Fanny Cerrito The Life of a Romantic Ballerina by Ivor Guest

Aangeboden: Fanny Cerrito The Life of a Romantic Ballerina by Ivor Guest Prijs: T.e.a.b. FANNY CERRITO The Life of a Romantic Ballerina by IVOR GUEST Boek met harde roze kaft met gouden letteropdruk in perfecte conditie; 176 pagina's met 47 illustratie (kleuren- en zwart/wit); Ivor Guest is always reliable- the ballet historian of this century. Here, Mr. Guest has carefully researched the life of the Italian ballerina, Fanny Cerrito. She is probably most remembered as one of the ballerinas of that famous circus in London,(today we have the three tenors - basically the same kind of event) the "Pas de quatre" which the impressario Lumley got together. The others were Marie Taglioni, Carlotta Grisi and Lucile Grahn. But Fanny played hard to get, "forever coquetting with one manager to exact higher terms from another". A most interesting book about ballet in the last century, amply illustrated. Mr. Guest tells her sto ry in a vivid manner and it is very enjoyable reading, even for a person who is not primarily interested in ballet, but rather in history. WITH FRONTISPIECE IN COLOUR AND FORTY-EIGHT MONOCHROME PLATES PHOENIX HOUSE LTD CHARING - LONDON Copyright under the Berne Convention All rights reserved Printed in Great Britain (Set in izpt Fournier) by The Aldine Press at Letchworth for Phoenix House Ltd, 38 William IV Street, Charing Cross, W.C.z First published 1956 CONTENTS Acknowledgments List of Illustrations I. Child of the Siren City (1817-37) II. La Scala (1838-40) III. The Conquest of London (1840) IV. Sylphide (1840-42) V. Alma (1842) VI. 'Cerritisti' and 'Taglionisti' (1843) VII. Undine (1843) VIII. The Contest with Elssler (1843) IX. The Triumphal Progress Continues (1843-44) X. A Choice of Swains (1844) XI. Saint-Leon Wins his Bride (1844-45) XII. The Pas de Quatre (1845) XIII. Lalla Kookh and the Pas des Deesses (1845-46) XIV. Contending with the Elements (1846-47) XV. Star of the Paris Opera (1847) XVI. Eighteen-forty-eight (1848) XVII. Parisian Triumphs (1848-51) XVIII. Bedmar (1851-53) XIX. Gemma (1852-55; XX. Career's End (1855-57) XXI. The Blue Bird in its Cage (1857-1909) Bibliography Index I HAVE INCURRED many debts of gratitude over the years during which this book was in preparation. The greatest of these, which must be first recorded, is due to my friend, Senorita Dona Dolores de Pedroso y Sturdza, without whose collaboration these pages might never have been written. For not only has she undertaken research for me in Spain, but it was she who led me, by a coincidence which I can only describe as miraculous, to Fanny Cerrito ' s granddaughter, whose recollections of her grandmother spurred and inspired me to record the story of her life. To her and to other members of the family I am further indebted for permission to reproduce numerous portraits and photographs in their possession (Plates XV, XVIIb, XVIII, XlXa and b, XXIa and b, XXIIa, XXHIafb, and c, and XXIVa)'. I have to thank also Miss Lillian Moore, who kindly lent me her own notes on Cerrito and through whose assistance I was able to obtain information from libraries and collections in the United States, and Dr Walter Toscanini, who generously placed his profound knowledge of the history of Italian ballet at my disposal, and made available to me much valuable material in the Cia Fornaroli Collection. These two friends were good enough to read through the typescript of this book, and I have gratefully adopted many of the suggestions which they made. I mus t acknowledge, too, my gratitude for the assistance given me by Miss O. F. Abbott, Mr O. P. Staunton Batty, Lady Mary Stewart Evans, Dr Jorge de Faria, Miss Fiorella Keane, Miss Gladys Lasky, Mr Donald MacAndrew, Mr W. Beaumont Morris, Frau Bertha Niederle, Professor Ulisse Prota-Giurleo, Mme Marie Rambert, Mr Peter Revitt, Lady Stirling, Mr John Twallin, Signer Stefano Vittadini, Colonel George "Warden, Mr Peter Williams, Mr G. B. L. Wilson, and the authorities of the British Museum, the Victoria and Albert Museum, and the Westminster City Library, London, the Cambridge University Library, the Bibliotheque Nationale, the Bibliotheque de L'Opera, the Bibliotheque de L'Arsenal, and the Musee Carnavalet, Paris, the Museo Teatrale della Scala and the Raccolta di Stampe, Castello Sforzesco, Milan, the Nationalbibliothek, Vienna, the Biblioteca, Arquivos e Museu do Teatro Nacional de S. Carlos, Lisbon, t he D ance Collection of the New York Public Library, and the Harvard Theatre Collection. I have also to thank the Editor of the Illustrated London News for permission to reproduce three engravings originally published in that periodical; Messrs John Murray (Publishers) Ltd for permission to quote from the Correspondence of Priscilla, Countess of Westmorland; and Miss Helen Morris and the Cambridge University Press for permission to quote from the former's Portrait of a Chef.

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