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Didelot, Charles-Louis (1767) Reference library
The International Encyclopedia of Dance
..., Charles-Louis (born 1767 in Stockholm, died 9 November 1837 in Kiev), French choreographer. Didelot ranks high among the artists who formed nineteenth-century Russian ballet. His compelling drive for excellence in dance raised his own technique and performance to a high level, but his greatest fame came from his innovative choreography and imaginative staging. August Bournonville declared, “Didelot was undoubtedly the greatest choreographer after Noverre.” His success as a teacher was equally remarkable. Didelot was the son of two French ballet...
Didelot, Charles-Louis (1767) Quick reference
The Oxford Dictionary of Dance (2 ed.)
...Didelot, Charles-Louis ( b Stockholm , 1767 ; d Kiev , 7 Nov. 1837 ) French dancer , choreographer , and teacher . He studied with Louis Frossard and his father at the Royal Theatre in Stockholm and later in Paris with Dauberval , Lany , Deshayes , Noverre , and both G. and A. Vestris . As a student he danced at the Paris Opera in 1783 then in 1786 returned to Stockholm to dance in opera productions where he also created his first choreography. Between 1787 and 1789 he was in London, as leading dancer under Noverre at the King's...
Charles-Louis Didelot
ballet and fairy tales
Russia and the USSR
St Petersburg
Mariinsky Ballet
Istomina, Avdotia (6) Reference library
The International Encyclopedia of Dance
...Petersburg, where her teachers were Evgenia Sazonova , Charles-Louis Didelot , and especially Evgenia Kolosova —then reigning ballerina and Didelot's surrogate as master teacher—who influenced her dancing style and artistic manner. Istomina graduated in 1816 , but her performing career had begun when she was only eight. Didelot particularly favored her, introducing her to every aspect of a professional career and to the latest performing techniques. Istomina made her formal debut as Galatea in Didelot's Acis and Galatea on 30 August 1816 and became an...
Zotov, Rafail (1796) Reference library
The International Encyclopedia of Dance
...[For similar discussion, see the entries on Koni , Levinson , Svetlov , and Volynsky .] Guest, Ivor . Jules Perrot: Master of the Romantic Ballet . London, 1984. Swift, Mary Grace . A Loftier Flight: The Life and Accomplishments of Charles Louis Didelot . Middletown, Conn., 1974. Includes a complete list of Didelot's productions. Wiley, Roland John , trans. and ed. A Century of Russian Ballet: Documents and Accounts, 1810–1910 . Oxford, 1990. Zotov, Rafail . I moi vospominaniia o teatre. In Repertuar Russkogo teatr . Saint Petersburg, 1840. Zotov,...
Kolosova, Evgenia (15) Reference library
The International Encyclopedia of Dance
...extensive repertory helped her to develop her talent and polish the more difficult of her tragic roles to perfection. Kolosova appeared in ballets staged by her teacher Valberkh as well as in those of Le Picq, Chevalier Peicam de Bressoles (called Chevalier), and Charles-Louis Didelot . In Didelot's ballets especially she was able to extend her range. He knew many foreign ballerinas but considered Kolosova superior to all of them and described her talent as incomparable. Kolosova's career spanned thirty years. Her significant roles were Ysaure in Raoul...
Psyché Et L'amour Reference library
Susan Au
The International Encyclopedia of Dance
...much to spread Noverre's fame. It achieved a notable success when staged in London in 1788 , with Auguste Vestris as Cupid and Charles-Louis Didelot in the minor role of Adonis. Charles Le Picq staged it in Saint Petersburg during his tenure there as ballet master ( 1786–1796 ). Other versions of the theme were choreographed by Vincenzo Galeotti , Jean Dauberval , Gasparo Angiolini, Pierre Gardel , Charles-Louis Didelot, and others. See also the entry on Noverre . Chazin-Bennahum, Judith . Three Faces of Psyche . In Proceedings of the Fifth Annual...
Glushkovsky, Adam (1793) Reference library
The International Encyclopedia of Dance
...art. Through his bringing Charles-Louis Didelot 's ballets to Moscow and his innovative teaching methods, Glushkovsky in no small measure contributed to the formation of a unified national school of dance. In 1809 Glushkovsky graduated from the Saint Petersburg Ballet School, where he had studied under Ivan Valberkh and Didelot; the latter adopted the young Glushkovsky. While still a student he successfully danced the leading role in Le Jugement de Pâris , a Pierre Gardel ballet to Nicolas Méhul's music, staged by Louis-Antoine Duport in Saint...
Duport Family Reference library
The International Encyclopedia of Dance
...left Paris with his mistress, the actress Mademoiselle George , and went to Saint Petersburg, stopping en route to dance Figaro in Vienna. Tolstoy mentioned Duport's success in War and Peace . He danced in Charles-Louis Didelot 's Zéphire et Flore with Marie Danilova, Amour et Psyché , and Almaviva et Rosine , and collaborated with Didelot in Les Amours de Vénus et Adonis, ou La Vengeance de Mars . He choreographed La Fête chez le Hobereau, Les Américains, ou L'Heureux Naufrage ( 1809 ), Mélora et Sulima, La Rose de Solange , and Le Troubadour ...
Koni, Fedor (1809) Reference library
The International Encyclopedia of Dance
...wherein objects from the real world take on an illusory, dreamlike appearance and cross the boundary of the plausible. The audience's imagination is carried along, and the further it disappears into the realm of fantasy, the more delightful.” He wrote extensively about Charles-Louis Didelot 's supremacy in this regard and cited such requisite qualifications for a choreographer as the ability to create poetry and to inspire mime. Koni likewise advanced the view that ballet's librettists should be selected from the ranks of the great writers. Koni's...
Bournonville, Antoine (19 May 1760) Reference library
The International Encyclopedia of Dance
...Skeaping and Ivo Cramér for the eighteenth-century Drottningholm Theater outside Stockholm. Bournonville was well known in the European artistic community. He maintained a lifelong correspondence with Charles-Louis Didelot , a French dancer, choreographer, and teacher who played a key role in the development of Russian ballet, and Pierre Gardel and Louis-Jacques Milon were his close friends. In 1792 Bournonville was granted a leave of absence from the Swedish Opera. He traveled to Copenhagen, where he was invited to perform, and on 17 April 1792 the...
Le Picq, Charles (1744) Reference library
The International Encyclopedia of Dance
...was linked with that of the famous choreographer, whose principles he assimilated, whose works he carefully staged wherever he was engaged, and whose innovative ideas he applied. A defender of the ballet d'action , Le Picq was also one of the first Frenchmen before Charles-Louis Didelot to give classical dance lasting impetus in Russia. Guest, Ivor . The Romantic Ballet in England . London, 1972. Lifar, Serge . A History of Russian Ballet (1950). Translated by Arnold L. Haskell . New York, 1954. Lynham, Deryck . The Chevalier Noverre: Father of...
Gallet, Sébastien (1750) Reference library
The International Encyclopedia of Dance
.... Lettres sur les arts imitateurs en général et sur la danse en particulier . 2 vols. Paris, 1807. Edited by Fernand Divoire as Lettres sur la danse et les arts imitateurs (Paris, 1952). Swift, Mary Grace . A Loftier Flight: The Life and Accomplishments of Charles Louis Didelot . Middletown, Conn., 1974. Jeannine Dorvane Translated from...
Maryinsky Ballet Reference library
The International Encyclopedia of Dance
...and this in spite of the continuing need to bring in foreign ballet masters. The European trends these masters brought with them were adopted but transmuted in Russia. Didelot and Valberkh In 1801 Charles-Louis Didelot arrived in Saint Petersburg. The conditions of the stage and its staff of talented musicians, designers, and performers gave scope to his poetic fantasy. Didelot's Anacreontic ballets Flore et Zéphire ( 1808 ) and Psyche et l'Amour ( 1809 ), the mythological Theseus and Ariadne ( 1817 ), the fairy tale Kenzi et Tao ( 1819 ),...
Dauberval, Jean (19 August 1742) Reference library
The International Encyclopedia of Dance
...became the most consistently popular French ballets for almost fifty years, far outliving works produced at the Paris Opera. It was also in Bordeaux that many of the important ballet masters of the next generation learned their craft, including Jean-Louis Aumer , James Harvey D'Egville, Charles-Louis Didelot , and Eugène Hus . Despite Dauberval's artistic successes, intrigue and his own extravagance created an uneasy atmosphere. In 1787 the Bordeaux theater proposed to release Mademoiselle Théodore from her contract to save on salaries, a move...
Blok, Lubov (December 1881) Reference library
The International Encyclopedia of Dance
...them, writings on Charles-Louis Didelot 's ballets, the restaging of Swan Lake , Agrippina Vaganova 's classes, classical variations, and Kirov ballets of the late 1930s. The majority of the manuscripts that comprise the volume are held in Moscow's Bakhrushin State Theatrical Museum, where they have been housed presumably since Blok's death. In his introduction to Classical Dance , Vadim Gaevsky sees innovation in Blok's use of visual sources as keys to the history of dance, comparing her work on the iconography of the Didelot ballet, notably, to the...
