:Princess Nathalie Poutiatine
The world needs beauty and the understanding of it helps refinement of the spirit, kindness, and joyful mood and even encourages goodness. We have a duty to preserve the legacy of artistic loveliness passed on to us. A world from which beauty has vanished would be a very sad place to live in. May the Almighty Creator save the world from such a calamity for the benefit of generations to come.
PLEASE NOTE THAT THE PHOTOS ON THIS PAGE ARE FROM THE PERSONAL ALBUMS OF PRINCESS NATHALIE POUTIATINE PASSED ON TO TANYA BAYONA. THEY ARE OF HISTORIC AND EDUCATIONAL VALUE
This is the philosophy of the Ballet Academy founded by Princess Nathalie Poutiatine
Personal Recollections of Princess Nathalie Poutiatine 1904— 1984
by Tanya Bajona
My recollections of Princess Nathalie Poutiatine go back to when I was five years old and commenced lily ballet training at the Academy of Ballet. I remember her as a woman of extraordinary beauty. Her classes were always full of imagery — so unlike today’s teaching. She would impart not just the brilliance of technique, but would stress the quality of movement, its musicality. Temperament was essential. Linear beauty and ethereal quality of the romantic period were perhaps the two things she imparted to us most of all. She would often refer to the stern discipline of her own teachers, slow progress was not tolerated. As I grew older I admired her musicality and expressive quality.
Manage and virtuoso Pirouettes were among her favourite to finish a class. She had extraordinary knowledge of Grecian art and oriental movement. I remember three beautiful choreographic pieces she did specially for me - a Grecian dance, an oriental solo for the opera Caterina Desguanez by Maestro Carmelo Pace, which I danced at the Manoel Theatre. I also performed a Mazurka at La Scala Theatre in London which the audience loved.
Her great spirituality was continuously infused in her work. We were taught how to appreciate the spiritual and intellectual values in life, these same principles we encouraged within the Academy — good character formation with a sound artistic and intellectual development.
I was extremely fortunate to be considered by her mother Princess Olga herself and her dear husband, a very kind man, as a daughter of the family. I loved them all. I could understand even at an early age their sincerity, the loss of their homeland, their suffering, and yet their tenacity and courage.
This is how it all began.
The recorded Russian history of the Poutiatine family began in the 9 century, when Slavonic and Finnish inhabitants of the northern land turned to the powerful Varangians, who were Scandinavians, to rule their land. These warriors called themselves Russ, the eldest of which Prince Riurik settled in the Novgorod Region and became the founder of the first Russian dynasty of rulers. The Poutiatine family was direct descendents of Prince Riurik and to the Romanov family.
Princess Poutiatine was born in St. Petersburg in 1904, the only daughter to the noble Olga Zelenoy and Prince Paul Poutiatine, who became Equerry to H.M. Emperor of all Russias. The noble Olga Zelenoy was the daughter of Admiral-General Paul Zelenoy, Commander in Chief of the Black Sea Fleet and Governor of the Southern provinces, also comptroller of H.I.M. the Empress Marie Feodorvna’s institutions. Her mother was Countess Nathalie Tholl Verkhovsky.
Princess Nathalie Poutiatine belongs to the17th generation and was the last in line.
Her recollections of her early childhood depict a wonderful happy upbringing amidst the beauty and culture of St. Petersburg. Princess, as we all called her, often related spending her childhood summers in the beautiful family country estate in Vyssokoye, painting, reading Turgenev, Pushkin and Tolstoy. She described with great vividness the beauty of nature and the kind people that surrounded her life.
Her aunt Catherine, who married her father’s brother, Prince Michael were very dear to her, also her devoted governess, Alicia Strandman, who accompanied the family throughout their ordeal. She also talked with great tenderness about the staff at both family residences, and how loyal these people were to her parents.
The homes of the Poutiatines and Zelenoys had for many generations been visited regularly by military and diplomatic personalities, scientists, as well as foreign and Russian artists. Tchaikovsky frequently visited her maternal grandmother’s home. As a result, Princess Nathalie was brought up to love and appreciate every expression of beauty, admire harmony in colour, sound, poetry, and literature She also had a very fine religious upbringing in the Russian Orthodox Church and often talked about her regular visits to the two main cathedrals in the city — the Kazan and St. Isaacs Cathedral.
Her life as a child was spent amidst this grandeur, but never forgetting the importance of high ideals and discipline, which were part of her education. As customary for daughters of noble families, she received the finest education, academically and artistically thus preparing her for the unknown, which she always feared. As a young child, she recalls a terrible fear, asking her governess every night before she went to bed, Will anything bad happen? Will all be well”. She would only sleep to the reassuring words of her governess. The answer would be, “Yes”.
Her fist encounter with the ballet was a visit to the Maryinsky Theatre for the Christmas performance. She was so deeply spellbound that she decided
how wonderful it would be to dance through life in the company of these fairy-like creatures. Her dream became reality and her first dancing lessons took place in the palatial home of the Tolstoy family on Sundays. Her best friends were the children of her host, Nathalie and Sergey Tolstoy, and together they learnt how to
waltz, mazurka, and other ballroom dances in vogue at the time. Her dancing master, Aistoff, was an ex-dancer of the Imperial Ballet. He encouraged her family to send the young Princess to the Imperial Ballet School itself.
However, at the time, it was inconceivable to mix in a society preparing or a theatrical career. Only after the intercession of her aunt, was she allowed taking up classes privately at her home. Her first ballet teacher .vas the leading ballerina at the Maryinsky Theatre, Tamara Karsavina, who was later replaced, owing to her professional commitments, by famous Felia Dubrovskaya.
Other childhood memories she recalls with great love were the lovely arties given at Christmas.
She also knew, as she watched the candles flickering as they died, that it was inevitable that all things of joy and beauty could not last.
Her sheltered and regular life was shaken by the unexpected events happening around her, and being only a thirteen-year-old, could not understand the reality and its graveness.
Life in St. Petersburg changed suddenly with the political upheaval and echoes of the revolution. The abdication of the Czar was followed by the abdication of the Grand Duke Michael Alexandrovitch, his brother, who declined the sovereignty of the Empire. Princess Olga Poutiatine recalls this in her memoirs. These historical events which altered the fate of Russia took place in the Poutiatine’s home in St. Petersburg on the l7th March 1917.
I recall Princess Olga telling me “That day will always be engraved on my memory because of the grief it caused me. It was thus a day of sad memories for me, when all that was so dear to us collapsed, for we had built thereon all our unshakable beliefs”.
The months ahead were indeed distressing. Prince Paul was wanted by the Bolshevics and escaped to Kiev. The family was reunited in Odessa where they were hoping to lead a normal life for a while.
In the spring of 1919, the red army broke through the defences, and was threatening Odessa. A quick decision had to be made to leave their homeland and seek refuge abroad.
The Poutiatine family, together with another 600 refugees, escaped on a small merchant ship never to return to their homeland. Her father was among the volunteers and worked in the engine room throughout the voyage. The young Princess recalls the firing was directed to all the ships and small craft loaded with refugees, the harbour was an inferno, they fled to Costanza in Romania, then to Constantinople and finally to Malta.
Whilst in Malta, the young Princess received art lessons by the talented Russian artist Krasnov. He had designed the beautiful new palace for the Imperial family in Yalta, I personally recall the lovely paintings hanging in her study. Malta was regarded as a stepping stone on the road to their final destination.
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teachers, Madam Liubov Egorova and Madam Olga Preobrajenska. Princess Nathalie attended Madam Egorova’s perfecting classes with Mlle. Lucienne Lamballe, a star in the Grand Opera de Paris with Solange Swarz, and worked under Serge Lifar. She also auditioned successfully for Anna Pavlova’s company, which was about to tour America. Unfortunately, severe bronchitis did not permit her to take up this engagement, infact this remained a weak point in her health. I remember so well this ailment which in her later years caused her to suffer.
During these years spent in Paris, Edgar Tabone remained devoted to her, and visited the family regularly. A close relationship ensued and after much reflection, Princess left her family to settle in Malta. They were married in Rome in the Russian Orthodox Church in November. Two months later on January 7 1928, they were married again with a Catholic service in Malta.
The Maltese were great music loves, but ballet was still unknown. It was only after a great deal of encouragement that she started to give ballet classes. Their popularity grew and in 1939 the first professional academy was built to her specifications. Italian builders erected the palatial building. The main studio was equal to the size of the Royal Opera House stage in Malta, she was giving performances regularly and it was her wish that the studio was built to the same size. Her residence was built on top, which today has been concerted to more studios.
The war years ensued and the separation from her parents caused her much grief. Her father died in Paris before the termination of the war. Her re-union with her mother and governess in Malta after the war is described in her book as a “new era of happiness and bliss were opening before me”. Her mother was sixty-four years old, when she came to Malta and spent twenty blissful years with her daughter in the house they named “Otrada”, a Russian word meaning “delight and rest”. This building still stands today and is known as Tanya Bayona Princess Poutiatine Academy of Ballet.
Her life in Malta was dedicated to the art, Her knowledge of the arts was manifested by the numerous lecture demonstrations she presented, her performances at the Royal Opera House, and more recently during her best years, in the 1950’s and 1960’s at one of the oldest theatres in Europe, the Manoel Theatre.
In recognition of her tribute to artistic life in Malta, she was bestowed with the honour of Grand Dame of the Order of St. John of Jerusalem in 1977.
Her productions were lavish. Her choreography, costumes and scenery were always harmoniously blended together. Her most outstanding performance was in 1934 at the Royal Opera House, where she performed the Dying Swan. She gave numerous performances in aid of the Russian refugees. She loved her homeland, and her people. I always remembered her excitement when Russian people came to visit her in Malta.
Princess had personal associations with Dame Marie Rambert, who always praised Princess’s teaching. Irma Baronova and Anton Dolin were personal friends of Princess. The famous Grigorovich and his wife Natalia Bessmertnova of the Bolshoi Ballet came to visit Princess several times during their company’s visits to Malta.
She had numerous friends of the ballet, as she was regular visitor to the South of France during the hay day of the Ballets Russes, and The Marquais de Cuevas Ballet.
She taught to many of us the true love for beauty and for this sublime art, which she so much loved. She lived for the joy of dance, and her expression was so rich that she has left an indelible mark in the souls who were ready to receive it.
The last few precious years with Princess Nathalie gave me the confidence, the courage and the vision to direct her Academy of Ballet she so much loved and left for the love of generations to come.
by Tanya Bayona