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Petipa created over fifty ballets, some of which have survived in versions either faithful to, inspired by, or reconstructed from the original — The Pharaoh's Daughter ( 1862 ); Don Quixote ( 1869 ); La Bayadère ( 1877 ); Le Talisman ( 1889 ); The Sleeping Beauty ( 1890 ); The Nutcracker ( which was most likely choreographed by Lev Ivanov, perhaps with Petipa's counsel and instruction ) ( 1892 ); Le Réveil de Flore ( 1894 ); Le Halte de Cavalerie ( 1896 ); Raymonda ( 1898 ); Les Saisons ( 1900 ), and Les Millions d ’ Arlequin ( a. k. a. Harlequinade ) ( 1900 ).
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Petipa and created
One famous Grand Pas was created by Marius Petipa in 1881 for his revival of Joseph Mazilier's ballet Paquita.
NOTE-this Pas de deux was originally created by Petipa for the ballerina Amalia Ferraris as an addition to his revival of the ballet Le Diable amoureux ( or Satanella, as the ballet was known in Russia ), where it acquired the title The Fascination Pas de deux.
File: Legnani-whitepearl. jpg | Legnani as the White Pearl in the Petipa / Drigo La Perle, a ballet created for the coronation of Tsar Nicholas II.
Petipa revived a substantial number of works created by other Ballet Masters.
Petipa and Minkus created a successful series of original works and revivals throughout the 1870s: La Camargo in 1872, Offenbach's Le Papillon in 1874, Les Brigands ( The Bandits ) in 1875, Les Aventures de Pélée ( The Adventures of Peleus ) in 1876, Roxana in 1878, La Fille des Neiges ( The Daughter of the Snows ) in 1879, and Mlada, also in 1879.
For the performance, Petipa created a new variation for the ballerina to Drigo's music that is still danced today by the lead Ballerina in the famous Paquita Grand Pas Classique.
For this revival Petipa created a new version of the celebrated piece Les amours de Diane that would later be transformed by Agrippina Vaganova into the famous Diane and Actéon Pas de Deux.
In 1907 Petipa wrote in his diary " I can state that I created a ballet company of which everyone said: St. Petersburg has the greatest ballet in all Europe.
* The great choreographer Marius Petipa and the composer Prince Nikita Trubetskoi created a four act ballet on the subject called Pygmalion, ou La Statue de Chypre.
Petipa and over
On Petipa presented his first original ballet in over six years, a ballet-divertissement titled L ’ Étoile de Grenade ( The Star of Grenada ), for which he collaborated for the first time with the composer Cesare Pugni.
Petipa was so enamored with the stellar ballerina that he bestowed upon her the rarely held title of Prima ballerina assoluta, and over the course of the next eight years, Petipa staged many new ballets especially for her talents.
Although she was able to command top billing in theatre programs or on posters, her efforts to obtain more new roles were thwarted by Petipa, whose authority over the artistic direction of the Imperial Ballet was not challenged by the Emperor himself.
Petipa and ballets
For nearly 50 years, Auer performed almost all of the violin solos in the ballets performed by the Imperial Ballet, the majority of which were the work of the choreographer Marius Petipa.
One of the most famous names in ballet history, Petipa was the choreographer of some of the best known classical ballets including:
NOTE-this Pas de deux from fashioned by Pyotr Gusev circa 1930 from music from Petipa and Drigo's ballets Harlequinade and The Talisman ( 1889 ).
The ballets of Marius Petipa that she danced were as follows —
During his time in Nantes the young Petipa began to try his hand at choreography by creating a number of one-act ballets and divertissements.
Petipa's illness kept him from composition for nearly the whole of 1893, and it was during this time that Enrico Cecchetti, the great Italian dancer and teacher, began to assist Lev Ivanov in substituting for Petipa in the staging of ballets and rehearsals.
The premiere on with Legnani in the dual rôle of Odette / Odile was a great success, and in Petipa and Ivanov's version Swan Lake would go on to become one of the greatest of all ballets, remaining one of the ultimate tests for the Classical Ballerina and the corps de ballet.
Petipa would spend the remainder of his career primarily reviving older ballets.
On the near eighty year old Petipa presented one of his greatest ballets, Raymonda, set in Hungary during the middle ages to the music of Alexander Glazunov, which premiered to great success.
Soon Telyakovsky began purposely not sending carriages to collect Petipa for particular rehearsals, or not sending him lists of casting for various ballets, and even not informing Petipa of various rehearsals taking place, information which the Ballet Master was legally required to have.
It was through these revivals by Sergeyev in London with aid of these notations that the ballets of Petipa where first staged in the west, forming the nucleus of what is now known as the Classical Ballet reperotry for not only the ballet of England but for the world.
The collection consists of choreographic notations documenting the compositions of Marius Petipa for his original ballets and revivals ( the collection also includes two notations for ballets by Lev Ivanov-his 1893 La Flûte magique and 1887 La Forêt enchantée ), and one by the brothers Nikolai and Sergai Legat ( their 1903 revival of The Fairy Doll ), as well as Petipa's choreography for dances from operas, along with various Pas, incidental dances, etc.
Sergeyev brought these notations with him when he left Russia in 1917, and utilized them to mount such ballets as the Petipa / Ivanov Swan Lake, Petipa's The Sleeping Beauty, the Imperial Ballet's original 1892 The Nutcracker, the Petipa / Ivanov / Cecchetti Coppélia, and Petipa's definitive Giselle for the first time outside of Russia, primarily for the Royal Ballet.
Petipa and some
Although Ivanov is often credited as the choreographer, some contemporary accounts credit Petipa.
The Petipa family was left in dire straits for some years.
In March 1858 Marius Petipa was dispatched to mount Jules Perrot's version of Le Corsaire for the Ballet of the Moscow Imperial Bolshoi Theatre ( today known as the Bolshoi Ballet ), who continued performing the ballet with some regularity for many years in various revivals.
It was decided that Paul Taglioni's 1864 version of La Fille mal gardée to the music of Hertel would be revived especially for her début by the choreographer Marius Petipa and the Imperial Theatre's Deuxieme Maître de Ballet Lev Ivanov, while Zucchi herself would assist in the staging of some of the dances she had known from the Berlin staging.
Petipa and which
In the adaptation by Dumas on which Petipa based his libretto, her name is Marie Silberhaus.
One famous Entrée occurs in the first act of the Petipa / Tchaikovsky ballet The Sleeping Beauty, in which the Princess Aurora makes her Entrée during her birthday celebrations.
Another occurs in the first act of the Petipa / Minkus ballet La Bayadère, in which the temple dancer Nikiya makes her entrance during the Festival of Fire.
A rather elaborate Grand Pas is taken from the 1862 Petipa / Pugni ballet The Pharaoh's Daughter, which was revived in 2000 after decades of being absent from the stage.
The collection documents the famous Imperial Ballet's ( today the Kirov / Mariinsky Ballet ) repertory from the turn of the 20th century-the majority of which were staged by the great choreographer Marius Petipa.
Her last performance was in the Minkus / Petipa ballet La Camargo on January 28, 1901 after which she retired to live in her villa at Lake Como.
Other productions include: Ballet of the Moscow Imperial Bolshoi Theatre ( staged Petipa ), with Praskovia Lebedeva as Aspicia, Moscow, 29 November ( old style 17 November ) 1864 ; Ballet of the Moscow Imperial Bolshoi Theatre ( staged Aleksander Gorsky after Petipa ), with Vasily Tikhomirov as the English Tourist ( Taor / Lord Wilson ) and Enrichetta Grimaldi as Vint-Anta ( Aspicia ), Moscow, 27 November 1905 ; a new production by Pierre Lacotte for the Bolshoi Ballet in 2000, which included only three reconstructed dances from Petipa's original choreography for the Grand Pas d ' action of Act II.
Then on the other hand, the dances for Philippe, one of the Marseillais, and his bride are purely classical: the two characters dance a pas de deux which is done in the true St. Petersburg manner, after Petipa.
The following season Petipa and his father staged a revival of Mazilier's 1840 ballet Le Diable amoureux ( The Devil Inlove ), which premiered under the title Satanella on.
Petipa began work immediately, collaborating with the composer Pugni, who wrote his melodious and apt score with the quickness for which he was well known.
On Petipa presented a lavish revival of the ballet Le Corsaire for the visiting ballerina Adèle Grantzow, for which he included the celebrated scene Le jardin animé to the music of Léo Delibes.
On Petipa presented his colossal grand ballet Le Roi Candaule ( known in Russian as Tsar Candavl ), which was staged especially for the visiting ballerina Henriatte D ' or.
In 1877 Petipa staged his greatest masterwork to date, the exotic La Bayadère to the music of Minkus, which premiered on for the benefit performance of the Prima ballerina Ekaterina Vazem.
In 1884 Petipa staged what is considered to be his definitive revival of the romantic masterwork Giselle, and in 1885 he mounted a new production of Arthur Saint-Léon's Coppélia, a revision which would serve as the basis for nearly every version staged thereafter.
In honor of the relocation to the new theatre, a lavish gala performance was planned for February 1886, which included the Petipa / Minkus work Les Pilules magiques ( The Magic Pills ).
In 1892 Petipa was diagnosed with a severe case of the skin disease pemphigus, which perforce caused the Ballet Master to refrain from choreography for the Imperial Ballet's entire 1892-1893 theatrical season.
For the celebrations held at the Moscow Imperial Bolshoi Theatre in honor of the coronation of Emperor Nicholas II, Petipa presented the one-act ballet to Drigo's music, Le Perle, which proved to be the greatest success during the gala of.
Harlequinade was dedicated by both Drigo and Petipa to the new Empress, Alexandra Feodorovna, a work which would prove to be the last enduring flash of Petipa's choreographic ouvre.
Petipa mounted the work for his own benefit performance, which was to mark a " semi-retirement " for the Ballet Master.
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