- In full:
- Caronna Adela Giuseppina Maria Grisi
- Born:
- June 28, 1819, Visinada, Istria, Austrian Empire [now Vizinada, Croatia]
- Died:
- May 29, 1899, Saint-Jean, near Geneva, Switzerland (aged 79)
Carlotta Grisi
-
Who was Carlotta Grisi?
Carlotta Grisi (1819-1899) was an Italian ballerina of the Romantic era, admired by choreographer Jules Perrot and poet Théophile Gautier.
Grisi trained at La Scala in Milan and with the ballet company of the San Carlo, Naples, where she met Perrot, who developed her skills. In 1840, they performed in Paris, which led to Grisi's engagement at the Paris Opéra.
Her role in Giselle (1841) made her a star, and she became friends with Gautier, who co-wrote the scenario. Grisi remained the Opéra's principal ballerina until 1849, performing in works such as La Jolie Fille de Gand (1842) and La Péri (1843).
She also danced in London and St. Petersburg, and had two daughters, one with Perrot and another with Prince Leon Radziwill. Grisi retired near Geneva and was often visited by Gautier.
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Which country was Carlotta Grisi from?
Carlotta Grisi was an Italian ballerina born in Visinada, Istria, Austrian Empire (now Vizinada, Croatia) on June 28, 1819 [now Vizinada, Croatia]. She trained at the ballet school of La Scala in Milan and later joined the ballet company of the San Carlo, Naples. Grisi is best known for creating the title role in Giselle in 1841, which solidified her place as a leading ballerina of the Romantic era. She remained the principal ballerina at the Opéra until 1849 and later danced in St. Petersburg from 1850 to 1853. Carlotta Grisi died on May 29, 1899, in Saint-Jean, near Geneva, Switzerland.
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What style of dance was Carlotta Grisi famous for?
Carlotta Grisi was an Italian ballerina of the Romantic era, a period that saw the rise of the ballerina and emphasized expressiveness in dance. Grisi trained at the ballet school of La Scala in Milan and later worked with choreographer Jules Perrot, who helped mold her into a ballerina known for her exquisite sensitivity. She is most famous for creating the title role in Giselle (1841), which solidified her place as a leading ballerina and marked the beginning of her lifelong friendship with the poet and critic Théophile Gautier.
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What is Carlotta Grisiâs most famous ballet role?
Carlotta Grisi, an Italian ballerina from the Romantic era, is most famous for originating the title role in Giselle. The ballet premiered in Paris in 1841 and tells the story of a young girl who dies of a broken heart and becomes a spirit. Grisi's performance in Giselle established her as a successor to the great ballerinas of the 1830s and marked the beginning of a lifelong friendship with the ballet's writer, Théophile Gautier. She remained the principal ballerina at the Opéra until 1849, performing in other ballets such as La Péri, La Jolie Fille de Gand, Le Diable à quatre, Paquita, and La Filleule des fées.
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How did Carlotta Grisi influence ballet during her time?
Carlotta Grisi significantly shaped ballet during the Romantic era. As a muse to Jules Perrot and Théophile Gautier, she created the title role in Giselle, which solidified her place as the successor to Marie Taglioni and Fanny Elssler. Until 1849, Grisi remained the principal ballerina at the Opéra, where she originated roles in La Jolie Fille de Gand, Le Diable à quatre, Paquita, and La Filleule des fées. She also starred in Perrot's La Esmeralda and Taglioni's Electra and Les Métamorphoses in London. From 1850 to 1853, she danced in St. Petersburg, performing in revivals and new works by Perrot.
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What is Carlotta Grisiâs legacy in the history of dance?
Carlotta Grisi, an Italian ballerina of the Romantic era, left an indelible mark on dance history. Grisi, a muse to Jules Perrot and Théophile Gautier, is most celebrated for originating the title role in Giselle (1841), which solidified her place as the successor to Marie Taglioni and Fanny Elssler.
Her performances in London included leading roles in Perrotâs La Esmeralda (1844) and Taglioniâs Electra (1849). From 1850 to 1853, she danced in St. Petersburg, Russia, in both established and new works. Grisi bridged the ethereal and dramatic styles of Romantic ballet established by Taglioni and Elssler.
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Carlotta Grisi (born June 28, 1819, Visinada, Istria, Austrian Empire [now Vizinada, Croatia]âdied May 29, 1899, Saint-Jean, near Geneva, Switzerland) was an Italian ballerina of the Romantic era who was a muse to the choreographer and dancer Jules Perrot and to the poet ThĂ©ophile Gautier; she created the title role in Giselle.
A cousin of the celebrated opera singer Giulia Grisi, Carlotta Grisi received her early training at the ballet school of La Scala in Milan. Her family was poor, and at age 10 she was withdrawn from the school to join a touring opera company. In 1834 she entered the ballet company of the San Carlo, Naples; there she attracted the attention of Jules Perrot, who molded her into a ballerina of exquisite sensitivity. Their visit to London in 1836 was followed by a longer engagement in Vienna. In 1840 they appearedâshe as Madame Perrot, although they were never marriedâat a minor Paris theatre in a light opera, Zingaro. Perrotâs plan was to negotiate a joint engagement at the Paris OpĂ©ra, but it was Grisi alone who was engaged.
Grisiâs first creation at the OpĂ©ra was Giselle (1841), which immediately established her as the successor to the great stars of the 1830s, Marie Taglioni and Fanny Elssler. It also marked the beginning of a lifelong friendship with the poet and critic ThĂ©ophile Gautier, who, in collaboration with the dramatist Jules-Henri Vernoy de Saint-Georges, had written the scenario of Giselle. He also later wrote the scenario of La PĂ©ri (1843), in which she repeated her former triumph. Grisi remained the undisputed principal ballerina of the OpĂ©ra until 1849, creating roles in François Decombe Albertâs La Jolie Fille de Gand (1842), Joseph Mazilierâs Le Diable Ă quatre (1845) and Paquita (1846), and Perrotâs La Filleule des fĂ©es (1849).
The terms of her Paris engagement did not prevent her from appearing at Her Majestyâs Theatre in London, where she danced in Giselle and Le Diable Ă quatre and also created leading roles in Perrotâs dramatic masterpiece La Esmeralda (1844) and Paul Taglioniâs Electra (1849) and Les MĂ©tamorphoses (1850). In London she was also featured in two divertissements, Perrotâs Pas de quatre (1845) and Paul Taglioniâs Les Graces (1850). Her last London creation was the mime role of Ariel in Fromental HalĂ©vyâs opera La Tempesta (1850), in which she made a striking foil to the Caliban of the celebrated bass Luigi Lablache.
The last phase of Grisiâs career took place in St. Petersburg, at a time when Perrot was ballet master. She danced there from 1850 to 1853, appearing not only in roles she had created elsewhere but also in three new works by her former teacher, The Naiad and the Fisherman (1851), The War of the Women (1852), and Gazelda (1853). She last appeared onstage in Warsaw in 1853.
Grisi never married, but she had two daughters, one by Perrot and the other by Prince Leon Radziwill. She retired near Geneva, where she was frequently visited by Gautier. Immortalized by the creation of Giselle, Grisi as an artiste bridged the two branches of Romantic ballet that had been established by the ethereal Taglioni and the dramatic Elssler.