Costume for Mademoiselle Prevost worn by Adeline Genee in La Danse, Metropolitan Opera House, New York, 1912 and London Coliseum, 1914

Costume for Mademoiselle Prevost worn by Adeline Genee in La Danse, Metropolitan Opera House, New York, 1912 and London Coliseum, 1914. The costume is loosely inspired by the fashion of the early to mid eighteength century and is formed from a fabric with dull silver ground woven with a stylised pattern in bright metallic gold. It has a close fitting bodice, stiffened with boning, which bodice extends into a deep point at the centre front and fastens at the rear with a vertical row of hooks and eyes. It has asymmetrical, elbow length sleeves which open out into wide cuffs to reveal the green shot silk and cotton net lining. The skirt is full and extends into a train at the rear. It is formed from several tiers of fabrics in different colours and weights, each layer being decorated in a different style. Further shaping has been added at the interior of the skirt with layers of pleated and stiffened fabric (crin[?]), and padded supports at the hips. Both the bodice and the skirt are embellished with paste gems and rows of false pearls.
A deep blue silk chiffon stole, printed with a pattern in metallic gold, has been stitched to the proper left shoulder of the dress. A small gold signet ring has been also added slightly above the rear hem, presumbly to allow the wearer to gathered up the train, and suspend it from their hand whilst dancing.

Given by the Royal Academy of Dance

Costume for Mademoiselle Prevost worn by Adeline Genee in Tableau I of the ballet 'La Danse', Metropolitan Opera House, New York, December 17th 1912 and London Coliseum, 6th April 1914. The ballet was choreographed by Genee, and the music was arranged and partly composed by Dora Bright. The costumes were designed by Wilhelm and executed by Miss Hastings and Alias.

The programme states that the ballet was:
'An Authentic Record by Adeline Genee of Dancing and Dancers between the Years 1710 and 1845'
In seven tableaux and prelude and finale.

Tableau I: Mademoiselle Prevost (Passepied from Triomphe de l'Amour / Chaconne from Le Menage de Moliere - Lully; Paraphrase on Rameau's Rigaudon - arr Bright)

Tableau II: Mademoiselle de Camargo (Gavotte in F - Padre Martini; Rigaudon - Rameau; Corelli's Chaconne with Variations (1633) - Bright)

Tableau III: Mademoiselle Salle (Tambourin and Musette - Rameau; Coninette - Gretry; Old Breton Air/Serenade from Don Giovanni - Mozart)

Tableau IV: Mlles. Guimard, Allard and Mons. Duprez (Pdt, Pantomime, Allegro from Les Petits Riens - Mozart; Minuet in A - Boccherini; Gavotte in G from Paris and Helen - Gluck)

Tableau V: Debut de la Valse (Fantasie on Waltz Themes (Strauss) - Bright; Waltz Promotionen - Strauss; Who is Silvia? - Schubert; Das Fischermadchen - Meyerbeer; Du Bist Wie Eine Blume - Schumann; Song without Words - Mendelssohn)

Tableau VI: Mademoiselle Marie Taglioni (Prelude - Mazurka/Waltz - Chopin)

Tableau VII: the Famous Pas de Quatre (Ballade from Coppelia - Delibes)

Reason For Production: Commission

Dancer Adeline Genée wore this sumptuous costume as Françoise Prévost in the first scene of her ballet La Danse, which traced the evolution of ballet from 18th century France to the beginnings of the 20th century. In it, she danced a Passepied, literally translating as passing feet. This is a dance related to the minuet, but much faster with, as the title suggests, quick, neat footwork. The music was taken from Lully and Rameau. The dress might have concealed much of the footwork, but the impression was of elegance as she manipulated her dress and stole, whilst achieving swift movement across the stage.
The richness of the fabrics and trimmings and the finish of the dress is outstanding. Genée spared no expense to achieve the right effects and Wilhelm's researches ensured all possible accuracy, although, due to lack of original images of Prévost, the costume was based on a print of an earlier dancer, Mlle. Subligny.

S.1460&B-1982