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ACQUISITIONS
in places ranging from Spain to the USSR. He toured Latin America with the Alicia Alonso Ballet Company before the Cuban Revolution and with Margot Fonteyn for her 1963 world tour, with stops in Israel, Egypt, Japan, and more. Fernandez is considered to be the first American premier danseur, known for his elegance and exceptional technique.
At the height of his career, he danced the role of Prince Siegfried in American Ballet Theater’s full-length premiere of Swan Lake in 1967.
It’s not a surprise that both Bruno and Fernandez were dedicated to the performing arts. Though their father, Emanuel Paul Fernandez (1887-1949), was a jeweler for Adler’s, he was also a ballroom dance instructor who taught out of their Uptown home. Their mother, Framjoise Fernandez, was entre-nched in the performing arts through her families, the Blanchins and Pembertons. Grandfather George Pierre Casimir Blanchin (1860-1924) was an engineer of railroad bridges and a noted violinist. He performed with the New Orleans Symphony Orchestra and was the director of the Tudor Orchestra and the Dauphine Theatre Orchestra. Francoises uncle, John Peter Pemberton, was a respected artist who studied under William Woodward at Tulane University and later went on to teach drawing at both Tulane and Newcomb College. Pemberton was also a pianist, and his brother Gilbert was a manager of the French Opera House.
Within the papers of the Fernandez, Blanchin, and Pemberton families are glimpses of the rich performing-arts culture of 19th- and 20th-century New Orleans. The collection includes photographs of family members, documents relating to Blanchin and Giraug, a liquor-import firm founded by Pierre Charles Blanchin (1810-1874), and correspondence from Adler’s regarding Emanuel Fernandez. An important artifact is George Blanchin’s wooden music stand, which he used at the French Opera House. The family papers complement an existing acquisition, the Royes Fernandez Collection (MSS 545). —NINA BOZAK
RECENT ADDITIONS
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