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Updated: May 17, 2025
A beautiful Tyrolienne, in a dress of black, silver, and velvet, with her yellow hair hanging in two plaits down her back, passed into the room, accompanied by Charles the First in a large wig and cloak; and the next moment they were whirling along in the waltz, coming into innumerable collisions with all the celebrated folk who ever lived in history.
Among her most remarkable performances was the dancing of the Tyrolienne in Guillaume Tell, and of the pas de fascination in Robert le Diable. In this mid-century period dancing occupied a far more important place in opera than it has since, but with the retirement of La Taglioni, in 1845, the era of grand ballets came practically to an end.
Fagerolles was, so to say, everybody's spoilt child. Night came on at about six o'clock that rainy March day. The assistants brought lamps; and some mistrustful artists, who, gloomy and silent, were watching the counting askance, drew nearer. Others began to play jokes, imitated the cries of animals, or attempted a tyrolienne.
I was dressed as a Tyrolienne with a red skirt, a black bodice, and a hat with a ridiculous feather sticking out from the back of it, which Prince Metternich said I must have. While the others were on the stage Princess Metternich wrapped a lot of silk paper around me and tied it with bows of wide ribbon, thus covering me completely, head and all. I was carried in and placed on a turning pedestal.
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