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   Prominent  
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VIENNA STATE BALLET
  WIENER STAATSBALLETT 
 www.wiener-staatsoper.at 
  Ballet Director: Manuel Legris 
 
 
 

Theatrical dance became popular in Austria in the late fifteenth century. The first of a long line of professional court dancers was employed by Maximilian II. Dance was stimulated further by Leopold I (1658—1705), who had a passion for the theater.

After 1728, ballet and pantomime were performed at the
Kärntnertor Theater, a well as at the Burghtheater after 1743. Maria Theresa
’s reign (1740—1780) was the complete development of dance from divertissement to an independent art form. Dramatic ballet was cultivated in the works of Franz Hilverding and culminated in the pantomime-ballets by Christopher Willibald Gluck and Gaspero Angiolini
.

In 1801 Salvatore Viganò produced The Creatures of Prometheus to the score by Ludwig van Beethoven.

In the 1820s
Fanny Elssler, Vienna’s greatest dancer, rose to fame, and Marie Taglioni, who was to become her fiercest rival, made her debut in 1822.

A ballet school was created in 1862, and its first teacher was
Elisa Albert-Bellon. In 1870 the school was given the rank of an official institution and has operated continuously ever since.

 
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
 
 
 
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   Prominent  
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BALLET SCHOOL OF THE VIENNA STATE OPERA

  BALLETSCHULE DER WIENER STAATSOPER  
 www.wiener-staatsoper.at 
  Artistic Director: Manuel Legris 
 
 

A new era began when the company moved to the new Hofoperntheater on the Ring, in 1869.

Following the brilliant success of his pantomime divertissement
Die Puppenfee (1888), first dancer Josef Hassreiter
became ballet master in 1891. Soon the repertory was composed almost exclusively of Hassreiter ballets, which were distinctive in style and widely staged throughout Europe
.

The ensemble now comprised more than one hundred members, almost all graduates of the company’s own school. When
Gustav Mahler, who rejected Hassreiter’s ballets, became director of the Hofoperntheater, it sounded the death knell of the Hofopernballett. With World War I and the end of the monarchy, the ballet lost its principal raison d’être—reflecting the splendor of the ruling house. The eventful three centuries of the Hofopernballett come to an end.

A
fter World War I, the
Hofopernballett  became the Staatsopernballett and began to search for a new self-mage. etc. etc.

Quotes: Austria | Theatrical Dance
International Encyclopedia of Dance
Oxford University Press

 
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
  
 
 
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