André Eglevsky was a Russian-born American ballet dancer and teacher who achieved renown as one of the leading male classical dancers of his era.
Early Life and Education
Eglevsky left Russia as a child during the Revolution. He studied in Paris from the age of eight with prominent émigré dancers such as Lubov Egorova, Mathilde Kschessinska, and Alexandre Volinine, acquiring the traditional style and technique of the Imperial Russian Ballet. Later he trained under Nicholas Legat in London. By fourteen he had become premier danseur with Colonel W. de Basil’s Ballet Russe de Monte Carlo.
Career
During his tenure with the Ballet Russe, Eglevsky introduced a distinctive series of slow, controlled pirouettes in Les Présages. He subsequently performed with the René Blum–Michel Fokine Ballets de Monte Carlo, the American Ballet, and the American Ballet Theatre before joining the New York City Ballet from 1951 to 1958. At New York City Ballet he created leading roles in several George Balanchine ballets, including Scotch Symphony (1952) and Caracole (1952). His repertoire also encompassed principal parts in classic works such as Giselle, Swan Lake, Les Sylphides, Prince Igor, Le Spectre de la Rose, Petrushka, David Lichine’s Helen of Troy, and Léonide Massine’s Mad Tristan.
Achievements
Eglevsky was known for his technical mastery and artistic versatility across both classical and contemporary repertoires. He became a U.S. citizen in 1937, which enabled him to establish a school and performing group in Massapequa, New York, in 1958. This ensemble evolved into the Eglevsky Ballet Company, continuing his pedagogical legacy after his death.
Personal Life
Eglevsky was a naturalized American citizen from 1937 until his passing on December 4, 1977, in Elmira, New York. He maintained an active presence in the ballet community through teaching and company leadership in the latter part of his career.
Legacy
The Eglevsky Ballet Company preserved his choreographic approach and teaching methods beyond his lifetime. His influence remains evident in the continued practice of rigorous Russian technique among American dancers trained under his auspices.