Hello darlings! Welcome back to Pink Tutu Travels! It’s Emma here, your intrepid ballerina blogger, ready to whisk you away on another time-travelling adventure. This month, I'm hopping on my trusty steed, Magic Meg (yes, she's a stunning pink shire with shimmering hooves and a white mane that practically glows!), to journey back to 4th April 1822. This time, our adventure takes us to the world of ballet at the very cusp of a new era!
So, imagine, darlings, it's a crisp spring morning. I'm snuggled into my most vibrant pink tutu, complete with a glittering tulle overlay, as Magic Meg whisks us back in time. It's the sort of morning that calls for a frothy, lace-edged cup of tea. And let's face it, even when travelling through time, a ballerina's got to have her tea!
1822: Where Romantic Ballet Takes Center Stage
Fasten your seatbelts, because we're hurtling towards the world of early Romanticism. Now, 1822 might seem like a long time ago, but it's a pivotal year for the art of ballet.
Let me tell you, ballet back then wasn't the spectacle we know and love today. No fancy set designs, elaborate costumes or mind-boggling lifts. Oh no! The ballets were largely about delicate, flowing movements, focused on expressing emotion and storytelling.
Think fluttering wings, shimmering fabrics, and dances inspired by Greek mythology. That's the romantic style at its finest. It's a perfect picture of graceful feminine expression, which is something I'm absolutely passionate about.
A Look at Ballet On This Day In 1822
What were dancers doing on this day in history, 4th April, 1822? Well, if they were lucky enough to be in Paris, they might be taking a peek at the 'Le Diable amoureux', or The Devil in Love, a ballet-opera by Castil-Blaze, which is known to be the first to feature choreography that is closely related to the musical structure of the work. The opera has two sets of scenes in a two-act story that moves back and forth in time, reflecting an opera’s structure and using it to reflect an emotional, psychological process. And it looks as though dancers in Paris on the 13th were fortunate to have caught Marie Taglioni in her performance at the 'Theatre de l'Opera' in Jean-Aloyse-Simon-Théodore Gounet’s ‘Le Sicilien’, or the 'Sicilian' ballet.
Back in London, I'm sure some young dancers are at the Covent Garden, and that might include Fanny Cerrito, who would become a renowned dancer in 1830s and 1840s London. As you know, dancers aren't born overnight, darling, they practice!
I can already hear the soft tapping of dancing shoes against the stage, and the hushed whispers of anticipation backstage! Oh, and speaking of shoes, can we just take a moment to appreciate the stunning, pointed shoes they were wearing during this time period? It's true, there was nothing quite like the delicate elegance of the toe shoes they used, all handmade from leather and silk. Imagine the artistry and dedication that went into making them.
Now, I bet you’re dying to know what’s in my rucksack this month. Well, my dears, this time I’ve unearthed some absolute treasures: a first edition copy of ‘Le Diable amoureux’, an original programme from ‘Le Sicilien’ performance at ‘Theatre de l’Opera’ – don't you adore those hand-painted titles? -- a pair of beautiful ballet slippers and a beautifully hand-stitched, silk ‘chaussons’, that I am just about to tuck carefully in the pockets of my dress to show at my next performance.
And as always, I want to end my journey with you, darling readers, with my usual advice - let's embrace the ballet world with a passion! Dress in your pinkest tutus and let's make a beautiful spectacle. Remember, in a world filled with elegance, passion, and grace, a little bit of pink goes a long way.
Till next month, lovelies, and keep dancing!
Emma xoxo
