He was born on a train near Irkutsk while his mother traveled across Siberia in the Soviet Union. The family soon lived in Ufa, where hardship and war-era scarcity shaped his early determination.

In Ufa he encountered Bashkir folk dance and touring performances that sparked an intense fascination with movement and music. Local teachers noticed his unusual musicality and drive, despite limited resources after World War II.

He committed to structured ballet study at Ufa’s cultural institutions, balancing strict technique with a vivid theatrical instinct. The late start forced him to train obsessively, building the speed and jump that became trademarks.

He relocated to Leningrad and was accepted into the Vaganova Academy, an elite pipeline to Soviet ballet prestige. Under demanding instructors, he refined classical line and partnered technique with relentless ambition.

After graduating, he entered the Kirov Ballet at the Mariinsky Theatre, quickly standing out for attack, elevation, and dramatic presence. Soviet critics and colleagues saw him as a future star, though his independence worried officials.

He advanced with astonishing speed, taking prominent roles in classics like "Giselle" and "Swan Lake" while still very young. His bold interpretation challenged conservative tastes, emphasizing male virtuosity and theatrical intensity.

While on tour in Paris, he refused KGB pressure to return to Moscow and sought protection from French authorities at Le Bourget Airport. The decision made him an international symbol of Cold War artistic escape and personal risk.

He began performing in London, electrifying audiences with turns, jumps, and daring musical phrasing rare in Western stages then. His appearances with The Royal Ballet accelerated his transformation from refugee to global celebrity.

He partnered with Margot Fonteyn, whose artistry and authority blended with his youthful fire into a new kind of stage chemistry. Their performances became cultural events, selling out theaters and redefining classical partnership dynamics.

He debuted to major acclaim in New York, where critics and photographers amplified his star image beyond ballet circles. The American press framed him as both virtuoso dancer and glamorous émigré, boosting touring opportunities worldwide.

He became closely associated with "Romeo and Juliet," bringing impulsive drama and razor-sharp technique to the role of Romeo. His interpretations influenced European companies seeking bolder acting and more athletic male dancing.

He appeared in dance films and television projects, using camera work to highlight his speed and expressive face. These media ventures helped bring ballet into mainstream cultural conversation beyond opera houses and specialist audiences.

He was appointed an honorary Knight Commander of the Order of the British Empire (KBE), reflecting his immense contribution to dance in the UK. The honor also recognized how his presence reshaped The Royal Ballet’s international profile.

He became director of the Paris Opera Ballet and pushed the company toward higher technical risk and broader repertory. He coached stars, imported new works, and insisted on intensity and style even within France’s strict traditions.

During glasnost, he returned to the USSR and traveled to Ufa to see his ailing mother after decades of separation. The visit was emotionally fraught, reflecting both political thaw and the personal cost of his 1961 defection.

He led a high-profile revival of "La Bayadere" at the Paris Opera, emphasizing grand classical scale and meticulous detail. The production showcased his gift for curating legacy repertory and mentoring dancers through demanding style.

As illness advanced, he appeared in public less often but remained a powerful symbol of ballet modernity and defiant artistry. Colleagues noted his will to work and his insistence on elegance even when physically weakened.

He died in Paris after complications related to AIDS, prompting tributes from dancers, directors, and heads of major cultural institutions. His grave at Sainte-Geneviève-des-Bois became a pilgrimage site for admirers of 20th-century ballet.