| The Revolt of the Harem | |
|---|---|
 | |
| Native title | La Révolte au sérail |
| Choreographer | Filippo Taglioni |
| Libretto | Alfred Bunn |
| Premiere | 12 April 1833 |
The Revolt of the Harem is a ballet created and performed in the 1830s.
| The Revolt of the Harem | |
|---|---|
| | |
| Native title | La Révolte au sérail |
| Choreographer | Filippo Taglioni |
| Libretto | Alfred Bunn |
| Premiere | 12 April 1833 |
The Revolt of the Harem is a ballet created and performed in the 1830s.
The ballet was originally produced by Taglioni of the l'Academie Royale á Paris under the title La Révolte au sérail. Premiering in Paris on April 12, 1833, Filippo Taglioni's work was later adapted, restaged, and renamed for English audiences by Alfred Bunn (the Manager of the Theatre Royal, Covent Garden) to draw English audiences. The 1834 season in London saw 43 sold-out performances. [1]
Princess Victoria attended a performance of The Revolt of the Harem at the Covent Garden Theatre on February 11, 1834. [2]
The ballet debuted in America at Niblo's Garden on July 8, 1844, directed by William Mitchell. [3]
The Revolt of the Harem depicts women revolting from a harem in Muslim Granada.
Marie Taglioni, Comtesse de Voisins 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 being the first ballerina to truly dance en pointe.
The Romantic ballet is defined primarily by an era in ballet in which the ideas of Romanticism in art and literature influenced the creation of ballets. The era occurred during the early to mid 19th century primarily at the Théâtre de l'Académie Royale de Musique of the Paris Opera Ballet and Her Majesty's Theatre in London. It is typically considered to have begun with the 1827 début in Paris of the ballerina Marie Taglioni in the ballet La Sylphide, and to have reached its zenith with the premiere of the divertissement Pas de Quatre staged by the Ballet Master Jules Perrot in London in 1845. The Romantic ballet had no immediate end, but rather a slow decline. Arthur Saint-Léon's 1870 ballet Coppélia is considered to be the last work of the Romantic Ballet. Romantic ballet is believed to have been experienced in three main phases: The zenith phase from 1830-1840, the decline phase from 1850-1880, and the revival phase in the 1890s prior to Diaghilev. Each phase is synonymous with the production of a few specifically stylized ballets.
A tutu is a dress worn as a costume in a classical ballet performance, often with attached bodice. It may be made of tarlatan, muslin, silk, tulle, gauze, or nylon. Modern tutus have two basic types: the Romantic tutu is soft and bell-shaped, reaching the calf or ankle; the Classical tutu is short and stiff, projecting horizontally from the waist and hip.
Fanny Elssler was an Austrian ballerina of the Romantic Period.
Carlotta Grisi was an Italian ballet dancer. Born in Visinada, Istria. Although her parents were not involved in the theatre, she was brought up in an opera family. She was trained at the ballet school of Teatro alla Scala in Milan and later with dancer/balletmaster Jules Perrot. She was especially noted for her performance in the classic role of Giselle.
A ballet master is an employee of a ballet company who is responsible for the level of competence of the dancers in their company. In modern times, ballet masters are generally charged with teaching the daily company ballet class and rehearsing the dancers for both new and established ballets in the company's repertoire. The artistic director of a ballet company, whether a male or female, may also be called its ballet master. Historic use of gender marking in job titles in ballet is being supplanted by gender-neutral language job titles regardless of an employee's gender.
The Salle Le Peletier or Lepeletier was the home of the Paris Opera from 1821 until the building was destroyed by fire in 1873. The theatre was designed and constructed by the architect François Debret on the site of the garden of the Hôtel de Choiseul on the rue Lepeletier. Due to the many changes in government and management during the theatre's existence, it had a number of different official names, the most important of which were: Théâtre de l'Académie Royale de Musique (1821–1848), Opéra-Théâtre de la Nation (1848–1850), Théâtre de l'Académie Nationale de Musique (1850–1852), Théâtre de l'Académie Impériale de Musique (1852–1854), Théâtre Impérial de l'Opéra (1854–1870), and Théâtre National de l'Opéra (1870–1873).
Joseph Mazilier was a 19th-century French dancer, balletmaster and choreographer. He was born as Giulio Mazarini. He was most noted for his ballets Paquita (1844) and Le Corsaire (1856). He created the role of James in La Sylphide with Marie Taglioni. Marie Guy-Stéphan debuted in Aelia et Mysis at the Paris Opéra when she moved in 1853 to Paris.
La Fille du Danube is a ballet in two acts and four scenes, choreographed by Filippo Taglioni to music by Adolphe Adam.
Lydia, the Swiss Milkmaid is a Demi-Caractère ballet in 2 acts, with choreography by Filippo Taglioni and music by Adalbert Gyrowetz.
La Caravane du Caire is an opera or opéra-ballet in three acts by André Grétry, set to a libretto by Étienne Morel de Chédeville. Tradition has it that either the libretto was partially written or the idea of it was allegedly suggested by the Count of Provence, who would go down in history as Louis XVIII of France.
Pauline Duvernay or Yolande Marie-Louise Duvernay or Yolande Marie Louise de Varnay was a French dancer.
Antoine Paul known professionally as Paul, was a French ballet dancer.
La tentation is a ballet-opera, a hybrid work in which both singers and dancers play major roles. It was premiered in 1832 in its original five-act form by the Paris Opéra at the Salle Le Peletier. Most of the music was by Fromental Halévy, and the libretto was by Edmond Cavé and Henri Duponchel. The choreography was by Jean Coralli, and the decor by a number of hands including Eduard Bertin, Eugène Lami, Camille Roqueplan and Paul Delaroche. After the first 29 performances, mostly separate acts were performed in conjunction with another work, although it was occasionally revived in its entirety in 1833, 1834, and 1835. In all, it was given complete 46 times, and as separate acts on 60 occasions.
Adèle-Louise-Pauline Leroux was a French dancer and ballerina of the 19th-century Romantic ballet era and a member of the Paris Opera Ballet.
Clotilde Mafleuroy, known professionally as Clotilde, was an 18th century French ballet dancer who performed as a principal dancer at the Opéra de Paris.
Charles-François Richer de la Rigaudière or Charles Beaupré, known professionally as Beaupré, was an 18th century French ballet dancer, pantomimist, and dance teacher who performed at the Opéra de Paris for nearly 30 years.
Marie Miller, or Marie-Elisabeth-Anne Houbert, known professionally as Mlle Miller and later Madame Gardel, was an 18th century French ballet dancer at the Opéra de Paris and the wife of Pierre Gardel.
Louis-François Gosselin was a French ballet dancer who performed as a premier danseur at the Opéra de Paris and Her Majesty’s Theatre in London.