Rachetée au printemps 1947 par le marquis de *Cuevas, la troupe prend le nom de Grand Ballet de Monte-Carlo jusqu'à la rupture avec la principauté en 1951.
Désireuses de renouer avec la tradition d'une prestigieuse compagnie, les princesses Grace et Caroline de Monaco encouragent la fondation en 1985 du Ballet de Monte-Carlo. Dirigée jusqu'en 1988 par P. *Lacotte et G. *Thesmar, la troupe propose un répertoire constitué d'œuvres de son chorégraphe directeur et de pièces de G. *Balanchine interprétées par de jeunes danseurs. Jean-Yves Esquerre assume la transition jusqu'à la nomination de J.-C. *Maillot à la tête de la troupe en août 1993. En tournée à travers le monde six mois de l'année, la compagnie présente, à côté du travail de création que Maillot conduit avec les danseurs, la reprise de ballets de chorégraphes *néoclassiques.
NL
Lola MONTES, [ndn. Gilbert Eliza ] (1818-1861).
Danseuse irlandaise.
Après quelques mois de leçons, elle commence en 1843 à Londres une carrière de danseuse espagnole qui la mène dans les grands théâtres européens. Elle rencontre un succès qu'elle doit plus à sa beauté et à sa vie scandaleuse qu'à la qualité de sa danse. Elle devient en 1847 la maîtresse trop influente de Louis Ier de Bavière, contraint d'abdiquer en 1848. Elle finit ses jours aux États-Unis dans les œuvres caritatives. Son personnage a inspiré nombre d'artistes : représentée dans la Bacchanale de L. *Massine en 1939, elle est l'héroïne du chef-d'œuvre de Max Ophuls (Lola Montès, 1955).
MFB
Pauline MONTESSU [ndn. PAUL P. ] (1805-1877) .
Danseuse française.
Elle commence sa carrière au théâtre d'Enfants de Bordeaux au côté de son frère A. *Paul. Ses succès en province lui valent de débuter en 1820 à l'Opéra de *Paris où elle reste jusqu'à sa retraite en 1838. Vive, brillante, expressive, elle marque les rôles qu'elle crée dans les ballets de J.-P. *Aumer - la *Somnambule (1827), Manon Lescaut (1830) - et dans sa reprise de la *Fille mal gardée en 1828.
SJM
Bernardo MONTET (né en 1957).
Danseur et chorégraphe français.
De père guyanais et de mère vietnamienne, il passe une partie de son enfance en Afrique. Après divers cours de danse classique et contemporaine, il étudie à *Mudra, puis intègre la compagnie de D. *Bagouet et travaille avec F. *Verret. Entre-temps, en 1979, il a rencontré C. *Diverrès : avec elle, il suit l'enseignement de K. *Ôno et crée le duo *Instance au Japon, fonde le Studio DM et prend, en 1994, la codirection du *CCN de Rennes, qu'il quitte en 1998.
Danseur d'une puissance exceptionnelle, il est jusqu'en 1996 le partenaire de toutes les créations de Diverrès. Il crée en parallèle plusieurs solos, faisant ses véritables débuts de chorégraphe avec Cirque (1996). Proche du chamanisme, sa conception de la danse se veut « un engagement de tout le corps dans l'existence ». Traversées par un sens profond du politique et de la communauté, ses pièces ont pour origine une réflexion sur la violence que la danse canalise par sa vitalité et remet en jeu dans une sorte de rebond poétique et rebelle.
IF
Autres chorégraphies. La Chute de la maison de carton (1986, cochor. Verret) ; Indigo (1986) ; Pain de singe (1987) ; Au crépuscule ni pluie ni vent (1993) ; Marguerites de l'oubli (1995) ; Issê Timossé (1997, avec l'écrivain Pierre Guyotat) ; Ma lov' (1998, scéno. Tamar Getter, mus. Eran Sur).
Fabrizio Monteverde (né en 1958).
Danseur et chorégraphe italien.
Il débute comme assistant à la mise en scène, tout en étudiant la danse à Rome avec C. *Carlson, M. *Pendleton et P. *Goss. Très vite il commence à chorégraphier (Bagni acerbi, 1985) et fonde le groupe Baltica (1986-1992), pour lequel il crée la Boule de neige (1987), inspiré de J. *Cocteau, Nero perla (1988) et Blanche (1992). Doté d'un sens théâtral marqué, il aime traiter des événements à haute température dramatico-érotique avec le langage éclectique et transversal de la danse. Il chorégraphie régulièrement pour le Ballet de Toscane (*Roméo et Juliette, 1989; Pinocchio, 1990 ; *Othello, 1994 ; la Tempête, 1996).
EV
Autres chorégraphies. Herr Salieri (1990, Maggio Danza) ; Mascherata veneziana (1992, Verone) ; Reliquie d'amanti (1992, la *Scala) ; *Casse-Noisette (1995, Op. de *Rome).
Claudio Monteverdi (1567-1643).
Compositeur italien.
Élève de Marc'Antonio Ingenieri, il commence à publier ses compositions à l'âge de quinze ans. En 1590, il entre au service du duc Vincenzo Gonzaga à Mantoue puis passe au service de la république de Venise en 1613 jusqu'à sa mort. À Mantoue, il compose de nombreux ballets dont *Orfeo (1607), Arianna (1608, musique perdue), Ballo delle ingrate (1608, liv. Ottavio Rinuccini) - remonté par M. *Wallmann (1954), W. *Gore (1965), C. *Bruce (1980) - et le ballet «pastorale» Tirsi e Clori (1616) - remonté par A. *Milloss (1951). Le Combat de *Tancrède et Clorinde (1624) appartient à sa période vénitienne, dont toutes les autres musiques de ballet sont perdues à l'exception, dans les Madrigaux guerriers et amoureux, du ballet Volgendo il ceil per l'immortal sentiero (1636, liv. Rinuccini) probablement composé pour la cour de Vienne.
ATos
Sur la musique de Monteverdi. M. *Béjart (Lettera amorosa, 1969) ; R. *Alston (Bellezza Flash, 1982) ; B. *Harkarvy (Five Madrigals, 1984) ; Alston (Voices and Light Footsteps, 1984) ; F. *Lancelot, F. *Raffinot et A. *Francalanci (*Caprices, 1986) ; J. *Feld (Mother Nature, 1989) ; A. T. *De Keersmaeker (*Ottone Ottone, 1988). Bibliographie. P. Fabbri, Monteverdi, EDT, Turin, 1985.
Montréal (les Ballets jazz de).
Compagnie canadienne installée à Montréal, fondée en 1972.
Sa création par E. von *Gencsy, Eddy Toussaint et Geneviève Salbaing survient à la suite de l'engouement que suscite le mélange de classique et de rythmes et lignes jazz élaboré par Gencsy. Très populaire au Québec, ouverte aux créateurs extérieurs, la compagnie effectue plusieurs tournées internationales. Accessible, permettant au public de s'affranchir de la tradition, son style, qui offre liberté gestuelle, sensualité des rythmes et des lignes, se voit toutefois éclipsé dans les années 1980 par la *nouvelle danse québécoise. La compagnie continue cependant à célébrer le jazz sous toutes ses formes, sous la direction artistique d'Yvan Michaud (1995-1998). En 1998 lui succède Louis Robitaille, ancien premier danseur des *Grands Ballets canadiens et du Ballet de Montréal Eddy Toussaint.
IVT
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