* Frederick Ashton's " Cinderella " ballet

* Cinderella, Frederick Ashton's version of the Prokofiev ballet

* Frederick Ashton's " Cinderella " ballet

* Archive film of Frederick Ashton's Thais Pas de Deux performed by Nina Ananiashvili and David Ananeli in 2010 at Jacob's Pillow

He was best known for his lead roles in La Sylphide, Giselle, Frederick Ashton's Romeo and Juliet, and Swan Lake.

In Frederick Ashton's 1948 choreography of Cinderella, Robert Helpman and Ashton himself danced the roles of the two stepsisters.

In 1959 she advised Sir Frederick Ashton on his important revival of La Fille Mal Gardée for the Royal Ballet, in which she taught him Petipa's original mimed dialogue for the celebrated scene When I'm Married, as well as his choreography for the Pas de Ruban-two passages which are still retained in Ashton's production.

Angel Corella in a 2005 performance as Aminta, from an ABT production of Frederick Ashton's ballet Sylvia

Nadia Nerina as Lise and David Blair ( dancer ) | David Blair as Colas in the Pas de ruban from the premiere of Frederick Ashton's version of La Fille mal gardée.

Today the company includes Sir Frederick Ashton's version in their active repertory ( originally staged for the Royal Ballet in 1960 ), though the La Fille mal gardée pas de deux is often performed during gala performances.

Sara Lamb as Lise and Martin Harvey as Colas in the Fanny Elssler Pas de Deux from Sir Frederick Ashton's La Fille mal gardée, London, 2005

William Tuckett as the Widow Simone with members of the Corps de Ballet in the Clog Dance from the Royal ballet's production of Sir Frederick Ashton's La Fille mal gardée, London, 2006

NOTE – For Sir Frederick Ashton's 1960 revival John Lanchbery utilized Hérold's 1828 music as well as passages from the original Bordeaux score of 1789 as " raw material ".

* Hans Werner Henze / Frederick Ashton's ballet Ondine about a water nymph, was choreographed for Margot Fonteyn.

Kronstam dominated the Royal Danish Ballet's repertory for more than two decades, dancing over 120 roles, many of which were created, such as the role of Romeo in Sir Frederick Ashton's Romeo and Juliet ( 1955 ), the Husband in John Cranko's Secrets ( 1956 ), Nilas in Birgit Cullberg's Moon Reindeer ( 1958 ), and the Prince in Flemming Flindt's The Nutcracker ( 1971 ).

In 1961, Frederick Ashton of the Royal Ballet appropriated Stravinsky's score, to choreograph a ballet starring Svetlana Beriosova as Persephone.

One of Oldham's achievements was the setting for full orchestra of Britten's Variations on a Theme by Frank Bridge, for the Frederick Ashton ballet Le Rêve de Léonor ( 1949 ).

* The ballet Pomona, with music by Constant Lambert, choreography by Frederick Ashton and scenery and costumes by Vanessa Bell, first performed by the Vic-Wells Ballet at the Sadler's Wells Theatre on 17 January 1933.

The Royal Ballet is one of the world's foremost classical ballet companies, its reputation built on two prominent figures of 20th century dance, prima ballerina Margot Fonteyn and choreographer Frederick Ashton.

* Ondine ( ballet ), a ballet with music by Hanz Werner Henze and choreography by Frederick Ashton, first produced in 1958 for the Royal Ballet

Together they created many roles in ballets choreographed by Frederick Ashton, including the comical " ugly stepsisters " in the pantomime-style ballet Cinderella.

The first principal dancers of the Vic-Wells ballet were Alicia Markova and Anton Dolin and the founder choreographer was Frederick Ashton, all three having been working with the Ballet Club of Marie Rambert.

' Cupid and Psyche ' was the title of a ballet choreographed by Frederick Ashton with music by Lord Berners and decor by Sir Francis Rose, first performed by the Sadler's Wells Ballet ( now Royal Ballet ) on 27 April 1939, with Frank Staff as Cupid, Julia Farron as Psyche, Michael Somes as Pan and June Brae as Venus.

Kenneth MacMillan and Frederick Ashton were neoclassical ballet choreographers that created original narrative ballets in the 20th century.

* The music by Ravel was also used in the ballet of the same name by Frederick Ashton, first performed by the Sadler's Wells Ballet ( now Royal Ballet ) at Covent Garden on 5 April 1951, with Margot Fonteyn as Chloe and Michael Somes as Daphnis.

* The Dream ( ballet ), choreographed by Sir Frederick Ashton to music by Felix Mendelssohn, and based on Shakespeare's A Midsummer Night's Dream

Frederick Ashton used the sonata for his 1963 ballet Marguerite and Armand, created for Margot Fonteyn and Rudolf Nureyev, based on " The Lady of the Camellias " by Alexandre Dumas, fils.

He has created scenery, lighting and costumes for the ballet " The Jazz Calendar " by Frederick Ashton at Teatro Alla Scala and worked also for the Piccolo Teatro di Milano.

* Illuminations ( ballet ), a ballet by Sir Frederick Ashton

It was the 1952 revival, choreographed by Sir Frederick Ashton, that popularized the ballet.

Indeed, when Frederick Ashton rechoreographed the ballet in the 1950s, he tried to rework the story to be more interesting ( while still retaining its classical themes ) because he recognized this aspect of the ballet as a potential pitfall.

He established a reputation as a major composer for the ballet stage through collaborations with choreographers of the stature of George Balanchine, John Cranko and Frederick Ashton.

* Władysław Kozaczuk, Enigma: How the German Machine Cipher Was Broken, and How It Was Read by the Allies in World War Two, edited and translated by Christopher Kasparek, Frederick, MD, University Publications of America, 1984, ISBN 0-89093-547-5.

* Władysław Kozaczuk, Enigma: How the German Machine Cipher Was Broken, and How It Was Read by the Allies in World War Two, edited and translated by Christopher Kasparek, Frederick, MD, University Publications of America, 1984, ISBN 0-89093-547-5.

* Władysław Kozaczuk, Enigma: How the German Machine Cipher Was Broken, and How It Was Read by the Allies in World War II, edited and translated by Christopher Kasparek, Frederick, MD, University Publications of America, 1984, ISBN 0-89093-547-5.

* Kozaczuk, Władysław, Enigma: How the German Machine Cipher Was Broken, and How It Was Read by the Allies in World War II, edited and translated by Christopher Kasparek, Frederick, MD, 1984: a history of cryptological efforts against Enigma, concentrating on the contributions of Polish mathematicians Marian Rejewski, Jerzy Różycki and Henryk Zygalski ; of particular interest to specialists will be several technical appendices by Rejewski.

* Władysław Kozaczuk, Enigma: How the German Machine Cipher Was Broken, and How It Was Read by the Allies in World War Two, edited and translated by Christopher Kasparek, Frederick, MD, University Publications of America, 1984, ISBN 0-89093-547-5.

* Władysław Kozaczuk, Enigma: How the German Machine Cipher Was Broken, and How It Was Read by the Allies in World War Two, edited and translated by Christopher Kasparek, Frederick, MD, University Publications of America, 1984.

* Władysław Kozaczuk, Enigma: How the German Machine Cipher Was Broken, and How It Was Read by the Allies in World War Two, edited and translated by Christopher Kasparek, Frederick, MD, University Publications of America, 1984, ISBN 0-89093-547-5.

* Władysław Kozaczuk, Enigma: How the German Machine Cipher Was Broken, and How It Was Read by the Allies in World War Two, edited and translated by Christopher Kasparek, Frederick, MD, University Publications of America, 1984, ISBN 0-89093-547-5.

* Władysław Kozaczuk, Enigma: How the German Machine Cipher Was Broken, and How It Was Read by the Allies in World War Two, edited and translated by Christopher Kasparek, Frederick, MD, University Publications of America, 1984, ISBN 0-89093-547-5.

The One Best Way, Frederick Winslow Taylor and the Enigma of Efficiency.

* Władysław Kozaczuk, Enigma: How the German Machine Cipher Was Broken, and How It Was Read by the Allies in World War II, edited and translated by Christopher Kasparek, Frederick, Maryland, University Publications of America, 1984, ISBN 0-89093-547-5.

* Władysław Kozaczuk, Enigma: How the German Machine Cipher Was Broken, and How It Was Read by the Allies in World War Two, edited and translated by Christopher Kasparek, Frederick, Maryland, University Publications of America, 1984, ISBN 0-89093-547-5.

* Władysław Kozaczuk, Enigma: How the German Machine Cipher Was Broken, and How It Was Read by the Allies in World War Two, edited and translated by Christopher Kasparek, Frederick, MD, University Publications of America, 1984.

* Władysław Kozaczuk, Enigma: How the German Machine Cipher Was Broken, and How It Was Read by the Allies in World War Two, edited and translated by Christopher Kasparek, Frederick, MD, University Publications of America, 1984, ISBN 0-89093-547-5.

* Władysław Kozaczuk, Enigma: How the German Machine Cipher Was Broken, and How It Was Read by the Allies in World War II, edited and translated by Christopher Kasparek, Frederick, MD, University Publications of America, 1984, ISBN 0-89093-547-5, pp. 59 – 60.

* Władysław Kozaczuk, Enigma: How the German Machine Cipher Was Broken, and How It Was Read by the Allies in World War Two, edited and translated by Christopher Kasparek, Frederick, MD, University Publications of America, 1984, ISBN 0-89093-547-5.