Carolina Rosati

[2] The same year she danced Jules Perrot's Pas de Quatre at Her Majesty's Theatre, London, where she also danced Fiorita et la Reine des Elfrides (1848) and La Prima ballerina (1849) which Paul Taglioni had created for her.

Two years later, after she had danced in Joseph Mazilier's Jovita, ou les Boucaniers, she was engaged by the Paris Opera as their latest star, apparently becoming the highest paid dancer at the time.

[2] She created roles in several of Mazilier's ballets in which her sense of drama was revealed to the full, as when she played Amalia in La Fonti (1855) or her highly successful Médora in Le Corsaire (1856).

[1] When her rival Angelina Fioretti arrived in Paris in 1859, she left for St Petersburg's Imperial Theatre where she appeared in Jovita and in ballets created for her by Arthur Saint-Léon and Théophile Gautier.

[1] The Oxford Dictionary of Dance describes her as "A plump, vivacious, and graceful dancer ... renowned for the precision of her pointe work, also for her expressive mime.