Salvatore Viganò

Salvatore Viganò ( born March 25, 1769 in Naples, † August 10, 1821 in Milan ) was an Italian choreographer, composer and dancer.

Life

His appointment he inherited from his father Onorato Viganò. His mother was the ballerina Maria Boccherini. He studied composition with Luigi Boccherini, his uncle, and dancing under Jean Dauberval. His debut as a dancer in 1783 he was in Rome in a woman's role, as in Rome at that time dancers were not allowed to occur. He entered Rome (1786 ), Venice ( 1788) and Madrid ( 1789) on the latter occasion of the coronation of Charles IV In Spain, he met Jean Dauberval, and went with him to Bordeaux and London ( 1791). In 1789 he married the dancer Maria Medina. The marriage lasted ten years. His first ballet choreography was Signor Raoul de Saphir in 1791 in Venice, for which he composed the music itself.

On 13 May 1793, he and his wife were the first time in Vienna and his Raoul was performed on Kärntnertortheater on June 25. The performances of the pair created a great stir, because Maria Viganò occurred among others as the first dancer in a flesh-colored shirt under a transparent dress. Heinrich von Collin writes about the polarization of the Viennese society at the time:

" One for him [ Collin ] whole new way of acting but then drew his attention to a particular grade up. Under the reign of Leopold II were namely the ballets once been brought by Noverre in Vienna a very popular drama back on stage. The general interest turned once again gone; but this was increased to a high degree, as in addition to the Ballet Master Muzarelli also a second ballet master, Mr. Salvatore Vigano, representations were developed his wife in the eyes of the astonished spectators a hitherto never sanctioned art. The most important matter of state may not be able to a violent rupture of the minds to bring forth, as at that time caused the dispute about the virtue of two ballet masters. The friends of the theater were divided into two parties sämmtlich who considered themselves because of the diversity of their beliefs with hatred and contempt. The trailer Muzarellis, as the weaker part, which seemed about to hold mainly the side of that ballet master, because he had been earlier than Vigano in possession of the stage, and offended by the new comer to speak in his rights, and of the former general applause looked displaced, were the fiercest, and even searched the matter out strange means to assert themselves the adversaries; as well as sought to decry as immoral the directed all alone on real art game of Madame Vigano, which of course is not how they wanted to wanted to succeed. The worshipers of the new Ballet Master on the contrary, called the defender of our seniors with very open contempt ignoramuses who have never even had only a faint prosecution of the idea of beauty. But they were not so much busy to let them feel this opinion, but rather to lift the object of their worship with impetuous praise to the heavens, and really listened to such stormy noise of applause and, as thunderous Gebraus the zujauchzenden amount the theater to Vienna never again, as in the ballets of the time. The enemies of the Ballet Master had in the theater before the deafening sounds of applause, which resounded from the Parterren, boxes and galleries, unmuthsvoll silent. Seltnen this victory, which was the new ballet master of the older of it, he had to thank the recycling of his art from the exaggerated, meaningless artificiality of the older Italian Ballets to the simple forms of nature. However, it must seem strange, suddenly in a kind of drama in which to nothing so far as jumps and limb dislocations, tedious positions combinirte, often was used to seeing intricate dances that left no impression of unity, sudden action, depth of feeling and to behold pure beauty of the external representation, which developed in the earlier ballets Mr. Salvatore Vigano so glorious and aufthaten a new heretofore unknown realm of beauty. And if it is indeed Undoubtely true that most of the natural modern, cheerful, casual dance of Madame Vigano and her equally expressive as a lovely facial expressions especially attracted to general applause after, so none the less the content of the ballet itself was that of the located later inventions of the same master differed very vortheilhaft and then be completely classischer dignified male dance also eminently suitable to satisfy the public mind with admiration and respect for the master and his creations. "

Until 1795 remained Viganò in Vienna, then followed by appearances in Prague, Dresden, Berlin, Hamburg and Venice. In 1799 he returned, now separated from his wife, returned to Vienna and worked there until 1803.

In this second time in Vienna he designed the ballet The Creatures of Prometheus, composed the music for Ludwig van Beethoven. The ballet dedicated to the Empress Maria Theresa was premiered on March 28, 1801 at Court Theatre in 1802 and ran until 29 times. The Prometheus was sung by the castrato Giovanni Cesari, the creatures were danced by Maria Viganò and Casentini, the prima donna of the corps de ballet, where Collin notes that the Casentini was indeed excellent, but could not destroy the memory of Maria Viganò.

Since Gli strelizzi 1809, he was known for seamlessly insert pantomime in his ballets ( he called this coreodramma ). This reflects the influence of Jean -Georges Noverre, teachers Dauberval, who introduced a change of pantomime and dance. His interest also painting, which was reflected in elaborate costumes and arrangements. His themes were historical and mythological nature; often also touched on substances Shakespeare.

Probably 1811, he was artistic director of La Scala.

• Maria and Salvatore Viganò (drawings by Johann Gottfried Schadow )

Ballets

• Signor Raoul de Saphir (Venice 1791)
• The daughter of the air, or: The rise of Semiramis (Vienna 1793)
• Richard the Lionheart, King of England (music by Joseph Weigl, Vienna 1795)
• The found violets (Vienna 1795)
• Clothilde, Duchess of Salerno (after Gozzi, Vienna, 1799)
• The Creatures of Prometheus (music: Beethoven, Vienna 1801)
• I Giuochi istmici (music by Joseph Weigl, Vienna 1803)
• Caio Marzio Coriolano (music by Joseph Weigl, Milan 1804)
• Gli Strelizzi (Venice 1809)
• Prometeo (music: Beethoven, Milan 1813)
• Gli Ussiti sotto a Naumburgo ( Milan 1814)
• Numa Pompilio ( Milan 1815)
• Mirra; o sia La Vendetta di Venere ( Milan 1817)
• Psammi, re d' Egitto ( Milan 1817)
• Otello ( Milan 1818)
• La vestale ( Milan 1818)
• I titani (music: Johann Kaspar Aiblinger, Milan 1819)
• Alessandro nell'Indie (music: Johann Kaspar Aiblinger, Milan 1820)
• Giovanna d' Arco (music: Johann Kaspar Aiblinger, Milan 1820)
• Didone (music: Johann Kaspar Aiblinger, Milan 1821).