Acc1 responsables
Acc2a tatin
Acc1 responsables
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev20 Comedy
Rev20 Comedy
Rev19 Chabanon
Rev18 Mal
Rev17 Querelles
Rev16 Oratorio
Rev15 Theatralite
Rev14 haendel
Rev13 hennin
Rev12 wagner
Rev11 debussy
Rev10 noverre
Rev9 gluck
Rev8 prokofiev
Rev7 haydn
Rev6 chabanon
Rev5 livret
Rev4 texte
Rev3 representations
Rev2 interpretation
Rev1 melanges
M1 Communications
M1 Communications
M1 Communications
M1 Communications
Rev10 noverre
Rev10b demeilliez
Rev10c porot
Rev10d dartois
Rev10e bouchon
Rev10a preface
Rev10f sajous
Rev10g moureyg
Rev10h moureyp
Rev10i cuenin
Rev10k quetin
Rev10j dahms
Rev10o legrand
Rev10n modigh
Rev10m thorp
Rev10l sasportes
Rev10r brown
Rev10p marie
Rev10v vallejos
Rev10t aelbrouck
Rev10s brandenburg
Rev10u champonnois
Rev10q dotlacilova

Noverre en Italie

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

José Sasportes

Venise, La Danza Italiana

In the middle of 1774, Noverre changed roles with Gaspare Angiolini. The former became choreographer at the Regio Ducal Teatro in Milan, where he replaced Angiolini, while the Italian took his place in Vienna. This simple exchange between two main cities of the Habsburg Empire signifies that they were seen by the contemporaries as equals, though they saw themselves as rivals, aiming to surpass each other in the eyes of their patrons. This rivalry is well documented in a considerable amount of pamphlets and letters by the choreographers themselves and by their supporters. This being the case, the sojourn of Noverre in Milan from July 1774 to January 1776 wasn’t an easy one, since many of the Milanese had a particular feeling for Angiolini, but neither him was very successful in Vienna. Noverre produced a considerable number of ballets and wrote programs not only to expose the content of his pieces but also to illustrate his aesthetic ideas. The writings by Noverre and his friends and foes offer a unique perspective of the reception of Ballet in Northern Italy in the last quarter of the 18th century. Feelings were strongly expressed and the involvement of the public gives evidence of the central part played by dance in the cultural life of this period.

N° 10 l


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