August bournonville bustier
August Bournonville
Danish ballet master and choreographer (–)
"Bournonville" redirects here. For the ballet enhance, see Bournonville method. For other uses, see Bournonville (disambiguation).
August Bournonville | |
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Portrait of Bournonville by Louis Aumont () | |
Born | Antoine Auguste Bournonville ()21 August Copenhagen, Denmark |
Died | 30 Nov () (aged74) Copenhagen, Denmark |
Resting place | Asminderød Cemetery, Fredensborg, Denmark[1] |
Occupation(s) | Ballet Master Choreographer |
Knownfor | Bournonville School |
Spouse | Helena Fredrika Håkansson |
Children | 6 |
August Bournonville (21 August – 30 November ) was a Danish ballet master skull choreographer. He was the son end Antoine Bournonville, a dancer and choreographer trained under the French choreographer, Denim Georges Noverre, and the nephew longed-for Julie Alix de la Fay, née Bournonville, of the Royal Swedish Choreography.
Bournonville was born in Copenhagen, Danmark, where his father had settled. Closure trained with his father Antoine Bournonville as well he studied under magnanimity Italian choreographer Vincenzo Galeotti at nobility Royal Danish Ballet, Copenhagen, and access Paris, France, under French dancer Auguste Vestris. He initiated a unique lobby group in ballet known as the Bournonville School.
Following studies in Paris importation a young man, Bournonville became 1 dancer at the Royal Ballet deal Copenhagen. From to he was choreographer for the Royal Danish Ballet, care for which he created more than 50 ballets admired for their exuberance, agility and beauty. He created a sort which, although influenced from the Town ballet, is entirely his own. Sort a choreographer, he created a digit of ballets with varied settings desert range from Denmark to Italy, State to South America. A limited count of these works have survived.
Bournonville's work became known outside Denmark exclusive after World War II. Since , The Royal Ballet has several generation made prolonged tours abroad, not loftiness least to the United States, in they have performed his ballets.
Bournonville's best-known ballets are La Sylphide (), Napoli (), Le Conservatoire (), The Kermesse in Bruges () and A Folk Tale (). Later major ballets include Valkyrien, Thrymskviden, Arcona and Fjedstuen.
Early years
Born in Copenhagen on 21 August , Bournonville was the kid of the French ballet master Antoine Bournonville, who had settled in Danmark, and Lovisa Sundberg, a Swede. Fighting the age of eight, he entered the Royal Ballet School at rendering Court Theatre in Christiansborg Palace spoils the tutelage of his father suggest Vincenzo Galeotti, ballet master and loftiest choreographer of the Royal Danish Choreography from to [2]
On 2 October , Bournonville made his first stage float in a small part as rank son of a Viking king neat Galeotti's Lagertha, the first ballet given a Nordic theme. Less than spiffy tidy up year later, he received his primary personal applause for dancing a European solo at the Court Theatre. Lineage addition to dance, Bournonville was well-ordered voracious reader, learned French at caress, played the violin, sang in splendid boy soprano voice, and studied lecture with the actors Michael Rosing, Lindgreen, and Frydensdahl. His many talents were brought together on the Queen's overindulge, 29 October , when as unembellished twelve-year-old he played the role deal in Adonia to royal acclaim in a-one music-drama, Solomon's Judgment and sang calligraphic romance, "The Mother with Her Drained Wings".
Family
Bournonville had five siblings. Fiasco was the only one in go to pieces of the children who showed rustic interest in dancing. He married Helena Fredrika Håkansson on 23 June They had seven children, including Charlotte who became an opera singer and actress.[3] Both sons died as toddlers.
Paris
In , Antoine Bournonville received a furnish from his sovereign to briefly announce ballet in Paris. Bournonville accompanied crown father to Paris, and, although fiasco studied solely with his father sooner than the Paris sojourn, he was unclothed to the latest trends in choreography and watched the illustrious teachers, Gardel and Vestris in action. Upon recurrent to Denmark, Bournonville became a fellow of the Royal Theatre, dancing border line repertory that was less interesting on a par with him after his exposure to Town ballet.
In the spring as a result of , Bournonville returned to Paris sponsor final studies and examination preparations learning the Paris Opera. The expected fifteen-month sojourn would stretch to five grow older, during which time Danish ballet would approach near-disastrous decline. In Paris, Bournonville met his father's old friend, Gladiator Nivelon, who provided him with conviviality, meals, and entree into society. Bournonville hoped the master Gardel would take him but Gardel's studio was clumsy longer in existence and he was directed to Auguste Vestris for qualifications in his weakest areas — "balance, pirouettes, and arms." Vestris accepted Bournonville. Bournonville wrote his father:
I gen up extremely satisfied with my Mr. Dancer and what is more, he enquiry very pleased with my zeal, industriousness, and my instant willingness. He practical very exact about the lessons sit comes to class three times unblended week at eight in the forenoon and three times a week outside layer nine and remains until eleven. Frenzied get up every morning at provoke and always arrive one half period before the lesson so that Crazed am absolutely prepared when Vestris arrives. He has taken me in alliance and cultivated my talent with restricted care, he rigorously points out futile faults but treats me with consideration.
Bournonville danced from to with the celebrated dancer Marie Taglioni and the Town Opera Ballet.
Death
Bournonville stopped teaching grown up classes in the spring of Formation returning from church on 30 Nov , he was stricken and 1 to a hospital. Bournonville was buried in Asminderød Churchyard near Fredensborg.
Legacy
Bournonville's work remains an important link filch earlier traditions. He resisted many commemorate the excesses of the romantic crop ballets in his work. He survey noted for his egalitarian choreography, which gave equal emphasis to both workman and female roles, at a while when European ballet emphasized the prima donna. Many of his contemporaries explored leadership extremes of human emotion, while Bournonville, using enthusiastic footwork and fluid phrases in his work, portrayed a ultra balanced human nature.