![[Taglioni, Filippo. (1777 - 1871)] “Ballet Schwerdt und Lanze” - 1826 Engraving](http://www.schubertiademusic.com/cdn/shop/files/Taglioni_family_print.jpg?v=1722187047)
[Taglioni, Filippo. (1777 - 1871)]. “Ballet Schwerdt und Lanze” - 1826 Engraving. An engraving, “Ballet Schwerdt und Lanze.” [Stuttgart: n. p., c. 1826.] 12” x 8 5/8” (including margins); minor dusting; very good. One of a series of souvenir engravings by anonymous artists of the Taglioni troupe in their three seasons at the Königlische Hoftheater, Stuttgart (1825-1828). It represents Louise Pierson and Marie Taglioni as Amazons and Paul Taglioni and Anton Stullmühler as Greek warriors in Filippo Taglioni’s Schwerdt und Lanze (Stuttgart: 8 December, 1825).
"After touring Italy, 1796–8, he went to Paris to study with J.-F. Coulon, making his début at the Opéra in La caravane (1799). He worked at the Royal Opera, Stockholm, in 1803–4, and at the Hoftheater, Vienna, in 1805, before undertaking an extended European tour. Taglioni’s importance lies mainly in his choreography for the premières, all at the Paris Opéra, of Auber’s Le dieu et la bayadère (1830) and Gustave III (1833), Meyerbeer’s Robert le diable (1831) and Les Huguenots (1836), and Halévy’s La Juive (1835). That for Robert, including the famous ‘Scène des nonnes’ in which 50 dancers dressed in white wafted through the ghostly cloister, made theatrical history: the first ballet blanc, it proclaimed a new aesthetic, combining an airy style of dancing with the mysterious atmosphere of the spirit world. Soon afterwards, Taglioni gave up his artistic projects to devote himself to his daughter Marie’s career, choreographing ballets to display her genius." (Maureen Needham, Grove Music Online)
"After touring Italy, 1796–8, he went to Paris to study with J.-F. Coulon, making his début at the Opéra in La caravane (1799). He worked at the Royal Opera, Stockholm, in 1803–4, and at the Hoftheater, Vienna, in 1805, before undertaking an extended European tour. Taglioni’s importance lies mainly in his choreography for the premières, all at the Paris Opéra, of Auber’s Le dieu et la bayadère (1830) and Gustave III (1833), Meyerbeer’s Robert le diable (1831) and Les Huguenots (1836), and Halévy’s La Juive (1835). That for Robert, including the famous ‘Scène des nonnes’ in which 50 dancers dressed in white wafted through the ghostly cloister, made theatrical history: the first ballet blanc, it proclaimed a new aesthetic, combining an airy style of dancing with the mysterious atmosphere of the spirit world. Soon afterwards, Taglioni gave up his artistic projects to devote himself to his daughter Marie’s career, choreographing ballets to display her genius." (Maureen Needham, Grove Music Online)
[Taglioni, Filippo. (1777 - 1871)]. “Ballet Schwerdt und Lanze” - 1826 Engraving. An engraving, “Ballet Schwerdt und Lanze.” [Stuttgart: n. p., c. 1826.] 12” x 8 5/8” (including margins); minor dusting; very good. One of a series of souvenir engravings by anonymous artists of the Taglioni troupe in their three seasons at the Königlische Hoftheater, Stuttgart (1825-1828). It represents Louise Pierson and Marie Taglioni as Amazons and Paul Taglioni and Anton Stullmühler as Greek warriors in Filippo Taglioni’s Schwerdt und Lanze (Stuttgart: 8 December, 1825).
"After touring Italy, 1796–8, he went to Paris to study with J.-F. Coulon, making his début at the Opéra in La caravane (1799). He worked at the Royal Opera, Stockholm, in 1803–4, and at the Hoftheater, Vienna, in 1805, before undertaking an extended European tour. Taglioni’s importance lies mainly in his choreography for the premières, all at the Paris Opéra, of Auber’s Le dieu et la bayadère (1830) and Gustave III (1833), Meyerbeer’s Robert le diable (1831) and Les Huguenots (1836), and Halévy’s La Juive (1835). That for Robert, including the famous ‘Scène des nonnes’ in which 50 dancers dressed in white wafted through the ghostly cloister, made theatrical history: the first ballet blanc, it proclaimed a new aesthetic, combining an airy style of dancing with the mysterious atmosphere of the spirit world. Soon afterwards, Taglioni gave up his artistic projects to devote himself to his daughter Marie’s career, choreographing ballets to display her genius." (Maureen Needham, Grove Music Online)
"After touring Italy, 1796–8, he went to Paris to study with J.-F. Coulon, making his début at the Opéra in La caravane (1799). He worked at the Royal Opera, Stockholm, in 1803–4, and at the Hoftheater, Vienna, in 1805, before undertaking an extended European tour. Taglioni’s importance lies mainly in his choreography for the premières, all at the Paris Opéra, of Auber’s Le dieu et la bayadère (1830) and Gustave III (1833), Meyerbeer’s Robert le diable (1831) and Les Huguenots (1836), and Halévy’s La Juive (1835). That for Robert, including the famous ‘Scène des nonnes’ in which 50 dancers dressed in white wafted through the ghostly cloister, made theatrical history: the first ballet blanc, it proclaimed a new aesthetic, combining an airy style of dancing with the mysterious atmosphere of the spirit world. Soon afterwards, Taglioni gave up his artistic projects to devote himself to his daughter Marie’s career, choreographing ballets to display her genius." (Maureen Needham, Grove Music Online)