She commanded stages for over three decades. Her career spanned from 1984 to 2020, a remarkable length of time in the demanding world of professional dance. Born in Rome in 1967, she carved her name into ballet history with a rare combination of precision and deep drama.
She became one of the most celebrated principal dancers at the Royal Ballet. Critics described her as a perfect blend of Latin passion and British coolness. They called her “the most dramatic of dancers” and an “unsurpassable actress.” Her immaculate technique fused with a powerful acting ability.
Standing at 5’2″, she proved that physical height means little when a performer’s presence can fill an entire theater. Over the years, her partnerships with legendary dancers elevated classic productions. Her story is not a simple arc. It includes bold choices, international acclaim, and a lasting influence.
Viviana Durante moved from performer to coach and artistic director. She married writer Nigel Cliff in 2009, balancing family life in London with a relentless commitment to the art form. Her legacy continues to shape how the next generation approaches dance.
Early Beginnings and Training in Ballet
The foundation for a legendary career was laid in an unlikely place: a local garage where a six-year-old took her first steps. This humble beginning in Rome quickly led to formal training at the Teatro dell’Opera di Roma. Raw talent was evident from the start.
Rome’s Cultural Roots and Early Exposure
Ballerina Galina Samsova recognized a unique combination of hunger and ability in the young Italian student. She brought the girl to London to join the prestigious Royal Ballet School at just eleven years old. This move marked a dramatic shift in environment and expectation.
A year later, Thames Television documented her early determination in the film “I Really Want to Dance.” The camera captured the focus that would become her signature.
Transition from Local Classes to the Royal Ballet School
She spent six formative years at the Royal Ballet School, absorbing its rigorous technique and tradition. Graduating with distinction at seventeen, she immediately joined The Royal Ballet company.
In 1984, she won the Prix de Lausanne, a top international youth competition. This victory signaled her arrival on the global stage before her professional career had truly begun.
Her most famous early test came three years later. At twenty, with no rehearsal, she was pulled from the corps de ballet to perform Odette in Swan Lake mid-show. Instinct and years of training at the ballet school culminated in a legendary debut.
Rise to Prominence at the Royal Ballet
The mid-show Swan Lake debut that became legend was only the beginning of an extraordinary ascent. Within a year, she transformed from corps member to principal dancer.
Breakthrough Moments: From Swan Lake to Leading Roles
Her unexpected Odette performance established a pattern of seizing opportunities. At twenty-one, she became the youngest principal dancer in the Royal Ballet’s history at that time.
Leading roles followed quickly. She mastered Aurora in The Sleeping Beauty and brought depth to Giselle. Each performance showcased her technical precision and dramatic intensity.
Award-Winning Performances and Critical Acclaim
Recognition arrived swiftly. In 1990, she received the Evening Standard Ballet Award as its youngest ever recipient. Critics praised her ability to inhabit complex characters.
Her 1995 Sleeping Beauty performance reached American audiences through PBS. The broadcast cemented her international reputation during the Christmas season.
| Year | Performance | Role | Recognition |
|---|---|---|---|
| 1989 | Swan Lake | Odette | Breakthrough debut |
| 1990 | Various | Principal | Evening Standard Award |
| 1995 | The Sleeping Beauty | Aurora | PBS Broadcast |
| 1990s | Anastasia | Title Role | Olivier Award Nomination |
This period established her as a defining principal dancer of her generation. The Royal Ballet had found its star.
Viviana Durante: Legacy in Ballet
The breadth of her repertoire spanned centuries of dance, from classical pillars to contemporary masterworks. This range defined her artistic identity.
Signature Roles in Classical Repertoire
She mastered the great classical roles with technical precision. Her Aurora in The Sleeping Beauty balanced youthful innocence with royal authority.
As Juliet in Romeo and Juliet, she brought heartbreaking vulnerability. Each performance felt immediate and raw. Her Giselle showcased both ethereal lightness and dramatic depth.
These classical works demanded perfect technique. She delivered while adding emotional truth.
Innovative Creations with Kenneth MacMillan
Her partnership with Kenneth MacMillan produced groundbreaking work. He created The Judas Tree specifically for her talents. This ballet won a Laurence Olivier Award.
Winter Dreams, based on Chekhov’s Three Sisters, showcased her dramatic range. MacMillan trusted her to bring complex characters to life.
She danced Mary Vetsera in Mayerling when MacMillan died backstage. This tragic moment forever linked her to his final work.
| Work Type | Key Ballets | Signature Role | Significance |
|---|---|---|---|
| Classical | The Sleeping Beauty, Giselle, Swan Lake | Aurora | Technical perfection meets emotional depth |
| MacMillan Works | Romeo and Juliet, Manon, Mayerling | Juliet | Dramatic intensity and vulnerability |
| Original Creations | The Judas Tree, Winter Dreams | Created roles | Collaborative innovation with choreographer |
| Ashton Ballets | Cinderella, La fille mal gardée | Various | Versatility across styles |
Viviana danced with a commitment that made each role definitive. Her legacy lives in these performances.
International Guest Performances and Artistic Collaborations
When controversy struck at the Royal Ballet, it opened doors to a global stage that would redefine her career. The 2001 departure marked a shift from company security to freelance freedom.
Global Stages: New York, Tokyo, and Beyond
Her first major move took her to American Ballet Theatre. She joined as a principal dancer for their 1999 spring season at New York’s Metropolitan Opera House. This guest artist role proved her star power translated across the Atlantic.
The freelance path led to prestigious international ballet companies. She performed with La Scala Milan, Tokyo Ballet, and Dresden Semperoper Ballett. Each stage demanded excellence without safety nets.
From 2003 to 2012, she became the leading ballerina of Japan’s K-Ballet. Working with Royal Ballet alumnus Tetsuya Kumakawa, she built a second act in Asia. Her performances spanned theaters in Paris, Los Angeles, Milan, and Berlin.
Her artistry extended beyond the dance world. She acted in the 2002 Italian film “Ogni 27 Agosto” and performed at the National Theatre. Fashion work included modeling for Karl Lagerfeld and Valentino.
Magazine profiles in Vogue and Elle captured her as both artist and personality. Television commercials brought her face to broader audiences. Filmed performances of “Swan Lake” and “The Sleeping Beauty” preserve her interpretations for future generations.
Coaching, Teaching, and Leadership in Dance
In 2016, a return to familiar territory signaled a shift in focus from dancing to guiding. Viviana Durante brought her performance insight back to the Royal Ballet as a coach.
She worked on revivals of MacMillan’s “Anastasia” and other classic works. Her coaching extended to American Ballet Theatre and Hong Kong Ballet.
Masterclasses, Juror Commitments, and Mentoring
With formal dance education diplomas, she taught at prestigious institutions worldwide. The Royal Ballet School, Prix de Lausanne, and Beijing Dance Academy hosted her masterclasses.
As a juror, she helped shape careers at major competitions. She served as Jury Vice-President for Prix de Lausanne in 2022.
Her mentoring included BBC Young Dancer. She evaluated emerging talent for English National Ballet’s Emerging Dancer competition.
Artistic Direction at the English National Ballet School
In 2017, she founded Viviana Durante Company to revive neglected works. The company debuted at the Barbican Centre with MacMillan pieces.
By 2020, she became Artistic Director at English National Ballet School. During her tenure, she staged works by Ashton, Balanchine, and Bausch.
She commissioned over thirty new works and launched innovative programs. These included “Unite for Ukraine” and World Ballet School Day.
Her leadership extended beyond traditional training. She created dance-based rehabilitation programs and unique cultural collaborations.
Final Reflections on an Enduring Dance Legacy
From Prix de Lausanne winner at seventeen to Jury Vice-President decades later, her journey embodies ballet’s full cycle. The awards tell part of the story—youngest-ever Evening Standard recipient, Laurence Olivier Award nomination, Dancer of the Year honors across four countries.
Critics captured her essence differently. The Times saw “the heroine who dies for love.” The Independent called her “unsurpassable.” Each role received her unique blend of precision and passion.
Viviana danced with legendary partners in memorable pas de deux. Her time as a guest artist across global companies proved her adaptability. She commanded every stage she touched.
Today, her legacy lives through the dancers she coaches and institutions she transforms. The girl from Rome who became the Royal Ballet’s youngest principal now ensures ballet’s future burns as bright as her past.
