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(Redirected from Rudolph Nureyev)
'Rudolf Nureyev' (Tatar form 'Rudolf Xämät ulı Nuriev', Russian Рудольф Хаметович Нуриев) (17 March 1938 – 6 January 1993), is regarded as one of the greatest male ballet dancers of the 20th century, alongside Maris Liepa, Vaslav Nijinsky, Alexander Godunov and Mikhail Baryshnikov.
Nureyev was born on the Trans-Siberian train near Irkutsk, Siberia, Soviet Union, while his mother Farida was travelling to Vladivostok, where his father Hamat, a Red Army political commissar was stationed
[1]. He was raised as the only son in a Tatar family in a village near Ufa in Soviet republic of Bashkiria. When his mother smuggled him and his sisters into a performance of the ballet "Song of the Cranes", he fell in love with dance.
[1] As a child he was encouraged to dance in Bashkir folk performances and his precocity was soon noticed by teachers who encouraged him to train in Leningrad. On a tour stop in Moscow with a local ballet company, Nureyev auditioned for the Bolshoi ballet company and was accepted. However,
he felt that the Kirov Ballet school was the best, so he left the local touring company and bought a ticket to Leningrad.[3]
Due to the disruption of Soviet cultural life caused by World War II, Nureyev was unable to enroll in a major ballet school until 1955, aged 17, when he was accepted by the Vaganova Choreographic Institute, attached to the Kirov.
Despite his late start, he was soon recognized as an incredibly gifted dancer. Nureyev pushed himself hard, rehearsing for hours in order to make up for the years of training he missed. Under the tutelage of a great teacher, Alexander Pushkin, he blossomed. Pushkin not only took an interest in him professionally, but also allowed the younger dancer to live with him and his wife. Upon graduation, the Kirov and the Bolshoi both wanted to sign him. He continued with the Kirov and went on to become a soloist - extremely unusual for someone of his age and experience.
In his three years with the Kirov, he danced fifteen roles, usually opposite his partner, Ninel Kurgapkina, with whom he was very well paired, although she was almost a decade older than him
[4].
He became one of the Soviet Union's best-known dancers, in a country which revered the ballet and made national heroes of its stars. Soon he enjoyed the rare privilege of travel outside the Soviet Union, when he danced in Vienna at the International Youth Festival. Not long after, for disciplinary reasons, he was told he would not be allowed to go abroad again. He was confined to tours of the Soviet republics.
In 1961 Nureyev's situation changed. The Kirov's leading male dancer, Konstantin Sergeyev, was injured, and at the last minute Nureyev was chosen to replace him on the Kirov's European tour. In Paris, his performances electrified audiences and critics, but he broke the rules about mingling with foreigners, which alarmed the Kirov's management. The KGB wanted to send him back to the Soviet Union immediately. As a subterfuge, they told him that he would not travel with the company to London to continue the tour because he was needed to dance at a special performance in the Kremlin. He believed that if he returned to the U.S.S.R., he would likely be imprisoned, due to the fact that KGB agents had been investigating him for being gay. It has been the more popular and accepted belief that he "leaped to freedom" in order to be a "free artist", though many of Nureyev's private accounts, as well the accounts of many of his close friends, tell that he stayed in the west due to the dire consequences of being gay in the Soviet Union.
On June 17 1961 at the Le Bourget Airport in Paris Rudolf Nureyev defected. Within a week, he was signed up by the Grand Ballet du Marquis de Cuevas and was performing ''The Sleeping Beauty'' with Nina Vyroubova. His dramatic defection, outstanding technique, exotic looks, and astonishing charisma on stage made him an international star.
Nureyev's defection also gave him the personal freedom he had been denied in the Soviet Union. On a tour of Denmark he met Erik Bruhn, a dancer ten years his senior, who became his lover, his closest friend and his protector (mainly from his own folly) for many years. The relationship was a stormy one, for Nureyev was highly promiscuous. Bruhn was director of the Royal Swedish Ballet from 1967 to 1972 and Artistic Director of the National Ballet of Canada from 1983 until his death in 1986.
Although he petitioned the Soviet government for many years to be allowed to visit his mother to whom he remained very close, he was not allowed to do so until 1989, when his mother was dying and Mikhail Gorbachev consented to the visit. During this visit, he was invited to dance once again with the Kirov Ballet at the Maryinsky theatre in Leningrad. Alas, it was too late; he was too old and his performance was disappointing. Nonetheless, the visit gave him the opportunity to see many of the teachers and colleagues he had not seen since he defected, including his first ballet teacher in Ufa.
Nureyev's first appearance in England was at a ballet matinée organised by Margot Fonteyn in aid of The Royal Academy of Dancing, at which he danced "Poeme Tragique", a heavily symbolic solo choreographed by Frederick Ashton, and brought the house to its feet in the Black Swan ''pas de deux'' from Swan Lake. He formed a partnership with Fonteyn which became perhaps the most famous in modern theatre history. Their first performance together was at the Royal Opera House, Covent Garden, in ''Giselle'' on February 21 1962, when the applause from the audience lasted longer than the ballet itself.
Together Nureyev and Fonteyn forever transformed such cornerstone ballets as ''Swan Lake'' and ''Giselle''. Fonteyn and Nureyev premiered Sir Frederick Ashton's ballet ''Marguerite and Armand'', a ballet danced to Liszt's B minor piano sonata, which became their signature piece. They always completely sold out the house, and this led to some injustice, notably when Kenneth Macmillan was forced to allow them to premiere his ''Romeo and Juliet'', which was mounted for two other dancers. Films exist of their partnership in ''Les Sylphides'', ''Swan Lake'', ''Romeo and Juliet'', and other roles. Nureyev did much for the Royal Ballet, and their management made a colossal blunder in not appointing him as the director of the company after Ashton's retirement, thus losing him to Paris.
Fonteyn and Nureyev's relationship was not just onstage. Offstage, they became lifelong close friends, even after her retirement to Panama. They were known to giggle their way through practices. They often fought too — Nureyev was not a patient person, and was known to curse at Fonteyn when practices did not go well. Nevertheless, anyone who ever knew them said Fonteyn was the dearest person to Nureyev's heart, and Fonteyn in turn was fanatically loyal to Nureyev. When she was suffering from cancer, Nureyev paid many of her medical bills and visited her constantly despite his busy schedule.
Towards the end of Nureyev's life, when his body was wracked by AIDS, Fonteyn urged him to start a career conducting, and he did, to some success. According to Meredith Daneman's biography of Fonteyn, when Nureyev admitted that his body was too wracked with disease and injury to dance, and he was considering conducting, Fonteyn exclaimed, "Darling, that's perfect!!!" Nureyev once said of Fonteyn that they danced with "one body, one soul".
Nureyev was immediately in demand by film-makers, and in 1962 he made his screen debut in a film version of ''Les Sylphides''. In 1977 he played Rudolph Valentino in Ken Russell's
''Valentino'', but he chose against an acting career in order to branch into modern dance with the Dutch National Ballet in 1968. In 1972 Robert Helpmann invited him to tour Australia with his own production of ''Don Quixote'' [5]), his directorial debut.
During the 1970s, Nureyev appeared in several movies and toured the United States in a revival of the Broadway musical ''The King and I''. His guest appearance on the then-struggling television series ''The Muppet Show'' is credited for boosting the series to worldwide success. In 1982 he became a naturalized Austrian. In 1983 he was appointed director of the Paris Opera Ballet, where as well as directing he continued to dance and to promote younger dancers. Among the dancers he groomed to stardom were Sylvie Guillem, Isabel Guerin, Manuel Legris, Elisabeth Maurin, Elisabeth Platel, Charles Jude, and Monique Loudieres. Despite advancing illness towards the end of his tenure, he worked tirelessly, staging new versions of old standbys and commissioning some of the most groundbreaking choreographic works of his time. His own Romeo and Juliet, set in Hollywood, was a popular success.
In 1983 he was offered and accepted the position of ballet director of the Paris Opera, where he remained as a dancer and chief of choreography until 1989.
Because of Nureyev's gifts he was usually forgiven for many things, but stardom did little to improve his temperament. He was notoriously impulsive and did not have much patience with rules, limitations and hierarchical order. His impatience mainly showed itself when the failings of others interfered with his work. Most ballerinas with whom he danced, including Antoinette Sibley and Annette Page paid tribute to him as a considerate partner. Nureyev was homosexual at a time when it was illegal and would end his career. Because of that, he left the country often where he could have consensual sex with a male friend. He would often solicit male prostitutes and have sex in hotel rooms. He was a very reclusive person, perhaps because he was unable to deny the nature of his sexuality.
He socialized with Jacqueline Kennedy Onassis, Mick Jagger and Andy Warhol, but he developed an intolerance for non-celebrities. He kept up old friendships in and outside the ballet world for decades, and was a loyal and generous friend. He was known as extremely generous to many ballerinas, who credit him with helping them during difficult times. In particular, the Canadian ballerina Lynn Seymour - distressed when she was denied the opportunity to premiere Macmillan's ''Romeo and Juliet'' - says that he often found projects for her even when she was suffering from weight issues and depression and had trouble finding appearances. He helped an elderly and increasingly impoverished Tamara Karsavina. His interests were widespread and he showed an amazing wealth of knowledge in many fields.
By the end of the 1970s, when he was in his 40s, he faced the inevitable decline of his amazing physical prowess. Unfortunately, he continued to tackle the big classical roles far too long, and his rather undistinguished performances in the late 1980s disappointed many of his admirers. Toward the end of his life, he was wracked with the ravages of AIDS, but he still worked tirelessly on productions for the Paris Opera Ballet. His last work was a lavish, beautiful production of ''La Bayadere'' which closely follows the Kirov Ballet version he danced as a young man. At Margot Fonteyn's urging, he also started to conduct concerts and ballets.
Nureyev's influence on the world of ballet changed the perception of male dancers; in his own productions of the classics the male roles got much more choreography than in earlier productions. The second very important influence was his crossing the borders between classical ballet and modern dance by dancing both, although having been trained as a classical dancer. Today it is normal for dancers to receive training in both styles, but Nureyev was originator, and it was much criticized in his days.
When AIDS appeared in France in about 1982, Nureyev took little notice. He presumably contracted HIV at some point in the early 1980s. For several years he simply denied that anything was wrong with his health: when, in about 1990, he became undeniably ill, he pretended he had several other ailments. He tried several experimental treatments but they did not stop the inevitable decline of his body. Towards the end of his life, as dancing became more and more agonizing for him, he resigned himself to small non-dancing roles, and dabbled with the idea of becoming a conductor. At the urging of Fonteyn, he had a short but successful conducting career, which was unfortunately cut short due to his declining health.
Eventually, however, he had to face the fact that he was dying. He won back the admiration of many of his detractors by his courage during this period. The loss of his looks pained him, but he continued to struggle through public appearances. At his last appearance, at a 1992 production of ''La Bayadère'' at the Palais Garnier, Nureyev received an emotional standing ovation from the audience. The French Culture Minister, Jack Lang, presented him with France's highest cultural award, the ''Chevalier de l'Ordre des Arts et Lettres''. He died in Paris, France, a few months later, aged 54.
His grave, at a Russian cemetery in Sainte-Geneviève-des-Bois near Paris, features a mosaic headstone of an oriental Turkic-style carpet. [6]
1. http://www.nureyev.org/biographie_russie.php
2. http://www.nureyev.org/biographie_russie.php
3. http://www.nureyev.org/biographie_kirov.php
4. Nureyev.org
5. Set and Costume Designs for ''Don Quixote'' by Barry Kay for both the stage production at the Adelaide Festival (1970) and Nureyev's movie version, gala world premiere at the Sydney Opera House, 1973.
6. http://www.nureyev.org/tombeau.php
★ Nureyev, ed. Bland, Alexander, "Nureyev: an autobiography with pictures", Hodder & Stoughton, 1962
★ Percival, John, "Nureyev: aspects of the dancer", Faber & Faber, 1975
★ Bland, Alexander, "The Nureyev Valentino: portrait of a film, Studio Vista, 1977
★ Watson, Peter, "Nureyev: a biography", Hodder & Stoughton, 1994
★ Diane Solway, ''Nureyev: His Life'', William Morrow & Co, 1998
★ Rudolf Nureyev, "Nureyev: His Spectacular Early Years"
★ Rudolf Nureyev Foundation
★ BBC Interviews with Nureyev
★ Birthday tribute
★ [1]
★ Stage and Costume Designs by Barry Kay for Nureyev ballets at the Barry Kay Archive
★ Gay Great - Rudolf Nureyev
★ Wyeth Paints Nureyev Exhibition at the Kennedy Center
★ ''New York Sun'' review of PBS's "Nureyev: The Russian Years"
Rudolf Nureyev
'Rudolf Nureyev' (Tatar form 'Rudolf Xämät ulı Nuriev', Russian Рудольф Хаметович Нуриев) (17 March 1938 – 6 January 1993), is regarded as one of the greatest male ballet dancers of the 20th century, alongside Maris Liepa, Vaslav Nijinsky, Alexander Godunov and Mikhail Baryshnikov.
| Contents |
| Biography |
| Early life and career at the Kirov |
| Defection to the West |
| Fonteyn and Nureyev |
| Later career |
| Personality |
| Influence and AIDS |
| Footnotes |
| Further reading |
| External links |
Biography
Early life and career at the Kirov
Nureyev was born on the Trans-Siberian train near Irkutsk, Siberia, Soviet Union, while his mother Farida was travelling to Vladivostok, where his father Hamat, a Red Army political commissar was stationed
[1]. He was raised as the only son in a Tatar family in a village near Ufa in Soviet republic of Bashkiria. When his mother smuggled him and his sisters into a performance of the ballet "Song of the Cranes", he fell in love with dance.
[1] As a child he was encouraged to dance in Bashkir folk performances and his precocity was soon noticed by teachers who encouraged him to train in Leningrad. On a tour stop in Moscow with a local ballet company, Nureyev auditioned for the Bolshoi ballet company and was accepted. However,
he felt that the Kirov Ballet school was the best, so he left the local touring company and bought a ticket to Leningrad.[3]
Due to the disruption of Soviet cultural life caused by World War II, Nureyev was unable to enroll in a major ballet school until 1955, aged 17, when he was accepted by the Vaganova Choreographic Institute, attached to the Kirov.
Despite his late start, he was soon recognized as an incredibly gifted dancer. Nureyev pushed himself hard, rehearsing for hours in order to make up for the years of training he missed. Under the tutelage of a great teacher, Alexander Pushkin, he blossomed. Pushkin not only took an interest in him professionally, but also allowed the younger dancer to live with him and his wife. Upon graduation, the Kirov and the Bolshoi both wanted to sign him. He continued with the Kirov and went on to become a soloist - extremely unusual for someone of his age and experience.
In his three years with the Kirov, he danced fifteen roles, usually opposite his partner, Ninel Kurgapkina, with whom he was very well paired, although she was almost a decade older than him
[4].
He became one of the Soviet Union's best-known dancers, in a country which revered the ballet and made national heroes of its stars. Soon he enjoyed the rare privilege of travel outside the Soviet Union, when he danced in Vienna at the International Youth Festival. Not long after, for disciplinary reasons, he was told he would not be allowed to go abroad again. He was confined to tours of the Soviet republics.
Defection to the West
In 1961 Nureyev's situation changed. The Kirov's leading male dancer, Konstantin Sergeyev, was injured, and at the last minute Nureyev was chosen to replace him on the Kirov's European tour. In Paris, his performances electrified audiences and critics, but he broke the rules about mingling with foreigners, which alarmed the Kirov's management. The KGB wanted to send him back to the Soviet Union immediately. As a subterfuge, they told him that he would not travel with the company to London to continue the tour because he was needed to dance at a special performance in the Kremlin. He believed that if he returned to the U.S.S.R., he would likely be imprisoned, due to the fact that KGB agents had been investigating him for being gay. It has been the more popular and accepted belief that he "leaped to freedom" in order to be a "free artist", though many of Nureyev's private accounts, as well the accounts of many of his close friends, tell that he stayed in the west due to the dire consequences of being gay in the Soviet Union.
On June 17 1961 at the Le Bourget Airport in Paris Rudolf Nureyev defected. Within a week, he was signed up by the Grand Ballet du Marquis de Cuevas and was performing ''The Sleeping Beauty'' with Nina Vyroubova. His dramatic defection, outstanding technique, exotic looks, and astonishing charisma on stage made him an international star.
Nureyev's defection also gave him the personal freedom he had been denied in the Soviet Union. On a tour of Denmark he met Erik Bruhn, a dancer ten years his senior, who became his lover, his closest friend and his protector (mainly from his own folly) for many years. The relationship was a stormy one, for Nureyev was highly promiscuous. Bruhn was director of the Royal Swedish Ballet from 1967 to 1972 and Artistic Director of the National Ballet of Canada from 1983 until his death in 1986.
Although he petitioned the Soviet government for many years to be allowed to visit his mother to whom he remained very close, he was not allowed to do so until 1989, when his mother was dying and Mikhail Gorbachev consented to the visit. During this visit, he was invited to dance once again with the Kirov Ballet at the Maryinsky theatre in Leningrad. Alas, it was too late; he was too old and his performance was disappointing. Nonetheless, the visit gave him the opportunity to see many of the teachers and colleagues he had not seen since he defected, including his first ballet teacher in Ufa.
Fonteyn and Nureyev
Nureyev's first appearance in England was at a ballet matinée organised by Margot Fonteyn in aid of The Royal Academy of Dancing, at which he danced "Poeme Tragique", a heavily symbolic solo choreographed by Frederick Ashton, and brought the house to its feet in the Black Swan ''pas de deux'' from Swan Lake. He formed a partnership with Fonteyn which became perhaps the most famous in modern theatre history. Their first performance together was at the Royal Opera House, Covent Garden, in ''Giselle'' on February 21 1962, when the applause from the audience lasted longer than the ballet itself.
Together Nureyev and Fonteyn forever transformed such cornerstone ballets as ''Swan Lake'' and ''Giselle''. Fonteyn and Nureyev premiered Sir Frederick Ashton's ballet ''Marguerite and Armand'', a ballet danced to Liszt's B minor piano sonata, which became their signature piece. They always completely sold out the house, and this led to some injustice, notably when Kenneth Macmillan was forced to allow them to premiere his ''Romeo and Juliet'', which was mounted for two other dancers. Films exist of their partnership in ''Les Sylphides'', ''Swan Lake'', ''Romeo and Juliet'', and other roles. Nureyev did much for the Royal Ballet, and their management made a colossal blunder in not appointing him as the director of the company after Ashton's retirement, thus losing him to Paris.
Fonteyn and Nureyev's relationship was not just onstage. Offstage, they became lifelong close friends, even after her retirement to Panama. They were known to giggle their way through practices. They often fought too — Nureyev was not a patient person, and was known to curse at Fonteyn when practices did not go well. Nevertheless, anyone who ever knew them said Fonteyn was the dearest person to Nureyev's heart, and Fonteyn in turn was fanatically loyal to Nureyev. When she was suffering from cancer, Nureyev paid many of her medical bills and visited her constantly despite his busy schedule.
Towards the end of Nureyev's life, when his body was wracked by AIDS, Fonteyn urged him to start a career conducting, and he did, to some success. According to Meredith Daneman's biography of Fonteyn, when Nureyev admitted that his body was too wracked with disease and injury to dance, and he was considering conducting, Fonteyn exclaimed, "Darling, that's perfect!!!" Nureyev once said of Fonteyn that they danced with "one body, one soul".
Later career
Nureyev was immediately in demand by film-makers, and in 1962 he made his screen debut in a film version of ''Les Sylphides''. In 1977 he played Rudolph Valentino in Ken Russell's
''Valentino'', but he chose against an acting career in order to branch into modern dance with the Dutch National Ballet in 1968. In 1972 Robert Helpmann invited him to tour Australia with his own production of ''Don Quixote'' [5]), his directorial debut.
During the 1970s, Nureyev appeared in several movies and toured the United States in a revival of the Broadway musical ''The King and I''. His guest appearance on the then-struggling television series ''The Muppet Show'' is credited for boosting the series to worldwide success. In 1982 he became a naturalized Austrian. In 1983 he was appointed director of the Paris Opera Ballet, where as well as directing he continued to dance and to promote younger dancers. Among the dancers he groomed to stardom were Sylvie Guillem, Isabel Guerin, Manuel Legris, Elisabeth Maurin, Elisabeth Platel, Charles Jude, and Monique Loudieres. Despite advancing illness towards the end of his tenure, he worked tirelessly, staging new versions of old standbys and commissioning some of the most groundbreaking choreographic works of his time. His own Romeo and Juliet, set in Hollywood, was a popular success.
In 1983 he was offered and accepted the position of ballet director of the Paris Opera, where he remained as a dancer and chief of choreography until 1989.
Personality
Because of Nureyev's gifts he was usually forgiven for many things, but stardom did little to improve his temperament. He was notoriously impulsive and did not have much patience with rules, limitations and hierarchical order. His impatience mainly showed itself when the failings of others interfered with his work. Most ballerinas with whom he danced, including Antoinette Sibley and Annette Page paid tribute to him as a considerate partner. Nureyev was homosexual at a time when it was illegal and would end his career. Because of that, he left the country often where he could have consensual sex with a male friend. He would often solicit male prostitutes and have sex in hotel rooms. He was a very reclusive person, perhaps because he was unable to deny the nature of his sexuality.
He socialized with Jacqueline Kennedy Onassis, Mick Jagger and Andy Warhol, but he developed an intolerance for non-celebrities. He kept up old friendships in and outside the ballet world for decades, and was a loyal and generous friend. He was known as extremely generous to many ballerinas, who credit him with helping them during difficult times. In particular, the Canadian ballerina Lynn Seymour - distressed when she was denied the opportunity to premiere Macmillan's ''Romeo and Juliet'' - says that he often found projects for her even when she was suffering from weight issues and depression and had trouble finding appearances. He helped an elderly and increasingly impoverished Tamara Karsavina. His interests were widespread and he showed an amazing wealth of knowledge in many fields.
By the end of the 1970s, when he was in his 40s, he faced the inevitable decline of his amazing physical prowess. Unfortunately, he continued to tackle the big classical roles far too long, and his rather undistinguished performances in the late 1980s disappointed many of his admirers. Toward the end of his life, he was wracked with the ravages of AIDS, but he still worked tirelessly on productions for the Paris Opera Ballet. His last work was a lavish, beautiful production of ''La Bayadere'' which closely follows the Kirov Ballet version he danced as a young man. At Margot Fonteyn's urging, he also started to conduct concerts and ballets.
Influence and AIDS
Nureyev's influence on the world of ballet changed the perception of male dancers; in his own productions of the classics the male roles got much more choreography than in earlier productions. The second very important influence was his crossing the borders between classical ballet and modern dance by dancing both, although having been trained as a classical dancer. Today it is normal for dancers to receive training in both styles, but Nureyev was originator, and it was much criticized in his days.
When AIDS appeared in France in about 1982, Nureyev took little notice. He presumably contracted HIV at some point in the early 1980s. For several years he simply denied that anything was wrong with his health: when, in about 1990, he became undeniably ill, he pretended he had several other ailments. He tried several experimental treatments but they did not stop the inevitable decline of his body. Towards the end of his life, as dancing became more and more agonizing for him, he resigned himself to small non-dancing roles, and dabbled with the idea of becoming a conductor. At the urging of Fonteyn, he had a short but successful conducting career, which was unfortunately cut short due to his declining health.
Eventually, however, he had to face the fact that he was dying. He won back the admiration of many of his detractors by his courage during this period. The loss of his looks pained him, but he continued to struggle through public appearances. At his last appearance, at a 1992 production of ''La Bayadère'' at the Palais Garnier, Nureyev received an emotional standing ovation from the audience. The French Culture Minister, Jack Lang, presented him with France's highest cultural award, the ''Chevalier de l'Ordre des Arts et Lettres''. He died in Paris, France, a few months later, aged 54.
His grave, at a Russian cemetery in Sainte-Geneviève-des-Bois near Paris, features a mosaic headstone of an oriental Turkic-style carpet. [6]
Footnotes
1. http://www.nureyev.org/biographie_russie.php
2. http://www.nureyev.org/biographie_russie.php
3. http://www.nureyev.org/biographie_kirov.php
4. Nureyev.org
5. Set and Costume Designs for ''Don Quixote'' by Barry Kay for both the stage production at the Adelaide Festival (1970) and Nureyev's movie version, gala world premiere at the Sydney Opera House, 1973.
6. http://www.nureyev.org/tombeau.php
Further reading
★ Nureyev, ed. Bland, Alexander, "Nureyev: an autobiography with pictures", Hodder & Stoughton, 1962
★ Percival, John, "Nureyev: aspects of the dancer", Faber & Faber, 1975
★ Bland, Alexander, "The Nureyev Valentino: portrait of a film, Studio Vista, 1977
★ Watson, Peter, "Nureyev: a biography", Hodder & Stoughton, 1994
★ Diane Solway, ''Nureyev: His Life'', William Morrow & Co, 1998
★ Rudolf Nureyev, "Nureyev: His Spectacular Early Years"
External links
★ Rudolf Nureyev Foundation
★ BBC Interviews with Nureyev
★ Birthday tribute
★ [1]
★ Stage and Costume Designs by Barry Kay for Nureyev ballets at the Barry Kay Archive
★ Gay Great - Rudolf Nureyev
★ Wyeth Paints Nureyev Exhibition at the Kennedy Center
★ ''New York Sun'' review of PBS's "Nureyev: The Russian Years"
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