Born: 1910 (Copenhagen, Denmark)
Died: 1962
Biography:
Hélène Kirsova (18 June 1910 – 22 February 1962) was a Danish prima ballerina, choreographer, and ballet teacher and is noted as the founder of the first professional ballet company in Australia. She trained in Paris with former Sergei Diaghilev ballet dancers and choreographers. She then performed in companies run by Léo Staats and Ida Rubinstein before in 1931 becoming a soloist with Les Ballets Russes de Monte Carlo, dancing for several years in Europe and North America. In 1936, as a principal dancer, she joined René Blum’s Les Ballets de Monte-Carlo in which she scored a singular success in London. Later that year she joined Colonel Wassily de Basil’s Monte Carlo Russian Ballet as prima ballerina on an extensive tour of Australia and New Zealand where she was feted by critics and audiences. She remained in Australia, started a ballet school in Sydney, and in 1941 formed the Kirsova Ballet. Despite wartime restrictions, she directed the company for several years before retiring in 1948. She has been described as the Godmother of Australian ballet.
Early Life:
Ellen Elisabeth Kirsten Wittrup Hansen, later professionally known as Hélène Kirsova, was born in the Danish capital of Copenhagen (København) on 18 June 1910, the youngest of four children. Her father, Christian Sophüs Ferdinand Hansen, who was born in Rørvig, Denmark, in 1874, was a restaurateur and garage owner. Her mother was Ingeborg Marie Katrine Vittrup or Wittrup, born in 1872 in Ålborg, Denmark. As a small child, Kirsova watched one of her elder sisters dance using Dalcroze eurhythmics and secretly in her own room at night danced by herself. When she was 8 or 9, she was taken to the Royal Danish Theatre where, to the choreography of Michel Fokine, three Russian ballets were given: Les Sylphides, Petrushka, and the ballet from Prince Igor. After that performance, she resolved to be a dancer and perform those same ballets. Adopting her mother’s maiden name (Wittrup) as her surname, Kirsova began ballet classes in Copenhagen with Emilie Walbom. Walbom, a Danish ballet dancer, and choreographer with the Royal Danish Ballet, set up her ballet school – Fru Walbom’s Balletskole – in 1910. It became popular with the daughters of the Copenhagen bourgeoisie, though Walbom was particularly interested in those girls, like Kirsova, who wanted to become professional dancers. She ended each season with a performance by her students, which enabled Kirsova to give her first appearances in public. Kirsova also attended classes given by Jenny Møller, who started teaching in Copenhagen in 1919 when Kirsova was nine. She also trained briefly with Michel Fokine during his stay in Denmark in 1918-19. Kirsova became a very popular student ballet dancer as a teenager, impressing audiences with her talent and dedication.
Professional Career:
Encouraged by her success as a student, Kirsova decided to pursue a professional career in ballet. In 1927, she traveled to Paris to train with renowned Russian ballet dancers and choreographers who had worked with the legendary Sergei Diaghilev. This experience proved to be transformative for Kirsova, as she gained invaluable knowledge and skills from these esteemed mentors. She then joined the ballet companies of Léo Staats and Ida Rubinstein, where she further honed her craft and developed a reputation as a promising young dancer.
In 1931, Kirsova achieved a significant milestone in her career when she became a soloist with Les Ballets Russes de Monte Carlo. This prestigious ballet company, led by Colonel Wassily de Basil, allowed Kirsova to showcase her exceptional talent on the international stage. Over the next few years, she toured extensively throughout Europe and North America, earning critical acclaim for her performances.
In 1936, Kirsova joined René Blum’s Les Ballets de Monte-Carlo as a principal dancer. It was during this time that she gained widespread recognition and achieved a singular success in London. Her technical prowess, captivating stage presence, and artistry endeared her to audiences and earned her a place among the finest ballerinas of her generation.
Later that year, Kirsova embarked on an extensive tour of Australia and New Zealand with Colonel Wassily de Basil’s Monte Carlo Russian Ballet. She was appointed as the prima ballerina of this esteemed company and was hailed as a sensation by both critics and audiences. Her performances captivated the hearts of the Australian people, and she soon became a beloved figure in the country’s cultural scene.
Kirsova’s impact on Australian ballet was monumental. Recognizing the lack of professional ballet companies in the country, she decided to stay in Australia and establish her own ballet school in Sydney. In 1941, she founded the Kirsova Ballet, which quickly gained a reputation for its high artistic standards and innovative choreography. Despite the challenges posed by wartime restrictions, Kirsova directed the company for several years, introducing Australian audiences to a wide range of classical and contemporary ballet repertoire.
Retirement and Legacy:
After a successful career spanning over two decades, Hélène Kirsova retired from dancing in 1948. She continued to play an active role in the Australian ballet community, teaching and mentoring aspiring dancers. Her dedication to the art form and her unwavering belief in the potential of Australian ballet paved the way for future generations of dancers and choreographers.
Hélène Kirsova’s contributions and influence on the development of ballet in Australia cannot be overstated. She is often referred to as the Godmother of Australian ballet, as she played a pivotal role in establishing a professional ballet presence in the country. Through her talent, hard work, and determination, she not only inspired countless dancers but also elevated the status of ballet in Australian society.
Hélène Kirsova’s legacy lives on through the continued flourishing of ballet in Australia. Her dedication to her craft, her pioneering spirit, and her passion for dance have left an indelible mark on the history of women in ballet and the cultural landscape of Australia.