Gaëtan VESTRIS, [VESTRI Gaetano Apolline Baldassare, dit ] (1729-1808). (suite)
Ses qualités exemplaires de danseur lui valent le surnom de « dieu de la danse », il est adulé du public et les recettes de l'Opéra se ressentent de ses absences. À Paris il acquiert avec une stupéfiante facilité la danse légère, précise et élégante caractéristique du style *noble dont il reste un modèle de perfection unanimement loué. L'un de ses numéros de gala devient dans ce genre une variation de référence sous le nom de « *gavotte de Vestris ». Possèdant en outre des qualités dramatiques certainement dues à sa formation italienne, il répond aux aspirations de son époque pour une nouvelle expressivité, et en marque ses rôles comme celui de Borée dans les *Indes galantes en 1751. Il devient ainsi l'interprète idéal des *ballets-pantomime de Noverre, dont il est un admirateur fidèle, et fait la démonstration de la puissance de son jeu en dansant sans masque dans *Médée et Jason en 1770 à l'Opéra de Paris.
Maître de ballet, il est l'auteur d'une vingtaine d'œuvres créées à Turin, Paris et Londres. Convaincu de l'intérêt d'une forme de spectacle où son talent s'épanouit, il tente sans grand succès d'introduire le ballet pantomime à l'Opéra, dans sa chorégraphie d'*Endymion (1773), mais surtout en montant ses propres adaptations de l'œuvre de Noverre Médée et Jason en 1770 et 1776. Professeur réputé, il perfectionne nombre de grands danseurs parmi lesquels Ch. L. *Didelot, et se consacre avec bonheur à la formation de son fils, Auguste.
MFB
Thérèse VESTRIS, [VESTRI Maria Teresa Francesca, dite ] (1726-1808).
Danseuse d'origine italienne.
Formée à la danse et à la musique comme ses frères Angiolo et Gaëtan, elle débute comme danseuse en Italie, puis à Vienne, Dresde, Florence. Elle s'installe à Paris en 1746 et débute à l'Opéra en 1751, où elle est souvent la partenaire de Gaëtan. Célèbre pour sa vie galante, source de revenus et de relations influentes non négligeables pour sa famille, elle est également très appréciée pour la délicatesse de sa danse et ses qualités dramatiques qu'elle démontre notamment dans *Médée et Jason, où elle interprète en 1763 le rôle de Créuse.
MFB
Tatiana Vetcheslova (1910-1991).
Danseuse et pédagogue russe.
Formée à l'École de danse de *Leningrad par A. *Vaganova, elle danse au *Kirov (1928-1958) où elle crée notamment les rôles de Florine (les Illusions perdues, 1936, R. *Zakharov) et Pasquale (Laurencia, 1938, V. *Tchaboukiani). Elle danse aussi presque tous les grands classiques où elle se distingue par son jeu dramatique, et obtient de grands succès dans le rôle de Zaréma (la *Fontaine de Bakhtchissaraï, 1934), le rôle titre d'Esméralda (1935, Vaganova) et celui de Lise (la *Fille mal gardée). Professeur à l'École de danse de Leningrad (1952-1970), elle est l'auteur de Ya balerina (Je suis ballerine, Leningrad-Moscou, 1964) et O tom chto dorogo (Ce qui m'est cher, Leningrad, 1984).
Formée à l'Académie du ballet russe de Saint-Pétersbourg, elle intègre le *Mariinskï en 1995. Petite de taille, vive, légère et rapide, elle danse avec un succès particulier Kitri dans *Don Quichotte , ainsi que *Cendrillon, les *Sylphides, *Palais de cristal. Prix de *Lausanne en 1994, elle est la première à recevoir le prix la Divine en 1995.
ESou
Madalena VICTORINO (née en 1956).
Danseuse et chorégraphe portugaise.
Elle suit au *Laban Center du Goldsmith's College, à Londres, un enseignement de danse éducationnelle. De retour au Portugal en 1980, elle anime un atelier chorégraphique pour amateurs, qui réalise des works in progress. À partir de ce dispositif original, elle crée des pièces in situ (dans une ferme au nord de Lisbonne, dans une usine de torréfaction du café, notamment).
JMA
Vic-Wells Ballet.
Compagnie britannique dont est issu le *Royal Ballet.
JS, LK
(Ballet de l'Opéra de) Vienne.
Compagnie autrichienne attachée au Wiener Staatsoper.
Il est l'héritier des fêtes théâtrales données dès le début du XVIIe siècle à la cour impériale, où Santo Ventura est maître de ballet de 1626 à 1676 (son fils Domenico lui succédera à ce poste) et où l'art du ballet est particulièrement encouragé sous le règne de Leopold Ier (1657-1705), lui-même compositeur et remarquable danseur. Constituée de professionnels dès le début du XVIIIe siècle (M. A. *Philebois étant la première femme engagée en 1723), la troupe du Hofoper [Opéra de la cour] se produit au Kärntnertor Theater [théâtre de la Porte de Carinthie] à partir de 1728, ainsi qu'au Burgtheater (aussi appelé Theater nächst der Burg ou « théâtre près de la cour ») à partir de 1741.
Pendant le règne de Marie Thérèse (1745-1780), le ballet devient une forme artistique autonome sous l'impulsion de F. *Hilverding. En 1758, G. *Angiolini prend la direction du ballet et engage son œuvre réformatrice (*Don Juan ou le Festin de pierre, *Sémiramis) en lien avec C. W. *Gluck. J. G. *Noverre lui succède, peu après la reprise à Vienne de son *Médée et Jason par G. *Vestris en 1767, affirmant à son tour, jusqu'en 1774, ses idées de réforme et fondant une école de « danse théâtrale ». Dispersée en 1776, la troupe est reconstituée en 1791 sous la responsabilité d'A. *Muzzarelli. Les membres des théâtres impériaux deviennent alors employés d'État.
Présents à Vienne à partir de 1793, S. *Viganò et sa femme Maria Medina éveillent l'attention par l'expressivité de leur danse : chorégraphe attitré de 1799 à 1803, Viganò ouvre de nouveaux horizons à la compagnie, signant notamment les Créatures de *Prométhée (1801). C'est également à cette période que Giuseppe Traffieri et G. *Gioja travaillent à Vienne. En 1805 apparaît pour la première fois le nom de *Taglioni à l'occasion de la reprise de la *Dansomanie. J. *Coralli chorégraphie à partir de 1806 au Kärntnertor Theater, qui devient l'un des hauts lieux du ballet préromantique : en 1813, L. *Duport crée son imposant ballet *pantomimeAschenbrödel [*Cendrillon] au Theater an der Wien (alors sous la tutelle du Hofoper), tandis que J. *Aumer, présent à Vienne dès 1809, prend la direction de la compagnie (1814-1820). L. *Henry lui succède jusqu'en 1834. *Nina (1814) de L. J. *Milon ainsi que les *Pages du duc de Vendôme et Alfred le Grand (1820) d'Aumer comptent alors parmi les œuvres majeures du répertoire.
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