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Stage Name |
Birth Name |
| Adeline Genée |
Anina Jensen |
Adeline was of Danish decent, and later
came to London in 1897. She was said to be to dance what Jenny
Lind was to song. Traveled to the U.S. in 1908 and later brought
her company to the U.S. in 1912. She was described as witchery,
a fairy to the dance, a perennial wonder child, a beloved favorite.
Genée devoted her career to setting
the dance once again in its ancient place of honor beside music
and poetry. She gave the effect of being supreme in all dance
forms. She could accomplish as a mere gesture feats that others
reserved for a climax such as the astoundingly difficult "enchant
buit." Her costume was mainly of the 1830's style, reminiscent
of Taglioni.
Genée started studying dance at the age of three with her Uncle who was
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dance master at the Milanse school. At the age of seventeen she
made her dancing debut in Copenhagen, then on to Berlin and Munich.
Upon arriving in London for six weeks, she ended up staying for
ten years dancing at the Empire Theatre.
She was awarded by her King the Ingenu et arti
(award.) Genée Retired in her prime and became a
legend in 1916 after marrying.
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Birth Place |
Birth Date |
Spouse |
Offspring |
| Aarhus, Jutland, Denmark |
1878 -1970 |
Isitt? |
n/a |
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Night Clubs |
Theaters |
Stage / Ballets |
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Metropolitan Opera House |
1907 - The Soul Kiss |
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New York Theater (1907) |
1909 - Herod |
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Adeline Genée Theater (Namesake) |
1909 - The Dryad |
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1932 - The Love Song Suite (Choreo) |
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Coppélia |
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La Danse |
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The Hunt |
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Films |
Television |
Publications |
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7/1907 - Theater Magazine |
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9/1909 - Theater Magazine |
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12/1909 - Theater Magazine |
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12/1926 - Mentor Magazine |
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Dance Encyclopedia (Chujoy) |
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Ballrooms
