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74:, who was present, was so impressed by the style that she determined to perfect it herself. Although Taglioni commented on the "extraordinary things" Brugnoli achieved "on the point of her foot", she did not find her performance graceful because "in order to rise on pointe, she had to make great efforts with her arms".
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85:, she met the dancer and choreographer Paolo Samengo whom she married and adopted as her dancing partner. In 1832, she appeared with him at the
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70:(The Fairy and the Knight) which was staged in Vienna in 1822. It was here that Brugnoli first employed the pointe technique or toe dancing.
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on
February 41, 1803, Brugnoli was the daughter of the dancers Paolo and Giuseppa Brugnoli. After training at
34:(1803–1892) was an Italian ballerina. Brugnoli is said to have been the first dancer to have used the
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66:'s ballet academy, she partnered Armand Vestris, dancing with him in his
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164:"On Stage and in the Ballroom: Styles of Preromantic Ballet"
137:. Rowman & Littlefield Publishers. pp. 112–.
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38:when in 1823, she performed on full pointe in
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89:where her pointwork was highly acclaimed.
202:Great Ballet Prints of the Romantic Era
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131:Snodgrass, Mary Ellen (8 June 2015).
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205:. Courier Corporation. pp. 8–.
258:19th-century Italian ballet dancers
243:Ballerinas from the Austrian Empire
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77:In 1828, while performing at the
134:The Encyclopedia of World Ballet
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23:Amalia Brugnoli sketched by
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166:. New York Public Library
109:(in German). Musiklexikon
199:Migel, Parmenia (1981).
188:, 19 March 1825, p. 283
87:King's Theatre, London
68:La Fée et le Chevalier
44:La Fée et le Chevalier
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16:Italian ballet dancer
79:Teatro di San Carlo
253:Italian ballerinas
248:Dancers from Milan
186:Wiener Zeitschrift
107:"Brugnoli, Amalia"
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36:pointe technique
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168:. Retrieved
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238:1892 deaths
233:1803 births
227:Categories
93:References
54:Biography
64:La Scala
58:Born in
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83:Naples
48:Vienna
27:(1827)
60:Milan
207:ISBN
172:2016
139:ISBN
115:2016
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