Anna (also known as Annette) Mérante, Paris Opera ballerina in the 1860s and 1870s. She starred as one of the two principal bees in the 1866 Paris Opera revival of Halevy's 1852 grand opera, "Le Juif Errant". In 1867 she performed as a pink pearl in Lucien Petipa's "Ballet de la Reine". She was honored when she was selected as one of three members of the Mérante family to hold the cordons of the pall at the funeral in 1870 of Giuseppina Bozzachi, the first star of "Coppelia".
Born in Moscow Zinaïda Josefovna Richard. she first became known to Paris audiences under the name Zina Richard. In July 1861 she married choreographer and fellow dancer Louis Mérante.
Dancer and choreographer, the Maître de Ballet (First Balletmaster/Chief Choreographer) of the Paris Opera Ballet at the Salle le Peletier until its destruction by fire in 1873, and subsequently the first Ballet Master at the company's new Palais Garnier, which opened in 1875. He is best remembered as the choreographer of Léo Delibes "Sylvia ou La Nymphe de Diane" (1876). With Arthur Saint Léon and Jules Perrot, he is one of the three choreographers who defined the French ballet tradition during the Second French Empire and the Third Republic.
1860s. "Le dieu bleu ou La Bayadère"
Was an Irish dancer and actress who became famous as a "Spanish dancer", courtesan, and mistress of King Ludwig I of Bavaria, who made her Countess of Landsfeld. She used her influence to institute liberal reforms. At the start of the Revolution of 1848 in the german states, she was forced to flee. She proceeded to the United States via Switzerland, France and London, returning to her work as an entertainer and lecturer.
She was said to be extremely beautiful and had ambitions as an actress. It is not known when she first became interested in the ballet but in 1861 she became a pupil of Arthur Saint-Leon, the brilliant dancer, choreographer, composer, violinist, teacher and author.
1863. "Giselle" act 2
In 1863 Saint-Leon took Martha to Paris where she appeared in a production of Giselle. This proved to be a disaster. Possibly she was not suited to the role or perhaps the admirers of previous Giselles resented a newcomer to the ballet. This failure in Paris did not dampen the enthusiasm of either Martha or Saint-Leon. Martha was greatly acclaimed.
1865. "Giselle" act 1.
Paris Opera Dancer