Maria Anna Trancart

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Maria Anna Trancart , or Maria Anna Trancard , b. Nency Levier or Nancy Leviez (* 1748; † after 1789) was an Anglo-French dancer. She also used the pseudonym Signora Lenzi or was perhaps wrongly called "Lenzi", especially in Viennese sources.

Life

Nency Levier was the daughter of an Englishwoman and a French father; possibly a man who was ballet master at London's Drury Lane Theater around 1740 . Marian H. Winter assumes that she was the daughter of Charles Leviez [sic!], Who died around 1778; however, Jean Georges Noverre wrote in a letter to David Garrick that he had made Levier's [sic!] niece an excellent dancer.

She is said to have appeared in Vienna as early as 1748 on the occasion of the opening of the Burgtheater . She became a dance soloist in Stuttgart under Noverre, in whose Lyon troupe she was already in 1758 , where she was engaged from 1761. In Stuttgart she is said to have been a mistress of Duke Carl Eugen . She later moved to Vienna, where she appeared in the title role in Semiramis in 1765 . She stayed in Vienna until 1768. Then, after a stay in St. Petersburg , she moved to Venice .

In her first time as a dancer she performed under the name “Mmlle. Nency ”. Her roles at that time included Medea in Médée et Jason , as she saw Joseph Uriot and described in Description des Fêtes 1763, the sorceress Armide in Renault et Armide and Iole in La Mort d'Hercule ; her dance partner was often Gaetano Vestris .

Antoine Trancart's Munich contract

Nancy Levier married the French Antoine Trancart around 1772 and from then on appeared under the name Maria Anna Trancart.

Around the turn of the year 1774/1775, the ballet in Munich lost its electoral ballet master Niklas Duboisson de Chalandray. The tasks of the deceased were initially taken over by Giuseppe Canziani , who soon emigrated to Venice. Joseph Anton von Seeau therefore appointed Antoine Trancart, who had already worked in Munich for some time, as the new ballet master on March 6, 1775 at his application. The contract was rather unfavorable for Trancart, who was 30 years old at the time. A few weeks later, on March 31, 1775, his wife also got an engagement in Munich, namely as the first dancer in the demi-charactère class with an annual salary of 1000 guilders and the assurance of continued employment with “another task corresponding to her talent “In case she can't dance later.

The Trancarts appeared in Munich together with Johann Peter Constant in La Ninfa spergiura, proteta per Amore , then in Orpheus and Eurydica with the music of Antonio Tozzi . Seeau believed that he could take over Noverre's works from Stuttgart through Antoine Trancart. In the winter of 1775/76, Antoine Trancart choreographed Medea and Jason in the Residenztheater based on Noverre's model, albeit with fewer dancers, and concluded the evening with The Jealousy of the Turkish Emperor's Wives, which Noverre a few years earlier as The Five Sultanas in Vienna had shown. Maria Anna Trancart danced the Eucharis in Telemachus on the island of Calypso . In 1776 she was Venus in Venus and Adonis .

Description of the costume for Madame Trancart in Proserpina

In 1777 Trancart brought the robbery of Proserpine to the stage and was a great success.

The intendant's tight budget did not allow the trancarts to increase their fees in line with their merits; A compromise was the contractual assurance of “8 pairs of socks and shoes a year, the former at a maximum of 5 fl. along with 12 pairs of gloves and 6 cups of rouge “for both Madame and Monsieur Trancart from 1777 onwards. Shortly afterwards, however, the Trancarts in Munich were terminated.

When in 1778 Carl Theodor succeeded the late Elector Max Joseph III. When he came to Munich from Mannheim , he brought his orchestra, a large part of the theater staff and, among others, Étienne Lauchery with him, which initially clarified the personnel issues in Munich. It does not seem to be known where the now jobless trancarts initially turned.

The Trancart couple were hired as "Danseurs pour les Balletts d'Action" at the Pantheon in 1790 ; Antoine Trancart managed this theater in the 1791/92 season. After it burned down on January 14, 1792, the company moved to the Haymarket Theater. After 1792 the trail of the Trancarts in London is lost.

literature

Individual evidence

  1. ↑ a b data on www.musiklexikon.ac.at
  2. ↑ a b c Sibylle Dahms, The Conservative Revolutionary. Jean Georges Noverre and the ballet reform of the 18th century , epodium Munich 2010, ISBN 978-3-940388-17-9 , p. 327
  3. ↑ This is the form of the name for Pia and Pino Mlakar. In the Biographical Dictionary of Actors by Highfill, Langhans and Burnim she is also called "Nancy Leviez".
  4. ^ A b c Philip H. Higfill, Edward A. Langhans, and Kalman A. Burnim, A Biographical Dictionary of Actors, Volume 15, Tibbett to M. West: Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London , Southern Illinois Univ. Pr., ISBN 978-0809318025 , p. 39
  5. ↑ Pia and Pino Mlakar, Immortal Theater Dance. 300 years of ballet history at the Munich Opera. Volume 1: From the beginnings around 1650 to 1860 , Florian Noetzel 1992, ISBN 978-3795905248 , p. 96
  6. ↑ Quoted from Pia and Pino Mlakar, Immortal Theater Dance. 300 years of ballet history at the Munich Opera. Volume 1: From the beginnings around 1650 to 1860 , Florian Noetzel 1992, ISBN 978-3795905248 , p. 102.
  7. ↑ Quoted from: Pia and Pino Mlakar, Immortal Theater Dance. 300 years of ballet history at the Munich Opera. Volume 1: From the beginnings around 1650 to 1860 , Florian Noetzel 1992, ISBN 978-3795905248 , p. 107.
personal data
SURNAME Trancart, Maria Anna
ALTERNATIVE NAMES Trancard, Maria Anna; Levier, Nency (maiden name); Leviez, Nancy; Signora Lenzi
BRIEF DESCRIPTION English-French dancer
DATE OF BIRTH before 1748
DATE OF DEATH after 1789