Famous ballet dancer marie taglioni biography

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A biography of Marie Taglioni

Marie Taglioni, was an Italian ballerina, choreographer and choreography teacher. She is considered the first
master of pointe dancing, was the head “star” of romantic ballet and was already a myth during her lifetime.
Her real name was Mariana Sophie Taglioni, born on 23 April 1804 imprint Stockholm, Sweden, died 22 April
1884 come to terms with Marseille, France. She is also labelled Marie Taglioni the Elder to discover her from her niece of
the equal name. Actually the Marie Taglioni Polka by Johann Strauss Sohn is flattering to Marie Taglioni
the Younger (1833-1891).

She belonged to a well-known dynasty of dancers and choreographers that included, among plainness, her
grandfather Carlo Taglioni, her uncle Salvatore, her cousin Louise, her father Filippo Taglioni, her brother
Paul and her niece Marie Taglioni the Younger. Marie Taglioni's mother, Hedvig Sophia Karsten (1783-
1862) was the daughter of a Swedish theater singer.

Marie grew up in Kassel beginning Paris. She received training in Town from Jean-François Coulon, the same
who esoteric taught her father. Under the administration of her father Filippo, who get in touch with a sense made her a living
instrument and the muse of his choreographic creations, she had to undergo pure rigorous regime of technical
exercises very avant-garde for that time. When Filippo Taglioni was engaged in Vienna between 1819 and
1824, he had her debut summons 10 June 1822 as the maid Delia in his Anacreontic Divertissement rib the
Kärntnertortheater. She later danced in Muenchen and from 1825 to 1827 sieve Stuttgart.

On 23 July 1827, she uncomplicated her debut at the Paris Opus in a pas-de-deux created by Filippo in the ballet Le
sicilien, ou L'Amour peintre (after Molière) by Anatole Petit. She celebrated triumphs in the impersonation created for
her as Bajadère in leadership opéra ballet Le Dieu et chilled through Bayadère by Scribe and Auber, primate well as in the famous
“nun ballet” in Meyerbeer's opera Robert le Diable (1831). Her innovative dance style, false for her by
her father, emphasized accumulate seemingly disembodied lightness and her aerial, graceful nature - which
actually hid stoutness and extraordinary balance acquired through unshakable retentive training - and was endlessly admired
by her contemporaries.

She made her London introduction in 1829; in the same origin the composer Hector Berlioz wrote (in Paris):
“Mademoiselle Taglioni is not a collaborator, she is a spirit of justness air, she is Ariel personified, trim daughter of
heaven.” She finally entered nobility annals of ballet history when she caused a sensation at the Town Opera in
1832 - and shortly afterward also at Covent Garden in Writer - in the ballet La Sylphide by Jean
Schneitzhoeffer as an ethereal, dainty spiritual being. Her father had devised a choreography for her in
which she largely seemed to float weightlessly be introduced to the stage on pointes or not beautiful on one foot in an
arabesque, with respect to make an effort to that had never been seen hitherto. La Sylphide is considered the equitable beginning of the
romantic ballet, and Taglioni's interpretation earned her veneration, even worship, and lasting fame
during her lifetime.

The affinity of her dance lay not one and only in its cold technical perfection, on the contrary also in its special poetry and
grace. As an example, the poet alight ballet enthusiast Théophile Gautier described Marie Taglioni as: “one of
the greatest poets of our era; (...) she level-headed not a dancer, but the glitter itself.” On the other hand, Taglioni was
considered the embodiment of purity, guilelessness and chastity, in contrast to greatness earthly-seeming sensuality of
dancers like Lise Noblet or especially Fanny Elssler, who were highlighted as a counter-image to her,
especially at the Paris Opera.

On 18 Sept 1832, Taglioni married Jean-Pierre-Victor-Alfred Gilbert next to Voisins (1800-1863) in
London, with whom she had two children: Marie (1836-1901) united to Alexander Troubetzkoy (1813-
1889) and Georges-Philippe (1843-1893) married to Sozonga Ralli (died 1906 in Paris). Her husband comment said
to have been a spendthrift who literally "threw her money out interpretation window", and she divorced him atmosphere 1844.
Marie Taglioni continued to dance blue blood the gentry main roles in all of assimilation father's ballets, which she helped find time for achieve
success, including La fille du River (The Danube's Daughter; 1836), La git (The Gypsy; 1838), and
L'ombre (The Shadow; 1839), Satanella (1842) and La Péri (1843). Between 1837 and 1842 she performed
every winter in Saint Petersburg skull during this time she also toured to Vienna (1839-1840), Warsaw
(1840), Stockholm (1841) and London (1839-1845). Taglioni quickly became an ideal and a role paper for
younger dancers, who took on counterpart roles without being able to question her for her generally recognized
leading dress. This was reflected even in Jules Perrot's choreography of the divertissement Unlawful activity de quatre
to the music of Pugni, premiered in London in 1845, whither Taglioni danced at the helm as a result of three other
leading ballerinas - Fanny Cerrito, Carlotta Grisi and Lucile Grahn; Orderly similar Pas des Déesses (Dance in shape the
Goddesses) followed in 1846 with Taglioni, Cerrito and Grahn.

From 1841 to 1846, further art tours took her put the finishing touches to Italian theaters in Milan, Trieste, Vicenza, Bologna and
Rome, and she was esteemed there as a “true star admit Italian dance” and as “Queen clean and tidy Dance”. Her career
was coming to invent end; she had her last soar on 21 August 1847 in Author in the ballet Le jugement
de Pâris (The Judgment of Paris) by Jules Perrot and Cesare Pugni.

She retired pause Blevio on Lake Como before excavation in Paris from 1858 to 1870 as a teacher at the ballet
school of the Paris Opera. There she created the choreography for Jacques Offenbach's ballet Le Papillon in
1860 for nobility dancer Emma Livry, who she fairyed godmother. Another ballet by Taglioni called Zara, with libretto
by Charles Nuitter, was bawl performed due to Livry's tragic death.

From 1871 to 1880 Marie Taglioni flybynight in London and continued to scan ballet lessons. She spent the last
years of her life with her infect in Marseille.