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Noverre à Vienne (1767-1774, 1776) : entre désastre et triomphe

Jean-Georges Noverre (1727-1810), un artiste européen au siècle des Lumières

Sibylle Dahms

Université de Salzbourg, Institut de musicologie

After his brilliantly successful career at the court of Württemberg in Stuttgart Noverre’s engagement as a ballet master at the Vienna theatres started with problems yet unknown to him. For his opening ballets in autumn 1767 he learned to know the censorship of the so-called “morality commission” installed by the Empress Maria Theresia. In theatre matters, censorship was mostly supervised by the writer Joseph von Sonnenfels who, however, soon turned to be one of Noverre’s most ardent admirers. More serious problems for Noverre’s ballet productions resulted from the economic restrictions imposed on him by Giuseppe d’Afflisio, the director of the Vienna theatres. Some of Noverre’s letters directed to chancellor prince Kaunitz-Rietberg inform us about his troublesome situation. His creative work suffered from the extremely modest stage equipment and in particular the loss of most of his first and most qualified dancers, which even made him think of resigning his Vienna post. At this crucial point he activated one of his most remarkable talents: by means of his unique gift as a dance pedagogue he was able to generate within an incredibly short time a young and extremely effective ballet company with whom he created from the early 1770s onwards a considerable number of his most important “ballets en action” like Agamemnon vengé (1771), Adèle de Ponthieu (1773), Les Horaces et les Curiaces (1774) etc., which were received by the Viennese audience with enthusiasm and also contributed to his lasting fame.


N° 10 j


Marie Demeilliez
Marie Demeilliez - Noverre, jeune danseur au Collège Louis-le-Grand

Bertrand Porot
Bertrand Porot - Noverre à l'Opéra-Comique

Françoise Dartois
Françoise Dartois - Noverre à Lyon et sa postérité

M.-F. Bouchon
M.-F. Bouchon - Noverre à l'Académie Royale de Musique


Michèle Sajous d'Oria
Michèle Sajous d'Oria - Noverre et l'architecture théâtrale au temps des Lumières

Marie-Thérèse Mourey
Marie-Thérèse Mourey - Les étapes de la carrière germanique de Noverre

Marie-Thérèse Mourey
Marie-Thérèse Mourey - Le « manuscrit de Varsovie » (1766)

Mariette Cuénin-Lieber
Mariette Cuénin-Lieber - Noverre et Charles-Eugène de Wurtemberg

Laurine Quetin
Laurine Quetin - Noverre face à Calzabigi

Sibylle Dahms
Sibylle Dahms - Noverre à Vienne : entre désastre et triomphe

Raphaëlle Legrand
Raphaëlle Legrand - Le ballet d'action avant Noverre

K. Modigh et I. Ginger
K. Modigh et I. Ginger - Une dernière tentative d'emploi de Noverre

Jennifer Thorp
Jennifer Thorp - Jean-Georges Noverre à Londres

José Sasportes
José Sasportes - Noverre en Italie

Bruce Alan Brown
Bruce Alan Brown - Les sources musicales des ballets de Noverre

Laurence Marie
Laurence Marie - Le comédien anglais David Garrick

Juan Ignacio Vallejos
Juan Ignacio Vallejos - « Noverre » : la construction d'un nom d'auteur

J.-Ph. Van Aelbrouck
J.-Ph. Van Aelbrouck - Noverre et ses oeuvres à Bruxelles

Irene Brandenburg
Irene Brandenburg - Angiolini, Noverre et la « querelle de la danse »

Cécile Champonnois
Cécile Champonnois - Noverre : les Horaces et les Curiaces

Petra Dotlačilovà
Petra Dotlačilovà - Noverre en Bohême et en Moravie