Born: 1802 (Milan, Italy)
Died: 1892
Amalia Brugnoli (1802–1892) was an Italian ballerina who played a significant role in the development and popularization of the pointe technique in ballet. Born in Milan on August 1, 1802, Brugnoli was the daughter of renowned dancers Paolo and Giuseppa Brugnoli. Her upbringing in a family of dancers laid the foundation for her own successful career in ballet.
Brugnoli began her training at La Scala’s ballet academy, where her exceptional talent quickly became evident. It was during this time that she caught the attention of Armand Vestris, one of the most celebrated dancers of the era. Brugnoli had the privilege of partnering with Vestris in his production of La Fée et le Chevalier (The Fairy and the Knight), which premiered in Vienna in 1822. It was in this ballet that Brugnoli made history by employing the pointe technique for the first time on stage.
The pointe technique, also known as toe dancing, involves dancers performing ballet steps on the tips of their toes, supported by specially designed pointe shoes. Brugnoli’s use of this technique was groundbreaking and paved the way for future ballerinas to explore the possibilities of ballet on pointe. Her performance in Armand Vestris’ production captivated audiences and drew the admiration of fellow dancers, including Marie Taglioni.
Marie Taglioni, who witnessed Brugnoli’s debut on pointe, was profoundly inspired by her style and vowed to perfect the technique herself. While Taglioni acknowledged the extraordinary feats Brugnoli achieved on the point of her foot, she also noted that Brugnoli’s execution lacked grace. Taglioni observed that Brugnoli had to rely heavily on her arms to rise onto pointe, making the movements appear somewhat strained.
In 1828, while performing at the prestigious Teatro di San Carlo in Naples, Brugnoli crossed paths with Paolo Samengo, a talented dancer and choreographer. The two quickly formed a partnership, both on and off the stage. Brugnoli married Samengo and adopted him as her dancing partner, thus solidifying their collaborative bond. Together, they continued to captivate audiences with their performances across Europe.
In 1832, Brugnoli and Samengo made their appearance at the King’s Theatre in London. Here, Brugnoli’s pointework received high praise and acclaim. Her effortless execution of the pointe technique showcased her technical mastery and artistry, further establishing her as a leading figure in the ballet world.
Throughout her career, Amalia Brugnoli contributed significantly to the advancement of ballet technique. By being the first dancer to use the pointe technique on stage, she helped pioneer a style of dance that has since become an essential aspect of classical ballet. Brugnoli’s influence on the development of ballet, particularly in the realm of pointe work, cannot be overstated.
Amalia Brugnoli’s legacy extends beyond her technical accomplishments. Her dedication to her craft, determination, and willingness to push boundaries paved the way for future generations of ballerinas. Her impact on women’s history lies in her ability to challenge societal norms and expectations by embodying strength and athleticism in her performances. Brugnoli’s contributions to ballet continue to inspire and shape the art form to this day.