Until her forties she was considered one of the greatest dancers in Stockholm; she was seen as a role model in her role interpretations, and in her own choreographies, such as "Max och Emma" (1842), she presented traditions from Paris.
She was seen as a role model in her role interpretations, and in her own choreographies, such as "Max och Emma" (Max and Emma) (1842), she presented traditions from Paris. Until her forties, she was considered one of the greatest dancers in Stockholm.
Until her forties, she was considered one of the greatest dancers in Stockholm. She was seen as a role model in her role interpretations, and in her own choreographies, such as "Max och Emma" (Max and Emma) (1842), she presented traditions from Paris.
Until her forties, she was considered one of the greatest dancers in Stockholm. She was seen as a role model in her role interpretations, and in her own choreographies, such as "Max och Emma" (Max and Emma) (1842), she presented traditions from Paris.