Emma Livry
| Emma Livry | |
|---|---|
|
|
| Born |
Jeanne Emma Emarot or Emma Marie Emarot (disputed) 24 September 1842 France |
| Died | 26 July 1863 (aged 20) Neuilly-sur-Seine, France |
| Nationality | French |
| Occupation | danseuse |
| Years active | 1858–1863 |
| Known for | La Sylphide, other romantic ballets |
| Parent(s) | Célestine Emarot and Baron Charles de Chassiron |
Emma Livry (born as Jeanne Emma Emarot or Emma Marie Emarot; 24 September 1842 – 26 July 1863) was one of the last ballerinas of the Romantic ballet era and a protégée of Marie Taglioni. She died from complications after burn injuries sustained when her costume caught fire during a rehearsal.
Livry was the illegitimate daughter of Célestine Emarot, a ballet dancer, and Baron Charles de Chassiron, which prompted the following rhyming verse:
She studied dancing under Madame Dominique and attended the Paris Opera School. Her career was promoted by her mother's lover at the time, Vicomte Ferdinand de Montguyon. On 19 October 1858, at the age of sixteen, she made her debut with the Paris Opera Ballet at the Salle Le Peletier as the sylph in La Sylphide. Her talent brought her fame and she became a widely respected ballerina.
Montguyon prevailed upon the director of the Opera to change the programme so that Marie Taglioni (who originated the role) would see Livry in La Sylphide when she visited. Taglioni decided to stay on in Paris to teach the girl, who reminded her of herself as a young woman. She choreographed for Livry the title-role of Farfalla (Butterfly) in Le Papillon, the only full-length ballet composed by Jacques Offenbach. The sculptor Jean-Auguste Barre created a figurine of Livry in this role in bronze and bisque versions.
Paul Smith wrote in :
On 15 November 1862, Livry was rehearsing the title role of Fenella, a mime part and the title role in Auber's opera La muette de Portici. Making her second-act entrance, she shook out her skirts, which caught fire on a gaslight. The accident was avoidable: a method of fire-proofing costumes was available in this period, but Livry and most female performers of the period were opposed to it because it discolored and stiffened fabrics.
...
Wikipedia