Erik Bruhn

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Lore & Background

Erik Bruhn was born in Copenhagen, Denmark, the fourth child and first son of Ellen (née Evers), owner of a hairdressing salon, and third child of Ernst Bruhn. His parents married shortly before his birth. He began training with the Royal Danish Ballet when he was nine years old, and made his unofficial début on the stage of Copenhagen's Royal Opera House in 1946, dancing the role of Adonis in Harald Lander's ballet *Thorvaldsen*. He was taken permanently into the company in 1947 at age eighteen. Bruhn took his first sabbatical in 1947, dancing for six months with the Metropolitan Ballet in England, where he formed his first major partnership with Bulgarian ballerina Sonia Arova. He returned to the Royal Danish Ballet in spring 1948 and was promoted to soloist in 1949. Later in 1949, he joined American Ballet Theatre in New York City, dancing regularly there for the next nine years. The turning point in his international career came on 1 May 1955 with his début in the role of Albrecht in *Giselle* partnering Dame Alicia Markova, nearly twenty years his senior, after only three days of rehearsal. Dance critic John Martin, writing in *The New York Times*, called it "a date to write down in the history books, for it was as if the greatest Giselle of today were handing over a sacred trust to what is probably the greatest Albrecht of tomorrow." P. W. Manchester wrote in *Dance News* in June 1955: "Technically exacting as it is, the role of Albrecht is not beyond the capabilities of any competent premier danseur, and Erik Bruhn is infinitely more than that; he is probably the most completely equipped male dancer of the day, with the flawlessly clean technique that comes only through a combination of enormous talent allied to correct day-by-day training from childhood." Bruhn formally resigned from the Danish ballet in 1961. In May 1961, *Time* magazine published a major article noting: "Back home Bruhn, 32, is the idol of the Royal Danish Ballet... His technical credentials include a fine dramatic sense and an ability to leap with a high-arching grace, to turn with cat quickness and fluidity on the ground or in midair, to project emotion with vivid movements of arms, legs and body." During the next 10 years, Bruhn formed long relationships as a guest artist with Ballet Theatre, the New York City Ballet, the Joffrey Ballet, the National Ballet of Canada, the Paris Opera Ballet, and London's Royal Ballet. He was best known for his lead roles in *La Sylphide*, *Giselle*, Frederick Ashton's *Romeo and Juliet*, and *Swan Lake*. John Cranko made *Daphnis and Chlöe* on him in 1962 at the Stuttgart Ballet, which Bruhn considered his favorite from amongst the ballets created specifically for him. In his book *Beyond Technique* (1968), Bruhn wrote: "It has been noticed that I have been able to work with many different kinds of ballerinas, and on most occasions we succeeded in becoming a team if only for a season or two. And that is because I always wanted to relate to them. I don't remain the same. Each ballerina is different; she has a special flavor or she wouldn't be a ballerina." After retiring as a danseur noble in 1972, Bruhn danced character roles such as Madge the Witch in *La Sylphide*, Dr. Coppelius, and Petrushka. He was director of the Swedish Opera Ballet from 1967 to 1973 and the National Ballet of Canada from 1983 until his death in 1986. He was made a Knight of the Order of the Dannebrog in 1963, the same year he was awarded the Nijinsky Prize in Paris.

Reader's Guide

Erik Bruhn's significance lies in his combination of technical precision and dramatic depth, which set a new standard for male ballet dancers. His partnership with Alicia Markova in 1955 was a turning point, symbolizing a transfer of artistic tradition. Bruhn's ability to adapt his style to different ballerinas—including Carla Fracci, Natalia Makarova, and Maria Tallchief—demonstrated his collaborative genius. As a director and teacher, he emphasized purity of form and complete identification with character under control. He believed in "complete identification" with the character being portrayed, "but under complete control. Because if you lose yourself completely, you cannot communicate." His productions of full-length classical ballets such as *La Sylphide*, *Giselle*, *Coppélia*, and his somewhat controversial *Swan Lake* for the National Ballet of Canada were well received. Clive Barnes named Bruhn "the greatest male classical dancer of his time" when Bruhn retired in 1972. Dance critic Anna Kisselgoff said: "He was, then, the model of perfection as a dancer – precise in every step, beautifully placed, a virtuoso technician, noble in bearing, elegant in every gesture. His line was extraordinary, his leg beats – a legacy of his Danish training – amazing. He was one of the few dancers who could bring the house down simply by executing a..." Mikhail Baryshnikov said: "He was indisputably one of the greatest dancers we have ever seen, and his dignity and style have been a model to us all, which can not be replaced."

Did You Know?

• Erik Bruhn made his unofficial stage debut in 1946 dancing the role of Adonis in Harald Lander's ballet *Thorvaldsen*.
• His international breakthrough came on 1 May 1955 when he danced Albrecht in *Giselle* with Dame Alicia Markova after only three days of rehearsal.
• John Cranko made *Daphnis and Chlöe* on Bruhn in 1962 at the Stuttgart Ballet, which Bruhn considered his favorite from amongst the ballets created specifically for him.
• Bruhn was made a Knight of the Order of the Dannebrog in 1963, the same year he was awarded the Nijinsky Prize in Paris.
• Bruhn is buried in an unmarked grave at Mariebjerg Cemetery in Gentofte, near the house where he grew up.