1840s Currier Lithograph Marie Taglioni Mazurka In La Gitana Romantic Ballet
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1840s Currier Lithograph Marie Taglioni Mazurka In La Gitana Romantic Ballet:
Offered here is a handsome music cover, complete with music (4 sheets total) of Marie Taglioni dancing "La Mazurka" from "La Gitana." Signed in the stone: "N. Currier's Lithl N.Y."
Nathaniel Currier(1813 – 1888) was anAmericanlithographer, who headed the companyCurrier & IveswithJames Ives.Marie Taglioni(1804 – 1884) was an Italian/Swedishballet dancerof theRomantic balletera, a central figure in thehistory of European dance. Shewas born in Stockholm, Sweden, to the ItalianchoreographerFilippo Taglioniand the Swedish ballet dancerSophie Karsten, maternal granddaughter of the Swedish opera singerChristoffer Christian Karstenand of the Polish opera singer and actressSophie Stebnowska. Her brother,Paul(1808–1884), was also a dancer and an influential choreographer; they performed together early in their career. Taglioni rose to fame as adanseusewhen her father (and teacher) created the balletLa Sylphide(1832) for her. Designed as a showcase for Taglioni's talent, it was the first ballet where dancingen pointehad an aesthetic rationale and was not merely an acrobatic stunt, often involving ungraceful arm movements and exertions, as had been the approach of dancers in the late 1820s.
Marie Taglioni was one of the most celebrated ballerinas of the romantic ballet, which was cultivated primarily atHer Majesty's Theatrein London, and at theThéâtre de l'Académie Royale de Musiqueof theParis Opera Ballet.
In 1827 Taglioni left the Ballet of Her Majesty's Theatre to take up a three-year contract inSaint Petersburgwith theImperial Ballet(known today as the Kirov/Mariinsky Ballet). It was in Russia after her last performance in the country (1842) and at the height of the "cult of the ballerina", that a pair of herpointe shoeswere sold for two hundredrubles, reportedly to be cooked, served with a sauce and eaten by a group of balletomanes.In July 1845, she danced withLucile Grahn,Carlotta Grisi, andFanny Cerritoin Jules Perrot'sPas de Quatre.
Taglioni was also known for shortening her skirt in the performanceLa Sylphide, which was considered highly scandalous at the time. She shortened all of her skirts to show off her excellent pointe work, which the long skirts hid. Her father was approving of the shortening of the skirt because he also wanted everyone to see how good his daughter wasen pointe.
Taglioni retired from performing in 1847; for a time she took up residence at theCa' d'Oroon the Grand Canal in Venice. When the ballet of the Paris Opera was reorganized on stricter, more professional lines, she was its guiding spirit. With the director of the newConservatoire de danse,Lucien Petipa, and Petipa's former pupil, the choreographerLouis Mérante, she figured on the six-member select jury of the first annual competition for thecorps de ballet, held April 13, 1860.
Later she taughtsocial danceto children and society ladies; she also took a limited number of ballet pupils. Her only choreographic work wasLe papillon(1860) for her studentEmma Livry, who is remembered for dying in 1863 when her costume was set alight by a gas lamp used forstage lighting.Johann Strauss IIcomposed the "Marie Taglioni Polka" (Op.173) in her honour, using music from ballets in which she had appeared.
Taglioni died in Marseille in 1884.
N.B. Condition: The image of Marie Taglioni is in excellent condition. The left margin of the music sheet is a bit rough from having been bound at some point in an album, and the sheet is trimmed (as seen in the scan) at the bottom margin, cutting off the lower half of "Published by Hewitt & Jaques 239 Broadway," which still can be deciphered. Please feel free to ask any questions BEFORE offerding.
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