remarkable ballerinas emerged from France in the 20th century. The latter years were dominated by Sylvie Guillem; Yvette Chauviré, who has died aged 99, was important in the years following the second world war. Fine-boned and dark-haired, she had a brilliant classical technique that she used not for showy effect but as a language for interpreting character and expressing poetry. She was perceived as the perfect example of the Franco-Italian school of ballet.
Chauviré had the good fortune to make her debut at a time when ballet in France was emerging from a long decline. Under the direction of Serge Lifar, Sergei Diaghilev’s last male star, the ballet of the Paris Opéra was becoming fashionable again. Her talent and promise were quickly spotted and she rose rapidly through the ranks of that hierarchichal company. Even when she was in her 50s and had ceased to appear regularly with the Opéra she commanded great respect in the company. When the programmes began listing dancers alphabetically rather than in order of seniority, Claire Motte, one of the company’s leading dancers, remarked: “Happily, Madame Chauviré’s name still comes first.” Indeed, she was widely known as La Chauviré Nationale. Chauviré had the good fortune to make her debut at a time when ballet in France was emerging from a long decline. Under the direction of Serge Lifar, Sergei Diaghilev’s last male star, the ballet of the Paris Opéra was becoming fashionable again. Her talent and promise were quickly spotted and she rose rapidly through the ranks of that hierarchical company. Even when she was in her 50s and had ceased to appear regularly with the Opéra she commanded great respect in the company. When the programmes began listing dancers alphabetically rather than in order of seniority, Claire Motte, one of the company’s leading dancers, remarked: “Happily, Madame Chauviré’s name still comes first.” Indeed, she was widely known as La Chauviré Nationale.
Her relationship with the Opéra was not always untroubled. She quit the troupe twice, first in 1946 when Lifar was accused of collaboration with the Nazi regime and was forced to step down from his post. Although not a hint of the scandal touched Chauviré herself, out of loyalty to Lifar she followed him to Monaco, where he was involved in setting up the Nouveau Ballet de Monte Carlo.Her relationship with the Opéra was not always untroubled. She quit the troupe twice, first in 1946 when Lifar was accused of collaboration with the Nazi regime and was forced to step down from his post. Although not a hint of the scandal touched Chauviré herself, out of loyalty to Lifar she followed him to Monaco, where he was involved in setting up the Nouveau Ballet de Monte Carlo.
When Lifar returned to the Opéra in 1947, Chauviré resumed her role as étoile (“star dancer”), but in 1949, after a dispute with the director, Georges Hirsch, she left again to dance as guest star with companies around the world. She returned to the Opéra in 1953, and although regulations obliged her to retire on reaching the age of 40 in 1957, she continued to appear with the company as a guest until 1972, when she made her farewell to the stage in a performance of Giselle.When Lifar returned to the Opéra in 1947, Chauviré resumed her role as étoile (“star dancer”), but in 1949, after a dispute with the director, Georges Hirsch, she left again to dance as guest star with companies around the world. She returned to the Opéra in 1953, and although regulations obliged her to retire on reaching the age of 40 in 1957, she continued to appear with the company as a guest until 1972, when she made her farewell to the stage in a performance of Giselle.
Born in Paris, daughter of Berthe (nee Pinchard) and Henri Chauviré, she entered the school of the Paris Opéra at the age of 10. Her teacher was Laetitia Couat. She later studied with the Russian dancer and choreographer Boris Kniaseff. At the age of 13, Yvette joined the ballet of the Opéra with the rank of second quadrille. Lifar brought a new spirit to the troupe and was determined that the younger members of the company should have the opportunity to develop. It took just four years for Chauviré to rise to the level of première danseuse, which was then the highest level of the company, and she was soon given leading roles in several of Lifar’s own ballets. His first major creation for her came on 31 December 1941 with Istar, in which she created the leading role. That evening she was promoted to the recently created rank of étoile.Born in Paris, daughter of Berthe (nee Pinchard) and Henri Chauviré, she entered the school of the Paris Opéra at the age of 10. Her teacher was Laetitia Couat. She later studied with the Russian dancer and choreographer Boris Kniaseff. At the age of 13, Yvette joined the ballet of the Opéra with the rank of second quadrille. Lifar brought a new spirit to the troupe and was determined that the younger members of the company should have the opportunity to develop. It took just four years for Chauviré to rise to the level of première danseuse, which was then the highest level of the company, and she was soon given leading roles in several of Lifar’s own ballets. His first major creation for her came on 31 December 1941 with Istar, in which she created the leading role. That evening she was promoted to the recently created rank of étoile.
During the occupation of France, she danced in a number of Lifar’s creations, but it was not until 1944 that she first assumed the title role in Giselle, the part for which she was most famous and which she performed with many companies and many partners. In her memoir Je Suis Ballerine (1961), she reckoned there had been 33 partners and there were to be several more, not least Erik Bruhn and Rudolf Nureyev, before she made her formal farewell to the stage in the role in 1972.During the occupation of France, she danced in a number of Lifar’s creations, but it was not until 1944 that she first assumed the title role in Giselle, the part for which she was most famous and which she performed with many companies and many partners. In her memoir Je Suis Ballerine (1961), she reckoned there had been 33 partners and there were to be several more, not least Erik Bruhn and Rudolf Nureyev, before she made her formal farewell to the stage in the role in 1972.
Chauviré starred in Lifar’s David Triomphant, Suite en Blanc, Les Mirages and La Péri. But she worked with other choreographers including John Cranko (who revealed her hitherto unexpected gift for comedy in La Belle Hélène), Harald Lander and Tatjana Gsovsky. She also created the female role in Grand Pas Classique, a brilliant display piece choreographed by Tatjana’s husband, Victor Gsovsky, still popular today.Chauviré starred in Lifar’s David Triomphant, Suite en Blanc, Les Mirages and La Péri. But she worked with other choreographers including John Cranko (who revealed her hitherto unexpected gift for comedy in La Belle Hélène), Harald Lander and Tatjana Gsovsky. She also created the female role in Grand Pas Classique, a brilliant display piece choreographed by Tatjana’s husband, Victor Gsovsky, still popular today.
Chauviré appeared in London on several occasions, with small groups and also with London Festival Ballet. In 1958 she was invited to appear with the Royal Ballet at Covent Garden. Naturally her repertory included Giselle, for which she received considerable praise. She also danced the second act of Swan Lake – she had been the first ballerina to perform that role at the Opéra – and Les Sylphides. But what was truly remarkable was that at the age of 41 she danced the leading role in The Sleeping Beauty – one of the most testing in the classical repertoire – for the first time. The critic Clive Barnes described her performance as a triumph.Chauviré appeared in London on several occasions, with small groups and also with London Festival Ballet. In 1958 she was invited to appear with the Royal Ballet at Covent Garden. Naturally her repertory included Giselle, for which she received considerable praise. She also danced the second act of Swan Lake – she had been the first ballerina to perform that role at the Opéra – and Les Sylphides. But what was truly remarkable was that at the age of 41 she danced the leading role in The Sleeping Beauty – one of the most testing in the classical repertoire – for the first time. The critic Clive Barnes described her performance as a triumph.
When in 1983 Nureyev became the director of the Ballet de l’Opéra, his first production was a sumptuous revival of the Marius Petipa classic Raymonda. The cast included almost every one of the company’s leading dancers, some of them, quite contrary to custom, in secondary roles, and as a crowning gesture he persuaded Chauviré out of retirement to play the important mimed role of the Countess de Doris.When in 1983 Nureyev became the director of the Ballet de l’Opéra, his first production was a sumptuous revival of the Marius Petipa classic Raymonda. The cast included almost every one of the company’s leading dancers, some of them, quite contrary to custom, in secondary roles, and as a crowning gesture he persuaded Chauviré out of retirement to play the important mimed role of the Countess de Doris.
This brought her firmly back into the Opéra as a teacher and coach. She was the subject of a 1988 documentary by Dominique Delouche in which, touchingly, she coaches the young Guillem in Grand Pas Classique.This brought her firmly back into the Opéra as a teacher and coach. She was the subject of a 1988 documentary by Dominique Delouche in which, touchingly, she coaches the young Guillem in Grand Pas Classique.
Chauviré received many honours, including, in 1998, the grand cross of the Ordre National du Mérite and was made a commandeur of the Légion d’Honneur in 1988, promoted to grand officier in 2010.Chauviré received many honours, including, in 1998, the grand cross of the Ordre National du Mérite and was made a commandeur of the Légion d’Honneur in 1988, promoted to grand officier in 2010.
Her husband, the painter Constantin Nepo, died in 1976.Her husband, the painter Constantin Nepo, died in 1976.
• Yvette Chauviré, ballerina, born 22 April 1917; died 19 October 2016• Yvette Chauviré, ballerina, born 22 April 1917; died 19 October 2016
• Judith Cruickshank died in July this year • Judith Cruickshank died in July 2016