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| Milorad Miskovitch obituary | Milorad Miskovitch obituary |
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| 'The ideal partner" was Alicia Markova's description of the Serbian dancer Milorad Miskovitch, who has died aged 85. To merit this description, Markova called for "talent, intelligence and temperament" and the ability to "move with grace and nobility". Travel and hard work should be shared, she stated, "with good humour, as well as the joy and pleasure of successful performances". Miskovitch possessed all these qualities, as well as quite remarkable good looks which he retained well into his later years. | 'The ideal partner" was Alicia Markova's description of the Serbian dancer Milorad Miskovitch, who has died aged 85. To merit this description, Markova called for "talent, intelligence and temperament" and the ability to "move with grace and nobility". Travel and hard work should be shared, she stated, "with good humour, as well as the joy and pleasure of successful performances". Miskovitch possessed all these qualities, as well as quite remarkable good looks which he retained well into his later years. |
| His early training had provided him with a sound classical technique, and this, coupled with a magnetic stage presence, strong dramatic sense and an open-minded attitude towards all forms of dance, made choreographers and directors eager to cast him and to create roles to showcase his gifts. | His early training had provided him with a sound classical technique, and this, coupled with a magnetic stage presence, strong dramatic sense and an open-minded attitude towards all forms of dance, made choreographers and directors eager to cast him and to create roles to showcase his gifts. |
| He worked with a wide range of choreographers including Merce Cunningham, who created a duet for the young Miskovitch and the American dancer Betty Nichols; Janine Charrat; Roland Petit; Léonide Massine; Maurice Béjart; and William Dollar, in whose ballet Le Combat (1949), based on Torquato Tasso's story of the Christian knight Tancredi and the Saracen girl Clorinda, Miskovitch created a sensation when he danced it in New York. | He worked with a wide range of choreographers including Merce Cunningham, who created a duet for the young Miskovitch and the American dancer Betty Nichols; Janine Charrat; Roland Petit; Léonide Massine; Maurice Béjart; and William Dollar, in whose ballet Le Combat (1949), based on Torquato Tasso's story of the Christian knight Tancredi and the Saracen girl Clorinda, Miskovitch created a sensation when he danced it in New York. |
| He also danced the leading roles of the classical repertory during seasons with the Grand Ballet de Monte Carlo, where he partnered Rosella Hightower in Giselle, and in Britain with International Ballet and Festival Ballet. | He also danced the leading roles of the classical repertory during seasons with the Grand Ballet de Monte Carlo, where he partnered Rosella Hightower in Giselle, and in Britain with International Ballet and Festival Ballet. |
| Miskovitch had always been interested in the process of creation and in 1956, together with the critic Irène Lidova, he formed his own company for which, in addition to dancing, he created a number of ballets. The company toured internationally, though not consistently, for a decade and Miskovitch created many ballets for it. | Miskovitch had always been interested in the process of creation and in 1956, together with the critic Irène Lidova, he formed his own company for which, in addition to dancing, he created a number of ballets. The company toured internationally, though not consistently, for a decade and Miskovitch created many ballets for it. |
| He was born in Valjevo, western Serbia, then part of the kingdom of Yugoslavia. He studied in Belgrade with Nina Kirsanova and joined the ballet company of the National theatre there, making his debut in 1943 and rising to the rank of soloist. In 1946 he moved to Paris, where he worked with Olga Preobrajenska and Boris Kniaseff. The next year, in London, he joined Colonel de Basil's Original Ballets Russes and later that season appeared with Mona Inglesby's International Ballet, dancing leading roles in the traditional classics which formed the backbone of that company's repertoire. | He was born in Valjevo, western Serbia, then part of the kingdom of Yugoslavia. He studied in Belgrade with Nina Kirsanova and joined the ballet company of the National theatre there, making his debut in 1943 and rising to the rank of soloist. In 1946 he moved to Paris, where he worked with Olga Preobrajenska and Boris Kniaseff. The next year, in London, he joined Colonel de Basil's Original Ballets Russes and later that season appeared with Mona Inglesby's International Ballet, dancing leading roles in the traditional classics which formed the backbone of that company's repertoire. |
| Following periods with Petit's Ballets de Paris and the Marquis de Cuevas's Grand Ballet de Monte Carlo, Misovitch returned to Britain to spend a season with Festival Ballet, where his usual partner was the Yugoslav ballerina Mia Slavenska. On returning to France he undertook a number of engagements, including a tour with France's prima ballerina, Yvette Chauviré. Following that tour, serious illness kept him off stage for some months, but in 1954 he undertook an extensive international tour with Markova, partnering her in several of her signature roles. | Following periods with Petit's Ballets de Paris and the Marquis de Cuevas's Grand Ballet de Monte Carlo, Misovitch returned to Britain to spend a season with Festival Ballet, where his usual partner was the Yugoslav ballerina Mia Slavenska. On returning to France he undertook a number of engagements, including a tour with France's prima ballerina, Yvette Chauviré. Following that tour, serious illness kept him off stage for some months, but in 1954 he undertook an extensive international tour with Markova, partnering her in several of her signature roles. |
| This was followed by a crowded schedule of tours with his own company, guest appearances and spells with companies such as Massine's Ballet de l'Europe, Ruth Page's Chicago Ballet and Charrat's Ballet de France. He also choreographed original works both for his own troupe and in Yugoslavia, as well as staging the classics. In 1972 he went to the US, where he spent two years – first at the Dallas Ballet, as artistic director, and later moving to Ballet West in Salt Lake City. | This was followed by a crowded schedule of tours with his own company, guest appearances and spells with companies such as Massine's Ballet de l'Europe, Ruth Page's Chicago Ballet and Charrat's Ballet de France. He also choreographed original works both for his own troupe and in Yugoslavia, as well as staging the classics. In 1972 he went to the US, where he spent two years – first at the Dallas Ballet, as artistic director, and later moving to Ballet West in Salt Lake City. |
| Returning to France, he concentrated mainly on choreography and stagings, including a successful version of Giselle at the Verona Arena, which starred Carla Fracci and Paolo Bortoluzzi. His last stage role was in his own ballet, Mozart and Salieri, created for the Teatro La Fenice in Venice. In 1979 he began work as an artistic adviser with Unesco; he served as president of its international dance council between 1988 and 1994. | Returning to France, he concentrated mainly on choreography and stagings, including a successful version of Giselle at the Verona Arena, which starred Carla Fracci and Paolo Bortoluzzi. His last stage role was in his own ballet, Mozart and Salieri, created for the Teatro La Fenice in Venice. In 1979 he began work as an artistic adviser with Unesco; he served as president of its international dance council between 1988 and 1994. |
| Miskovitch is survived by his wife, Nita-Carol Cervin. | Miskovitch is survived by his wife, Nita-Carol Cervin. |
| • Milorad Miskovitch, dancer, choreographer and director, born 26 March 1928; died 21 June 2013 | • Milorad Miskovitch, dancer, choreographer and director, born 26 March 1928; died 21 June 2013 |
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