Roseta Mauri

Foundation

The Fundació Privada Teatre Fortuny was created as a tool capable to endorse and boost performing arts promotion and dissemination activities, which are carried out in the Teatre Fortuny of Reus.

logo-fundacio
logo-consorci

-
Thanks to:
Diputació Tarragona – Ajuntament de Reus – Generalitat de Catalunya

-
Associated media:
Canal Reus TV
-
Collaborators:

Royal Academy of Dance – ADAM, Asociación de la Danza y Arte del Mediterráneo – Royal Danish Ballet – ENDANZA Valencia – SautdeBasque Iratxe de Arantzibia

Associació de Professors de Dansa de les Comarques de Tarragona – DANS PXL – Escola de Dansa del Centre de Lectura de Reus – Escola de Dansa Núria Díez – ArtisFraga Escola de dansa – Escola de dansa Artis

Círcol de Reus – Patronat Municipal de Turisme i Comerç de Reus – Borges – Tecnol  – Viena –  Fruites i Verdures Cal Pere – Ladival – Ticnova – Colnatur

 

 

Roseta Mauri

Better known as the dancer of the Fin d’arabesque (1877) by Edgar Degas, Rosita Mauri was one of Europe’s principal ballarinas and a favourite of artistic circles of her time due to her strong and virtuosistic technique, charming personality and quick temper.
Isabel Amanda Rosa Mauri Segura (1849-1923) was the daughter of a ballet master and choreographer from Reus, Pere Mauri—although she was born in Palma de Mallorca, she always claimed Reus to be her hometown—. She began her career under her father’s guidance. In 1870 she joined the corps de ballet of the Teatre Principal of Barcelona, after touring in Hamburg, Milan, Rome, Viena and Berlin and training with prestigious ballet masters such as the choreographer Henri Dervine at Teatre del Liceu, she was promoted to principal at Teatre Principal. She made the great leap of her career when in 1877 dancing at the Scala of Milan she caught Charles Gounod’s attention. The French composer persuaded the Paris Opera Ballet to engage her, where a year later. She premiered the ballet of the opera Polyeucte. Since then she became one of the Paris Opera Ballet’s étoiles, and roles were created on her such as Yvonette of the ballet La Korrigane(1880) and Gourouli of Les deux pigeons (1886) by Louis Mérante, or L’étoile (1887) by J. Hansen. Among many operas, she danced Jules Massenet’s El Cid (1885) in which a role created especially on her. Her performances of some ballets were long praised such as Sylvia by Mérante with music by Léo Delibes. After she retired from stage, she taught future generations of dancers at the school of Paris Opera Ballet Ballet between 1898-1920. On her death in 1923, she was buried in the Montparnasse cemetery.