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Article

Jennifer Thorp

wife took charge of a similar school at Gorge's House, Chelsea, where he hosted performances of Blow's Venus and Adonis ( 1684 ) and Purcell's Dido and Aeneas ( 1689 ). Although it is widely presumed that he devised the dances for these productions and for Purcell's later semi-operas, the evidence is inconclusive. It appears that several dancing-masters named Preist were active at this time. Downes referred to a ‘Mr Priest’ and a ‘Mr Jo: Priest’ in connection with Dioclesian , The Fairy Queen and King Arthur . A collection of dance music published by Thomas

Article

Maureen Needham

Nobili, Pisa, where his father Carlo was ballet-master. After touring Italy, 1796–8 , he went to Paris to study with J.-F. Coulon, making his début at the Opéra in La caravane ( 1799 ). He worked at the Royal Opera, Stockholm, in 1803–4 , and at the Hoftheater, Vienna, in 1805 , before undertaking an extended European tour. Taglioni’s importance lies mainly in his choreography for the premières, all at the Paris Opéra, of Auber’s Le dieu et la bayadère ( 1830 ) and Gustave III ( 1833 ), Meyerbeer’s Robert le diable ( 1831 ) and Les Huguenots ( 1836 ), and Halévy’s

Article

Maureen Needham

danced in others. He was the ballet-master of Pierre Perrin’s Académies d’Opéra, creating dances for Cambert’s Pomone ( 1671 ). As ballet-master for Lully’s Opéra during the 1670s and 80s, he choreographed dances for the premières of Lully’s L’impatience ( 1661 ), La naissance de Vénus ( 1665 ), Alceste ( 1674 ), Atys ( 1676 ), Isis ( 1677 ), Le triomphe de l’Amour ( 1681 , with Pécour) and Ballet de la Jeunesse ( 1686 ). After Lully’s death ( 1687 ) Beauchamps left the Opéra to choreograph and compose music for ballets at the Jesuit colleges ( 1669–97

Article

Francis in 1765 closed all theatres in Vienna, and prevented performances in Innsbruck of Angiolini’s last ballet to music by Gluck, Achille in Sciro , based on Metastasio’s libretto. Shortly thereafter Angiolini succeeded Hilverding at St Petersburg, making his début ( September 1766 ) with another ballet derived from Metastasio, Le départ d’Enée , ou Didon abandonnée , to his own music. During this stay in Russia Angiolini presented several new ballets, restaged others from Vienna, and composed dances for a number of Italian operas. He worked next ( 1772–3

Article

artists, including Balbi, to his court at Brussels. Balbi created a grand ‘balet a entrées’ in honour of the wedding of Philip IV and Maria Anna of Austria. Entitled Le balet du monde , it was presented in Brussels during Carnival 1650 , between the acts of Gioseffo Zamponi’s opera Ulisse all’isola di Circe . Balbi returned to Florence in 1650 and with the Febiarmonici staged Cavalli’s La Deidamia , first performed in Venice at the Teatro Novissimo in 1644 . During the carnival of 1651 Balbi was once again in Venice, where he created the choreography and stage

Article

Sarah McCleave

Sallé is understood to have performed in all of Handel’s operas of the 1734–5 Covent Garden season. The text of Terpsicore , apparently the first danced prologue appended to a London opera seria ( Il pastor fido ), indicates that Sallé, as the muse of dance, was to depict various passions. Her performances in Alcina excited particular reaction: on one occasion spectators hissed her costume (Prévost D’Exiles); on another, a riot ensued when George II denied the audience an encore. Sallé returned to the Paris Opéra in the summer of 1735 to assume her first

Article

series (all with music by Gluck) – Don Juan, ou le festin de pierre , Citera assediata , Alexandre et Roxane , Sémiramis and Ifigenia in Aulide (lost) — were based on well-known plays, operas or myths. By Angiolini’s own account the lieto fine of his Ifigenia ballet was in response to audience displeasure with the grim dénouement of Sémiramis . (Angiolini later staged a five-act version of his Sémiramis ballet, to his own music.) During this same period Angiolini contributed ballets to opéras comiques , and to opere serie , including reform operas by Traetta

Article

J.G. Prod’homme and Marian Smith

‘the extreme difficulty of taking up the violin in the middle of a scene and playing it at a given moment, without time to make all the preparations that a musician never neglects before starting his solo’ ( Le constitutionnel , 22 January 1849 ). He produced numerous ballets in Lisbon ( 1854–6 ), was premier maître de ballet at the St Petersburg Imperial Theatres from 1859 to 1870 and was a frequent guest choreographer at the Paris Opéra in the summers. He thus became the dominant figure of both Russian and French ballet for most of the 1860s, and choreographed

Article

Susan Au

comprised only African-American dancers, it was integrated in 1962 , and his artistic vision became more universal in scope, exploring the emotions and dilemmas that all humans share. After retiring as a performer in 1965 , he devoted his energies to choreography, both for his own company and others. He created dances for Samuel Barber’s Antony and Cleopatra , which inaugurated the Metropolitan Opera’s new home at Lincoln Center in 1966 , and for Leonard Bernstein’s Mass ( 1971 ), marking the opening of the John F. Kennedy Center for the Performing Arts in Washington

Article

Barbara Palfy

but in later years he braved the traditional concert repertory, setting works such as Brahms Waltzes , Christmas and Easter Oratorio s, and Bach’s St. Matthew Passion . For extra income in the company’s early years, Weidman did successful choreography for plays ( Lysistrata ), operas (e.g., Aida ), and musicals (e.g., As Thousands Cheer ). After the demise of the Humphrey-Weidman Company he formed the Theatre Dance Company (later Charles Weidman Dance Company) on the West Coast and, upon returning to New York, Expression of Two Arts Theatre with artist Mikhail

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G. Yvonne Kendall

Battista Visconte wrote its text. The commedia , entitled Arminia Egloga , consists of a prologue followed by five acts, with interludes ( intermedii ) of songs and dances between the acts. Intermedio prologues, summarizing the theme, evolved into the prologue characteristic of early opera. Between the acts, Camillo Schiafenati provided songs and dances. Architectural drawings and sumptuous verbal portraits of the permanent theatre for this performance survive in a publication by Guido Mazenta, ‘Doctor of Laws at the College of Milan’. Negri choreographed the brando

Article

her, and associate artistic director, working alongside George Balanchine. Among his ballets of this period were The Cage ( 1951 ; Igor Stravinsky), Afternoon of a Faun ( 1953 ; Claude Debussy), and The Concert ( 1956 ; Frédéric Chopin), all of which remain in the company’s repertory. He directed Aaron Copland’s opera The Tender Land in 1954 . He formed his own company, Ballets U.S.A., in 1958 , and after its demise he returned to work on Broadway and in television. His golden touch created hit musicals such as The King and I ( 1951 ), Pajama Game (

Article

Claude Conyers

See Me Tonight ( 1995 ; songs of Stephen Foster), Going Away Party ( 1990 ; music by Bob Wills and His Texas Playboys), and his production of the Virgil Thomson/Gertrude Stein opera Four Saints in Three Acts ( 2000 ). He has also created works to the music of John Adams, Samuel Barber, George Gershwin, Lou Harrison, Charles Ives, Harry Partch, Richard Rodgers, and Paul Simon –Americans all. Bibliography J. Acocella : Mark Morris (New York, 1993) J. Morgenroth : Speaking of Dance: Twelve Contemporary Choreographers on Their Craft (New York

Article

Claude Conyers

dancing by their father and grandfather and trained in ballet by various teachers. All three were instrumental in establishing and popularizing ballet in the western United States. Willam Farr Christensen ( b Brigham City, UT , Aug 27, 1902 ; d Salt Lake City , Oct 14, 2001 ) was the eldest of the brothers. After touring the vaudeville circuit, he opened a ballet school in 1932 in Portland, Oregon, from which sprang the Portland Ballet. In 1937 he joined the San Francisco Opera Ballet, where, as ballet-master, he staged the first full-length American productions

Article

Gabriella Biagi Ravenni

Boccherini (Lucca, 1927), 10–11 A. Della Corte : Un italiano all’estero: Antonio Salieri (Turin, 1936), 104–15 E. I. Luin : ‘Italiani per il mondo: Giangastone Boccherini’, Rivista italiana del teatro , 7 (1943), 63–6 G. Arrighi : ‘Giovan Gastone Boccherini’, Lucca: rassegna del Comune , 6 (1962), 13–23 G. de Rothschild : Luigi Boccherini: sa vie, son oeuvre (Paris, 1962; Eng. trans., 1965) G. Biagi Ravenni : ‘Calzabigi e dintorni: Boccherini, Angiolini, la Toscana e Vienna’, La figura e l’opera di Ranieri de’ Calzabigi: Livorno 1987 , 29–71