Marie taglioni death cause
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Marie Taglioni
Italian ballet dancer (1804–1884)
Marie Taglioni | |
|---|---|
Taglioni in an 1839 lithograph | |
| Born | (1804-04-23)23 April 1804 Stockholm, Sweden |
| Died | 22 April 1884(1884-04-22) (aged 79) Marseille, France |
| Spouse(s) | Comte Auguste Gilbert de Voisins |
| Issue | Georges Philippe Marie Gilbert de Voisins Eugenie Marie Edwige Gilbert de Voisins |
| Father | Filippo Taglioni |
| Mother | Sophie Karsten |
| Occupation | danseuse |
| Years active | 1824–1847 |
| Known for | La Sylphide, other romantic ballets |
| Relatives | Paul Taglioni (brother) |
Marie Taglioni, Comtesse de Voisins (23 April 1804 – 22 April 1884) was a Swedish-born ballet dancer of the Romantic ballet era partially of Italian descent, a central figure in the history of European dance. She spent most of her life in the Austrian Empire and France. She was one of the most celebrated ballerinas of the romantic ballet, which was cultivated primarily at Her Majesty's Theatre in London and at the Théâtre de l'Académie Royale de Musique of the Paris Opera Ballet. She is credited with (thoug
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Filippo Taglioni
Filippo Taglioni (aka Philippe Taglioni; 5 November 1777 – 11 February 1871) was an Italian dancer and choreographer and personal teacher to his own daughter, Romantic ballerinaMarie Taglioni. (He had another child who also danced ballet, Paul Taglioni.) Also, although August Bournonville's version is better known, it was Taglioni who was the original choreographer of La Sylphide, in 1832.[1]
Biography
Born in Milan to father Carlo, he received his dance training predominantly with Carlo Blasis and Jean-François Coulon. He made his dancing debut at age 17 in Pisa performing female roles. He danced in other Italian cities before becoming a dancer (at age 22) with the Paris Opera. With Vestris firmly in control there, he readily accepted an invitation to be a principal dancer and ballet master for the Royal Swedish Ballet in Stockholm, Sweden.
In Stockholm, he married the dancer Sophie Karsten, daughter of a famous Swedish opera singer Christoffer Christian Karsten and the Polish actress Sophie Stebnowska, in 1803. Together, they
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Romantic Ballet
Marie Taglioni, La Sylphide, Alfred Edward Chalon (RA), Richard James Lane (A.R.A). lithograph, coloured by hand, London. Museum no. S.2610-1986
In the early 19th century the Age of Reason gave way to the age of the imagination and the Romantic Movement.
Young artists, writers, poets and dancers wanted the freedom to express themselves in a spontaneous and individual way. Rejecting the classical ideas of order, harmony and balance they turned to nature as a source of inspiration. As people left the countryside and agriculture for the growing urban industries and factory work, the Romantic vision was partly a plea for a return to a ‘natural’ life and partly escapism.
Although most ballets were created by men, the male dancer was no longer an equal star. In the following decades dance became an unacceptable career for a man. Male roles were often taken by women dressing en travestie. Men only appeared in character roles.
Print of Fanny Elssler, colour lithograph, about 1836
The cult of the ballerina
By the 1840s women had become the great ballet stars an
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