“The idea of this pas is an excellent one; for it is an important qualification in choregraphic compositions, that the dancing should appear to be a necessary result of the action—that an intelligible idea should be conveyed by it, and a story kept up throughout. Without this, dancing, however beautiful in itself, loses half its charm to those who look for something more in it than mere power and grace of motion. Here there is a purpose in the varied attitudes and graceful evolutions of each danseuse, as she is supposed to be endeavouring to outstrip her rivals, and vindicate her right to the disputed apple; and the effect is a charming one, independently of the interest and excitement that must inevitably attach to the combined performance of such unequalled artists as these. The Graces, enacted by Louise Taglioni, Demississe, and Cassan; Cupid, by that graceful child, Mdlle. Lamoureux; Mercure, by Perrot, etc., etc., are all numbered amongst the dramatis personæ of the ballet, and a more charming combination could hardly be met with.
“Taglioni is, however, the principal ‘star’ at the present moment. Those who have visited Her Majesty’s Theatre predetermined to find her marvellous talent diminished, and to ‘regret’ her reappearance on the English stage, have come away enchanted, despite themselves, at that marvellous union of unrivalled agility, with the most perfect grace and elegance, in which no dancer has as yet equalled her. If there is any change perceptible, she seems to have advanced in her art—in person, an increase of embonpoint has proved decidedly favourable to her appearance. It is, no doubt, in the danse noble that she excels; but in every style of dancing the je ne sais quoi of peculiar refinement and grace, for which she is remarkable in her style, distinguishes her. As long as Taglioni continues to dance, she will continue to excite an enthusiasm of applause, as the famous Guimard, styled in 1770, ‘La Reine de la Danse,’ had done before her. A peculiar gentleness and amiability of look, and a dignity of manner which never abandons Taglioni, is in admirable keeping with the style of her dancing; and, if we may believe report, these do not belie her real character.”
As a matter of fact, the appearances and “report” did not belie her character, for Taglioni always won the respect and love of all she met. She had done so abroad, where crowned heads and royal families had made a friend of her, enchanted with her sweetness and modesty, and won to equal respect by her innate dignity of character.
It was the same in London, where, it is said, she received not only the generous homage of her stage colleagues and was offered a superb testimonial at the close of the season of 1846, but also met with special favour from Queen Victoria herself, who was as much a connoisseur of good dancing as she was of virtuous conduct.
It may have been by reason of this that Taglioni was appointed teacher of dancing and deportment to some of the younger members of the English Royal Family; and later undertook the tuition of a few favoured young dancers. Yet Fortune did not favour her always, and she died at Marseilles on April 25th, 1884; like Guimard, also neglected and in poverty. But while there is one to read the records of the stage her name will survive as one of the founders and supreme exponents of the idealistic school of Ballet.
TAGLIONI (“SYLPHIDE”)
“Slim, virginal, upon the stage she springs:
And joy forthwith relumines weary eyes
That, looking ever on dull mundane things,
Long had forgot youth’s heritage of joy: