Markova, Dame Alicia (märkō`vä), 1910–2004, English ballerina. Her original name was Lilian Alicia Marks. Markova joined Diaghilev Diaghilev, Sergei Pavlovich (syĭrgā` päv`ləvĭch dyä`gĭlyĭf)
..... Click the link for more information. 's Ballet Russe in 1924 and, in 1931, the Vic-Wells Ballet (now the Royal Ballet Royal Ballet, the principal British ballet company, based at the Royal Opera House, Covent Garden , London. It is noted for lavish dramatic productions, a superbly disciplined corps de ballet, and brilliant performances from its principals.
..... Click the link for more information. ), becoming its first prima ballerina in 1933. In 1935 she formed a company with Anton Dolin Dolin, Sir Anton (dō`lĭn), 1904–83, English ballet dancer and choreographer, originally named Patrick Healey-Kay.
..... Click the link for more information. . After appearing (1938–41) with the Ballet Russe de Monte Carlo she danced with Ballet Theatre (1941–44) and other American ballet companies. She worked again with Dolin from 1949 to 1952 in their Festival Ballet company. She was named Dame of the British Empire in 1963, the year she retired from dancing. Markova was noted for her purity of line, precise style, and ethereal grace. She excelled in all the classic roles, and her interpretations of Giselle (her signature role), Pas de Quatre, Petrouchka, Swan Lake, and Romeo and Juliet were exceptionally celebrated. She wrote Giselle and I (1960). After her retirement, she directed the Metropolitan Opera Ballet for six years, taught, and coached, particularly at the Royal Ballet.

Markova, Dame Alicia

orig. Lilian Alicia Marks

(born Dec. 1, 1910, London, Eng.—died Dec. 2, 2004, Bath) British ballerina. She made her debut with Sergey Diaghilev's Ballets Russes in 1924 and became a leading ballerina noted for her ethereal lightness. At the Vic-Wells Ballet (1931–35; now the Royal Ballet) she became the first English dancer to dance the lead in Giselle. With her frequent partner Anton Dolin, she formed and directed several Markova-Dolin companies (1935–38) and the Festival Ballet (1950–52; now the English National Ballet). She continued to dance as a guest artist with many companies worldwide, admired for her interpretations of roles in Les Sylphides and Swan Lake, among others. She retired from the stage in 1963 and served as director of the Metropolitan Opera Ballet (1963–69).