áááááááááááááááááááABOUT TANYAáá My Artistic Life

Tanya Bayona
Tanya Bayona Age 3

It all goes back to when I was around three years old. I remember listening to opera music with my father who was a great opera lover. My mother on the other hand loved the theatre, drama and musicals. It is through my parents’ fascination with the arts that I cultivated a great love for theatre and music. I remember myself dancing whenever I heard music as a very young child.

At the age of five I was enrolled to study dance at Princess Nathalie Poutiatine's Academy of Ballet, the leading ballet school in Malta at the time, founded by the Princess herself in 1939. I could write a book about Princess Poutiatine.á She was a highly cultured person. Apart from her greatness as a dancer, she could sing, play the piano, paint and read and write in six languages. Princess Nathalie Poutiatine was born in St Petersburgh in 1904, the only daughter of the Noble Olga Zelenoy and Prince Paul Poutiatine, Equerry to the Russian Emperor.


The family left St Petersburgh at the outbreak of the 1919 revolution and lived for a short time in Odessa. With the arrival of the Red Army, the Poutiatine family went to Constanza in Romania, then to Constantinople and finally settled in Malta.

In Malta , the young Princess received art lessons from the talented artist and architect Krasnov, another Russian immigre`.á In 1927 she married Edgar Tabone, who came from a distinguished Maltese family.

When I was eleven I was taken by my mother to London to audition for admission to the Royal Ballet School but my parents never really wanted me, their only child, to study alone abroad at such a young age. The audition was more of a test to see what levels I had obtained and what potential I had in the art of dance. To their surprise, Ms Mortimer, then Director of the Royal Ballet School liked my quality and standard and accepted me as a student in the junior school. It was, however agreed that I would continue my studies, both academic and artistic, in Malta until I was, at least, fourteen. I knew then that dance was to be my life and continued to work very hard so that I could go back to London to continue my studies there.

Back in London aged fourteen and accompanied by my mother, I was enrolled at The Vacani School of Ballet in Knightsbridge. At this school - tutors to the Royal family since 1936 - I was initiated in the Cecchetti Method of Classical Ballet.

áTanya Bayona
Tanya Bayona Age 7

I studied classical ballet and ballroom dancing under the tutorship of excellent teachers such as June Day, a former member of Saddlers Wells Ballet Company, who kept me under her guidance for two years. The choice of the Cecchetti method was really made for me by my mother who was a balletomane par excellence.á

Tanya Bayona
Tanya Bayona Age 12

áBoth my parents wanted me to to qualify in dance and the closest method which offered a graded system of examinations was the Enrico Cecchetti Method. The Maestro was close to the Russian tradition having spent most of his life teaching and dancing with the stars of the Maryinsky Theatre in St Petersburg and later travelling throughout Europe as Maitre de Ballet with the famous Diaghilev Ballet Company. Thus began my journey and life with the Cecchetti Method. I have recently celebrated my fortieth anniversary of teaching this Method in Malta.

I was born in Malta’s capital Valletta, a city built by the Knights of Malta, and educated at St Joseph's High School, at the time in the same city. My grandparents from both sides of the family lived in Sliema, a more modern residential city- so Iá enjoyed the best of both worlds! Most people associate me with Sliema because this is where I had my Academy and lived there for many years. However I loved growing up in Valletta and still find our Capital city very charming.

My professional career started at an early age. After my junior studies at the Vacani School of Ballet, I was recommended to take up a three-year vocational training programme at the Nesta Brooking Choreographic School of Ballet in Regents Park. Ms Brooking was a wonderful teacher, well known for her discipline and dedication. I spent three great years with her doing a rigorous programme of dance and the theatrical arts, including singing.

When I was studying in London in the 60s, a period of veritable arts revolution – the dance idols and icons were Margot Fonteyn and Rudolf Nureyev. They produced a certain magie when they performed together on stage. Fonteyn was renowned for her elegance and refined lines capped by a great acting ability. Nureyev was unique, a virile and athletic great artist the likes of whom we have not yet seen. I was also influenced and inspired by Ulanova from the Kirov Ballet whose quality and technique were outstanding.

My first professional break came when I was eighteen. Ms Brooking often sent the senior students for theatre auditions as part of our learning experience. Five of the second year students, including myself, auditioned for parts in the Morecambe and Wise film "The Intelligence Men".

I got the job. This was a six-week contract at Pinewood Studios to dance parts from "Swan Lake" with the London Ballet Company that were to be included in the film.

Tanya Bayona in the Opera Caterina Desguanes by Mro. Carmelo Pace
Tanya Bayona in the Opera Caterina Desguanes
by Mro. Carmelo Pace

Tanya Bayona in Les Sylphides, Manoel Theatre 1975
Tanya Bayona in Les Sylphides, Manoel Theatre 1975

Although my parents encouraged me to study abroad, they were not too keen on my taking up a career away from Malta; I was their only child and their concern was very understandable. They persuaded me to come back to Malta and open my own dance academy, which I eventually did in 1965. However the urge to perform abroad lingered on. I left Malta again in 1968 and this time stayed until 1971. During this period I was chosen for dancing parts in Norman Jewison's classic film “Fiddler on The Roof", "Carry on Henry" and "The Life of Galileo" I spent one year in Dublin dancing in the Eamonn Andrews Show at the Gaiety Theatre and from there moved to join a London touring company to dance in "No No Nanette" at the Royal Opera House in Cork. I also auditioned successfully for the Saddler’s Wells Opera Ballet Company directed by Pauline Grant.

An unfortunate knee injury I suffered while auditioning for the West End production of “Show Boat". It happened in London's Her Majesty's Theatre on my final third audition. I was doing what in dance is known as Italian changement when my knee just went. It was the ligament.

It took me two years to recover from the injury. I had to stay away from professional dancing and went back to teaching once again.

My heart was set on making a dancing career in the West End. I had also auditioned for the Sammy Davis Junior Show that was coming to London. But my injury put an end to all that.

Tanya Bayona on the film set The Intelligence Men at Pinewood Studios 1963
Tanya Bayona on the film set The Intelligence Men at Pinewood Studios 1963

However as soon as my injury was completely healed I continued to dance and through contacts my father had, won a three year scholarship to the National Dance Academy in Rome in 1971

In Rome I had the opportunity to study under great teachersá and dancers from La Scala di Milano ,Bianca Galizia, Giugliana.Penzi, Marcia Plevin from the Martha Graham Company and many others. á


Tanya Bayona on the film set Fiddler on the Roof at Pinewood Studios 1971
Tanya Bayona on the film set Fiddler on the Roof at Pinewood Studios 1971

I returned to Malta in 1973 and re-opened my Ballet school where I continued to teach the Cecchetti Method together with other dance forms and styles. The Method has now flourished and there are some twelve schools teaching the Cecchetti Method with examiners visiting regularly from the Imperial Society of Teachers of Dancing, London.

I was always searching to grow as an artist and áteacher and continually invited distinguished artists and teachers from Europe as guest teachers to my academy.


My school merged with Princess Poutiatine's Academy in 1981. This was an inevitable union. Princess, as I always called her, was nearing 80 at the time and she was looking for someone to take over. I was still young and since my own school was growing rapidly I was thinking of expanding. There was always an affinity between us and I always respected and appreciated her devotion to the arts - she was a highly cultured person - I am still indebted to the attention and wide knowledge she so generously gave me.

Tanya Bayona in No No Nannette at The Gaiety Theatre Dublin 1969
Tanya Bayona in No No Nannette at The Gaiety Theatre Dublin 1969

We both realized that the merge would be good for both of us. Of course I was very anxious as I was entering into a life commitment and the responsibility of carrying her illustrious name in my own Academy. But she gave me all the support, guidance and courage to take up this responsibility Princess Poutiatine taught us the true spirit of Dance - a combined expression of soul, mind and body. Her classes were full of temperament and she tolerated no nonsense. Discipline was the word and her interpretation of an artist was 'a spontaneous, honest and humble person".

Tanya Bayona in No No Nannette at the Royal Opera House Cork 1969
Tanya Bayona in No No Nannette at the Royal Opera House Cork 1969

I have been honoured by invitations from several foreign Ministries of Culture to further my studies in major European cities, including three study visits to the Bolshoi Theatre School in Moscow and the Vaganova Ballet Academy in Saint-Petersburg.á In Malta I continued to perform my repertoire ranging from classical to contemporary dance and had the honour to work with Maltese composer, Charles Camilleri, in the creation and production of the modern ballets The Elements, Unum Deum, Qolla and Requiem for the Massacred, which were performed with great success in Malta and France. My collaboration with another international Maltese composer Prof. Joseph Vella gave me the opportunity to create the ballet The Mother Goddess for the first International Malta Arts Festival in 1979 that was staged at the unique áarchaeological site Hagar Qim, one ofá Malta’s áNeolithical Temples listed as a UNESCO World Heritage Site. á

Throughout my career, I worked extensively as a choreographer with my own dance company producing ballet performances for local and international festivals in theatre and television productions and was responsible for the organisation of many international artistic events in Malta.á Between 1999 and 2001, I was appointed as artistic director and choreographer of the dance performances given on the occasion of the Bastille Day of France at the reception given by the Embassy of France in Malta.

Tanya Bayona with French choreographer Sara Pardo rehearsing the Company 1989
Tanya Bayona with French choreographer Sara Pardo rehearsing the Company 1989

My love for opera introduced me to opera stage director, Joseph Bascetta from New-York with whom I had the honour to work with the choreography of the operas…Aida and La Gioconda, I also had the pleasure to work with the world famous Maltese soprano Miriam Gauci in her production of Rigoletto

I was asked to sit on the adjudicating panels of prestigious dance competitions namely the Julie Sedova Competition in Nice, France, Prix Lucienne Lambale in Bayonne France and several international video dance competitions held in France and Moscow. My most recent examining assignment was the Scuola di Ballo of the Teatro San Carlo in Naples at the invitation of its Director Signora Anna Razzi.

One of my achievements in Malta was the founding of the Dance Council Malta of which I was elected as its first president and later elected member of the executive committee of the International Dance Council, UNESCO, Paris.á In 1999, I was conferred with the Award “Citta di Valletta” for her lifelong commitment to the art of dance in Malta and the following year decorated as Chevalier dans l’Ordre des Palmes Academiques by the Prime Minister of France in recognition of the professional contribution to dance and the promotion of French culture in Malta.

Tanya Bayona with members of the Dance Council Malta and guests of Honour M.Jean Robin Milorad Miscovitch and Opera Director Joseph Baschetta
Tanya Bayona with members of the Dance Council Malta and guests of Honour
M.Jean Robin Milorad Miscovitch and Opera Director Joseph Baschetta

I have taught many students, both locally and abroad who have made their own career as dancers, teachers or producers such as Ghyslaine Reichert who is now a member of the Paris Opera ballet Company. Italian young dancers whom I taught in Italy have joined the Bejart Company. Sharon Sapienza, one of my students has become an international Spanish dance teacher and impresario and Janet Vella, also one of my past students is now teaching dance in London. Most of the teachers now directing their own dance academies in Malta have had most of their training under my tuition. Likewise many of the local dancers who are now enjoying a career or studying abroad have passed through my Dance Academy.

I closed my Academy in 2004 after áa full time professional teaching career of 39 years and now enjoy a different life style, guest teaching locally and abroad, examining, organizing artistic events, travelling and teaching Yoga which I enjoy immensely.

Tanya Bayona being decorated by the President of the Republic of Malta, Dr Edward Fenech Adami with the Medal for Service to the Republic - Midalja ghall-Qadi tar-Republika (MQR)- of the National Order of Merit of Malta.

I have recently stepped down from President of the Dance Council- Malta and was honoured by the Dance Council as Honorary Life President which I accepted with great pleasure.

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