- Angiolini, Gasparo
or Angelo Gaspariniborn Feb. 9, 1731, Florencedied Feb. 6, 1803, MilanItalian choreographer.In 1757 he became ballet master of the Vienna court opera house; in 1761 he collaborated with the composer Christoph Willibald Gluck to produce Don Juan, and he later choreographed other ballets to Gluck's music. In 1765 Angiolini became ballet master of the Imperial Theatre in St. Petersburg. He was among the first to integrate dance, music, and plot in dramatic ballets, developing the form known as ballet d'action. He maintained a rivalry with Jean-Georges Noverre and disagreed with his interpretation of the ballet d'action.
* * *▪ Italian choreographer and composerGasparo also spelled Gaspare, pseudonym Angelo Gaspariniborn Feb. 9, 1731, Florence [Italy]died Feb. 6, 1803, MilanItalian choreographer and composer who was among the first to integrate dance, music, and plot in dramatic ballets.In 1757 he became ballet master of the Vienna court opera house, where his first ballet dramas frequently relied upon gesture to convey plot. In 1761, however, Angiolini collaborated with the composer Cristoph Gluck (Gluck, Christoph Willibald) to produce Don Juan, ou le festin de pierre, based on Molière's play of the same name; in this ballet much of the action was expressed through dance itself. In 1765 he choreographed the ballet Sémiramis to music by Gluck and in 1762 staged the ballet sequences in the original production of Gluck's Orfeo ed Euridice, which is significant in the history of opera for its dramatic unity and its increased emphasis on dance. In 1765 Angiolini became ballet master at the Imperial Theatre in St. Petersburg, where he choreographed several ballets to music of his own composition.Angiolini's reforms were similar in basic intent to those of Christoph Willibald Gluck and Franz Hilverding; they also paralleled those of his rival, the choreographer Jean-Georges Noverre (Noverre, Jean-Georges). In spite of their differences, both Angiolini and Noverre were instrumental in transforming ballet from its customarily disjointed, unemotional plots and emphasis on displays of technique to more expressive themes in which all elements were integrated.
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