who taught Pierina Legnani?
Posted 19 October 2012 - 05:14 PM
And while, I'm at it, why did Vaganova decided to do the fouette with the leg gonig straight to the side? Did she ever say?
Posted 20 October 2012 - 12:22 AM
It was into the revised school method of Blasis that Legnani completed her studies, under the direction of Caterina Beretta herself a pupil of Carlo Blasis.
After she arrived in Saint Petersburg in 1893 Legnani achieved extraordinary success. She recognised however that her high technical achievements were at odds with the Imperial Theatre style and studied with Serge Legat and Christian Johannson to adapt her schooling.
From 1893 to 1901 she was the undisputed star of the Mariinsky Ballet with Petipa creating a significant repertoire around her talents and unlike earlier Italian guests, Legnani was endowed with grace, beauty, and plastique overcoming her short stature and rewarded as Prima Ballerina Assoluta of the Imperial Theatres.
As to your question, "Did she do fouette with a direct stab a la seconde, or did she developpe front first and then swing it a la seconde like Ballets Russes-descended dancers do now?" I have never read of any such exact recording of the performance of choreography of that era.
Is there any such a detail of execution in the Stepanov record?
Cecchetti studied und Giovanni Lepri in Florence an exceptional student of Carlo Blasis who is widely accepted as the most signifcant creator of the Italian school of dance. Cecchetti was to teach at the Imperial Theatre School from 1887 to 1902 and I have so far found no record of him teaching Legnani.
Posted 20 October 2012 - 11:35 AM
Posted 20 October 2012 - 11:43 AM
She was not the first Mariinsky dancer to study with Beretta; Pavlova and Trefilova had preceded her.
Karsavina clearly found the classes hard and during her first lesson she fainted.
Posted 20 October 2012 - 02:34 PM
Konstantin Skalkovsky the eminent dance critic for the Saint Petersburg Gazette reviewing the “Cinderella” premiere in 1893, was to compare the technical ability of Legnani performing 32 fouettes “without travelling an inch,” to the enormous success Emma Bessone had when she had performed 14 fouettes in “The Tulip of Harlem.”
In fact Legnani encored the fouettes at the “Cinderella “premiere but only completed 28.
If anyone wants to link Cecchetti, fouettes and Legnani together, “The Tulip of Harlem” may give you the opportunity (see the Paul Parish post above) as Cecchetti was a co-choreographer of this ballet and it may have given him the opportunity to work with Legnani. Of course this is only a supposition.
Posted 20 October 2012 - 03:19 PM
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