20:
110:, obtaining a lot of success. In particular, the London audience, who did not like at that time to see men dancing on stage, liked him very much. He was much appreciated for his tours and his jumps. He was able to gain applause in every theatre he danced, and this was not very common in the
214:(1870) for her. Although he choreographed many ballets it's the only one that has come down to us almost complete. He died two days after the ballet's initial season had come to an untimely end because of the
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and from that very moment the two of them became almost indivisible, until they married in 1845. For
Cerrito, Saint-Léon choreographed a ballet that was a hit in London
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published in 1852. It is the first method of choreographic notation which documented not only the feet but also the movements of the arms, torso and the head.
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71:, where his father was dance master for the court and the theatre ballet. Saint-Léon was encouraged by his father, who had also been a dancer of the
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of the most important ballet production. He parted from his wife in 1851 and when she was invited to dance at the Opéra, Saint-Léon retired.
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who performed a lot in his ballets. Saint-Léon brought her to Paris Opera and later to Italy, his intention was also to make
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532:, a cura di/edited by Flavia Pappacena (Chorégraphie, n. s., a. 4, n. 4, 2004), Lucca, LIM, 2006.
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Saint-Léon is famous also because he invented a method of ballet notation described in the book:
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He became the teacher of the master class at the Opéra and he was in charge to choreograph the
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has since been staged by many ballet companies all over the world, and is known as either the
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83:. At the same time, he studied ballet so he could perform both as violinist and dancer.
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When he was 17 years old, he made his début as first demi-charactére dancer at the
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from 1859 until 1869 and is famous for creating the choreography of the ballet
351:(mus. Cesare Pugni). Here, Saint-Léon performed both as dancer and violinist.
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280:(the former Imperial Ballet), who still retain it in their repertory. The
425:(mus. Ludwig Minkus) Here, Minkus re-used much of the music he wrote for
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He was born
Charles Victor Arthur Michel in Paris, but was raised in
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is the only known choreography of Saint-Léon's to have survived.
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After touring across Europe, (he also worked three years for the
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La Sténochoréographie, ou Art d'écrire promptement la danse
75:, to study music and dance. Saint-Léon studied violin with
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Second Empire Opera: The Théâtre
Lyrique Paris 1851–1870
197:, a post which he held until 1869 (he was succeeded by
252:. The notation was preserved in the archives of the
129:, Saint-Léon could dance for the first time with
28:of Maestro Arthur Saint-Léon. Paris, circa 1865
218:. In late November, the creator of Swanhilda,
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264:reconstructed Saint-Léon's choreography and
256:, and in 1975 the dance notation expert
139:(1843). He created also ballets for the
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114:, where the only star on stage was the
599:Paris Opera Ballet artistic directors
484:Петербургские сезоны Артура Сен-Леона
311:Category:Ballets by Arthur Saint-Léon
7:
559:19th-century French ballet dancers
363:Graziella ou La Querelle amoureuse
14:
292:(as it is known is Russia). The
179:Imperial Bolshoi Kamenny Theatre
1:
272:. In 1978 Lacotte staged the
240:In 1848 Saint-Léon notated a
222:, died on her 17th birthday.
169:), he was invited to succeed
517:. New York: Riverrun Press.
94:. He started to tour across
40:– 2 September 1870) was the
564:Russian male ballet dancers
486:. Спб.: Балтийские сезоны.
391:The Little Humpbacked Horse
204:His favorite ballerina was
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594:Paris Opera Ballet étoiles
579:French male ballet dancers
336:(mus. Cesare Pugni, after
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482:А. Л. Свешникова (2008).
412:(mus. Ludwig Minkus and
338:Alma, ou la Fille de feu
286:La Vivandière Pas de Six
235:La Vivandière Pas de Six
36:(17 September 1821, in
278:Kirov/Mariinsky Ballet
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574:French choreographers
554:French ballet masters
290:Markitenka Pas de Six
260:and the Balletmaster
244:from his 1846 ballet
88:Théâtre de la Monnaie
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530:La Sténochorégraphie
528:Saint-Léon, Arthur,
403:(mus. Ludwig Minkus)
258:Ann Hutchinson-Guest
250:La Sténochorégraphie
16:French choreographer
394:(mus. Cesare Pugni)
372:(mus. Cesare Pugni)
370:La Perle de Seville
365:(mus. Cesare Pugni)
358:(mus. Cesare Pugni)
349:Le Violon du Diable
300:Main Choreographies
220:Giuseppina Bozzachi
216:Franco-Prussian War
472:Walsh 1981, p. 34.
333:La Fille de marbre
73:Paris Opéra Ballet
31:
523:978-0-7145-3659-0
493:978-5-903368-16-7
438:(mus. L. Delibes)
268:'s music for the
163:Teatro San Carlos
34:Arthur Saint-Léon
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175:Maître de Ballet
141:Teatro La Fenice
81:Niccolò Paganini
43:Maître de Ballet
26:Bruno Braquehais
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51:Imperial Ballet
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270:Joffrey Ballet
262:Pierre Lacotte
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206:Adèle Grantzow
191:St. Petersburg
181:, home of the
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48:St. Petersburg
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136:La Vivandière
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131:Fanny Cerrito
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325:Cesare Pugni
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266:Cesare Pugni
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185:'s renowned
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171:Jules Perrot
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147:and for the
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112:Romantic Era
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33:
32:
589:1870 deaths
584:1821 births
414:Léo Delibes
254:Paris Opéra
173:in 1859 as
149:Paris Opéra
98:dancing in
548:Categories
455:References
309:See also:
294:Pas de Six
282:Pas de Six
274:Pas de Six
242:Pas de Six
120:en pointe
427:La Source
409:La Source
288:, or the
116:Ballerina
69:Stuttgart
63:Biography
24:Photo by
513:(1981).
443:See also
435:Coppélia
378:Fiametta
276:for the
211:Coppélia
177:to the
125:When in
118:dancing
92:Brussels
56:Coppélia
505:Sources
108:England
100:Germany
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521:
490:
422:Le Lys
381:(mus.
356:Stella
323:(mus.
195:Russia
167:Lisbon
145:Venice
127:Vienna
96:Europe
460:Notes
432:1870
419:1869
406:1866
397:1866
388:1864
375:1864
368:1861
361:1860
354:1850
347:1849
330:1847
317:1843
189:, in
104:Italy
38:Paris
534:ISBN
519:ISBN
488:ISBN
233:The
183:Tsar
143:in
79:and
340:by
248:in
201:).
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90:in
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