The detailed outline for the curriculum of The Margot Fonteyn Academy of Ballet. Ken Ludden, artistic director, publishes the entire educational method, with detailed course descriptions, standards and traditions, audition requirements, requirements for matriculation, and the levels of education. In the end, graduates of MFAB will have received a thorough education to prepare them to become the artistic leaders of their generation, and as they take to the stages of the world, eyes will open once again to the tremendous artistic achievements possible when the most inspired artists are given impeccable technical training in classical ballet, but also in dramatic arts, music and visual arts. Students are trained for an entire lifetime in the fine art of performance, beginning as performing artists and then, once retired from stage, as leaders of the art world.

The Margot Fonteyn Academy of Ballet offers complete education in ballet and related art forms (music, drama and painting) for students who aim to have a professional career in classical ballet or any other type of professional dance. We offer residency and visa support for International students. Students from the United States who do not live in the New York area can also apply for housing through MFAB. The Lower School accepts applicants from ages 8-15, the Upper School accepts applicants from age 16-22. You must audition.

Margot Fonteyn's closest friends don't appear in Daneman's detailed biography. Lita Legarda (a doctor) gets a one line mention. Angie Novello (Margot's Washington Hostess), Theodora Christon (Margot's personal secretary) and Ken Ludden aren't mentioned at all. These were the people she trusted most, who kept her confidences and never spoke to the press. Everyone knew Margot differently. BQ, her mother, knew one Margot. Tito, her husband, knew another. Ludden, her circle's youngest by a large margin, knew yet another side of Margot: hence the title 'My Margot'. Ken shares that Margot--who taught him so much about ballet and life, and with whom he worked to plan ballet's future. Beyond Margot we learn about Ken's delightful relationship with BQ, a close friendship between a teenager and a woman of eighty. Ken also writes with unflinching honesty of the hostile relationship he had with Rudolf Nureyev, which developed over time into a grudging mutual respect and a shared grief when Margot died.

This revised, updated, and expanded edition of the definitive catalogue of works by Sir William Walton (1902-83) follows the completion of the William Walton Edition. A comprehensive source of musical and documentary information relevant to Walton's life and work, the catalogue features full details of composition dates, instrumentation, first performance, publication, the location of autograph manuscripts, critical comment, and significant recordings, as well as previously undiscovered pieces. Appended are a helpful bibliography for further reading and indexes including for works, authors of texts, first lines, and dedicatees.