The Kenosha telegraph. [volume] (Kenosha, Wis.) 1860-1888, 1885-06-19
MLlSIC-VOCAL AND IN
STRUMENTAL
lC012tinaLe1 from .TaLa,e 81

Mile Sales reform was not maintain
ed even at the Academic for century
later Pygmalion wore. in those days, a
damask dress made in the Polish style,
over basket-hoop, and on her head an
enormous pouf, surmounted by three
ostrich feathers" 1t has been said that
Mile. de Subligny brought to London
letters from the Able Dubois to Locke.
Mile. Sole arrived with an introduction
from Fontenelle to Mentesquieu, who
was then Ambassador at the Court of St..
James. This artist was, indeed, highly
esteemed by the literary society of her
time. She enjoyed the acquaintance
not only of Fontenelle, Montesquieu, and
our own Locke, but also of Voltaire,
who, I believe, wrote poem in her
honor. In London Mile. Sole produced
a "Pygmalion" of her own, which, at
least as regards the costumes, was very
superior to the "Pygmalion" of Rous-
seau, brought out some forty or fifty
years afterwards. In representing the
statue about to be animated, she car
ried out her new principle by wearing
not Polish dress, but simple drapery,
initiated as closely as possible from the
statues of antiquity. I have before me
an interesting account of Mile. Solle's
performance, written by correspond
ent in London, published on March Is,
1874, in the "Mercure de France"
"She ventured to appear" says the
writer, without skirt, without dress,
in her natural hair, and with no orna-
ment on her head. She wore nothing in
addition to her bodice and under pettieot
but simple robe of muslin arranged in
drapery after the model of Greek
statue. You cannot doubt, SIR, he
adds, the prodigious success this in
genious ballet, so we'll executed, obtain
ed" The French Revolution drove
numerous French artists out of the
country. many of whom visited London.
One of the most famous was Mile.
Guimard, then near sixty years old, but
still full of grace and gentility she had
never possessed more. The ballet never
possessed in London anything like the
Importance which belonged to it in
France from the beginning of the 18th
century until a comparatively recent
time. For thirty years, however, from
1920, say, to 1850, the ballet was an at
tractive feature in the entertainments
at the Kings (afterward Her Majesty's)
and in 1921 the officers of the
British ambassador at the court of the
Tuilleries were employed in aid of a
by which certain number
of the principal dancers were to be
" coded" every year by the
administration of the Academic Royale
de Musique to the managerial that
time Mr.. Ebers, of the Italian Opera.
1t will be of more interest to my read
ers, perhaps, should I come closer to
our own times, thereby dealing with
names of people and compositions that
are mo re familiar.
Fanny Ellsler and Cerito have on rare
occasions danced together at Her Mai
,sty's Theatre the minuet to "Don
To about the same period
Is these eminent ballerine belonged
Jarlotta Grisi, perhaps the most charm
ng ofthem all. One of her most admir-
ID characters was that of Esmeralda in |
he ballet arranged by her husband, on |
he basis of Victor Hugo's Notre Dame
lie Paris"
Probably the most perfect ballet ever
Produced was "Giselle," for which the
ubject was furnished by Heine, the
cenery by Theophile Gautier, and the
music by Adolphe Adam. Adams
music to Giselle is very fine and full of
.entility. The "Giselle Waltzes" will
ong be remembered but we must not
expect to see another GiselIe" on the
tage until we have another Carlotta
irissi and it is not every day that
lancer appears for whom Heine, a
1autier and an Adam will take the
rouble to invent a new work. Beetho-
ems ".Prometheus'' is perhaps the only
,allet which has been performed entire
II the concert room for the sake of the