Premier danseur and ballet master in Opera de Paris,
choreographer and dance historian
The many qualities that a dancer must have are these: to be young and well-proportioned; to have supple muscles; elegant bearing; musicality and feel for the rhythm and melody; purity of arrets, accents, balance, style; the precision of movement and leap and, finally, the "presence", the major quality of a true artist allowing him to penetrate into the Temple of Magical Religion - the Temple of Terpsichore - to find himself among the elite dancers.
Young Miskovitch had all these qualities… I met him for the first time in Paris in 1945 and I modelled for him a new and lively figure of Romeo to Tchaikovsky's music, a ballet which I had created a few years earlier.
A number of years have passed since. The energy, the lover's passion for transfiguration, the "merciless bar" - all freed and strengthened Miskovitch's muscular technique; at the same time he acquired the lightness of the air, owing to which the abstract language of the academic dance permits him to sing passion, evoke dramatic images and to know how to generate poetic radiation with his presence.
Only then, by glorifying his body, his thoughts and his spirit, is the Dancer able to launch himself into the distant metaphysical notion of existence and Creation in pursuit of Beauty which is offered to us by an art sublime, magical and living - the Dance.
English prima ballerina assoluta, choreographer,
ballet director and teacher
In 1954 I was looking for a new partner for my European and American Tour. I was looking for a Dancer who was dedicated to the Dance. An Artist with talent, intelligence and temperament who moved with grace and nobility. A person who would share the travel and hard work with good humour as well as the joy and pleasure of successful performances. I was most fortunate for I found in Milorad Miskovitch the ideal Partner.
French dancer, choreographer, ballet director
Milorad Miskovitch, romantic dancer and modern interpreter, marked with his brilliant aura the world ballet in the mid- 20th century. As a presenter and educator, he continues his mission in the world in the service of the choreographic art. I recall with excitement the creation of the ballet Haut voltage and his interpretation of the role in Promethée, two ballets I adapted for him in the Fifties, which remain important memories of my evolution as a choreographer.
French prima ballerina, etoile in Paris Opera Ballet and professor
French danser, choreographer and ballet director
Milorad Miskovitch a été certainement mon partenaire le plus proche...J'ai crée tant de ballets avec tant de merveilleuses danseurs... tels que Roland Petit, Peter van Dijk, Juan Juliano, Cyril Atanasoff, Attilio Labis, ets., mais Milorad était plus qui un partenaire, c'était un collaborateur artistique. Nous avons d'ailleurs crée une nouvelle compagnie vers 1967-1968 dont Madame Irène Lidova était la Directrice, nous en assumions la Directrice Artistique, parcourant le monde de l'Espagne à Mexico. Notre amitié n'a jamais cessée, depuis 1954. Epoque de ma compagnie "Les Ballets de France" où il est venu créer de nombreuses grands rôles ... Milorad étais la poésie mème... un Prince dés qu'il était sur scène, possédant un sens dramatique intense, une beauté légendaire... une personalité à part. Nous avions une réelle "Osmose" lorsque nous dansions ensamble, que ce soit dans Les Algues mon plus grand ballet dramatique, ce passant dans un "asile" d'aliénés, oeuvre cruelle réaliste, poétique... ou dans Adam-Miroir de Jean Genêt, ou dans Alerte puis 21... et Pâris d'Henri Sauguet. Lors de ma rentrée en 1964... après mon accident au Théâtre des Champs-Elysées. Ce sont des souvenirs inoubliables ! Long et beau parcours que celui de "Michka" comme nous l'appelons... car aujourd'hui il continue avec passion son activité comme Président du Conseil International de la Danse; son action au sein de L'UNESCO, a été importante, non seulement pour la Danse, mais pour d'autres manifestations artistiques, ... car enfin, pour conclure... Milorad Misovitch est un artiste complet.
Italian prima ballerina and ballet director
Quando penso alla vita che passa così velocemente, al tempo innarrestabile, alle persone che più mi mancano c'é sempre in un angolo del mio cuore il ricordo di te caro Milorad, al grande bellissimo uomo che sei e ancor di pù all'artista della presenza morale insostituibile, all' artista senza appartenenze all'età, al grande cavaliere nel senso vero che sei e sei stato per me. Da te emana un senso di certezza intelligente che é ed é stato sempre di grande aiuto per me e per tutti gli altri che ti sono e ti sono stati vicini. Mi emoziono sempre quando penso da quante belle occasioni e da quanti splendidi amici siamo stati circondati quando abbiamo lavorato insieme e come fino ad ora dopo tanto tempo la nostra bella amicizia sia ancora così viva e come sia bello ogni nostro incontro. Certo che il bellissimo nostro partnership nacque in un periodo importante e creativo; erano anni di fervore e di bellissime idee nuove che arrivavano dirette al cuore e al cervello, della gente e il pubblico lavoravo con noi.
Certo Beppe Menegatti ci ha dato tante opportunità con proposte di spettacoli diversi. Pensare ora come nacque Il Gabbiano, La Muette, e che spettacolo fosse e come era moderno e pulsante vivo! Pensare ora alla celebrazione di Beethoven con Le Creature di Prometeo così realizzate sembra quasi un sogno. Uno spettacolo come quello prima che qualsiasi altro Santone pensasse di fare spettacoli così diversi, belli e della nostra epoca come quello. Ripensarci ora dopo "la caduta delle ideologie" vengono i brividi pensando quanto tempo prima il discorso era stato affrontato ti ricordi?!
E il Sogno Shakespiriano te lo ricordi? Hommage Romantique, Gissele, Le Cid e Les Sylphides e tante altre cose; ancora Decameron, Il Giudizio di Paride a Spoleto, tutte le occasioni che ci hanno migliorati e moralmente arricchiti e hanno cimentato tante amicizie: Irène, Yvette, Lido, Massine e tanti, tanti altri amati amici che attraverso il ricordo di te vivono nel cuore.
Serbian dance historian and critic
I was often asked questions about Milorad Miskovitch's art. One needed to live in the moments of his interpretations right when he was creating them. The art of ballet cannot be described in words; one had to be there and then. Frequently I opted for an indirect yet indicative answer. I was in Paris in 1956 during one of those lovely Paris springs. I was walking down the unavoidable Avenue d'Opéra. There was a hum of voices growing in volume all the time until it became comprehensible. "Miskovik, Miskovik" (that is how the French pronounced his last name) one could hear all around. I turned around in wonder and saw Miskovitch and Vassili Sulich, a fellow dancer, in a sumptuous, huge white car, a cabriolet of American make, with Miskovitch at the wheel waiting for the red light to end for the drivers. The passers-by on both sides of the avenue made a kind of a line and paid tribute to their idol. He looked like somebody who was used to such outpours of feelings and felt they were due him rightfully and naturally. I have to remind you that it was all before the "Beatlesomania" and "Rudimania" (Rudolf Nureyev) and that it is no doubt the best proof of how high he had soared owing to his uniqueness. The absolute star – in the world of male ballet there was nobody like him at the time, not even close.
French philosopher and writer
Is Milorad Miskovitch a dancer? Yes, but a dancer of an exceptional kind - special, rare, different from all the other dancers, standing apart. Having chosen freedom during the dark time of communism, he came from Belgrade to Paris. The Great City of all possibilities, all promises, but also the old blasé Paris, which "has seen it all", is left breathless; disconcerted by all that beauty, all that luminous whiteness. His striking physique bedazzles straightaway. He becomes Paris's darling in no time and all the major ballet companies fight over him. He is chased, he is wanted. He appears on the world stages. He takes by surprise. For, in addition to the choc caused by his beauty…
he offers fullness; a charmer: he becomes the centre of attraction… convergence. In all his roles - his creations - the intensity he invests takes by surprise. The spectator is thrilled by his stage presence, elated, transported out of the daily rut, out of the commonplace. It needs to be said - to be repeated: he has left an indelible mark on all those who saw him in his performances. They experienced a light touch, a wisp of a touch from on high - of a superior nature. The Dance was no longer the steps cleverly arranged; it was 'something else". One had to see him in Promethée, a ballet which Maurice Béjart created for him, under the silvery glance of the moon in the ancient theatre at Faurviere, presenting light stolen from the sky, raising the torch burning with divine fire, delivering the "Message" in our darkened world. The one coming from elsewhere, yes... One felt shivers, one was gripped.
During the creation of Promethée a woman in the audience stood up, shaken, at the end of the performance and, for all she was worth, shouted in the direction of Miskovitch: Thank you, thank you. And we, like that intense woman, repeat, shout: Thank you, thank you Milorad Miskovitch.