What a man this Petipa was!!

In 1904 at the age of just fourteen Nijinsky was selected by the great choreographer Marius Petipa to dance a principal role in what proved to be the choreographer's last ballet, La Romance d ' un Bouton de rose et d ' un Papillon.

It was from Petipa himself that Pavlova learned the title role in Paquita, Princess Aspicia in The Pharaoh's Daughter, Queen Nisia in Le Roi Candaule, and Giselle.

The material Petipa chose was an adaptation of E. T. A.

Although the libretto was by Marius Petipa, who exactly choreographed the first production has been debated.

Petipa began work on the choreography in August 1892 ; however, illness removed him from its completion and his assistant of seven years, Lev Ivanov, was brought in.

In 1870, the novel was adapted for a ballet titled Trilby by the great choreographer Marius Petipa, balletmaster of the Tsar's Imperial Ballet of St. Petersburg, Russia.

For a number of years, Marius Petipa was the ballet master of the Imperial Russian Ballet.

One of the most famous names in ballet history, Petipa was the choreographer of some of the best known classical ballets including:

One famous Grand Pas was created by Marius Petipa in 1881 for his revival of Joseph Mazilier's ballet Paquita.

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 ballet was first presented at the Paris Opéra's Salle Le Peletier on 28 June 1841 with Carlotta Grisi as Giselle, Lucien Petipa as Albrecht, and Jean Coralli as Hilarion.

The version passed down to the present day was staged by Marius Petipa for the Imperial Ballet ( today the Kirov / Mariinsky Ballet ).

The Corps de Ballet was reintroduced and came under the supervision of the dancer and choreographer Jean-Antoine Petipa, father of the famous Marius Petipa.

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.

NOTE-this Pas de deux was fashioned by Pyotr Gusev in 1955 from music from two of Petipa and Drigo's ballets-The Talisman ( 1889 ).

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.

* Cinderella from Petipa / Ivanov / Cecchetti ( music by Fitingof-Shell, 1893 ), Legnani was the first to establish 32 fouettés en tournant.

The libretto was a collaboration between Jules-Henri Vernoy de Saint-Georges and Petipa, partly after Théophile Gautier's Le Roman de la Momie.

Karsavina suspected that Petipa was behind the " political intrigue " that resulted in her father's being forced into early retirement.

Victor Marius Alphonse Petipa ( 11 March 1818 — ) was a French ballet dancer, teacher and choreographer.

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 ).

Marius Petipa was born Victor Marius Alphonse Petipa in Marseilles, France on 11 March 1818.

One example of Telyakovsky's efforts in his attempt to " de-throne " Petipa came in 1902 when he invited Alexander Gorsky, former Premier danseur to the Imperial Ballet, to stage his own version of Petipa's 1869 ballet Don Quixote.

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.

In 1904 Petipa coached the great Anna Pavlova for her performance in Giselle and her début in Paquita.

Choreography was a logical alternative to dancing for the now 41 year old Petipa, who was soon to retire from the stage.

Saburov approached Petipa, and inquired as to whether or not he could stage a ballet for Rosati in only six weeks.

Petipa would later stage an abridgement of L ' Ordre du Roi as Les Élèves de Dupré ( The Pupils of Dupré ) in 1900 for a special performance given at the Theatre of the Hermitage for the Imperial Family and their special guest, Kaiser Wilhelm II.

Each new season required that Petipa create a new Grand ballet, to stage the dance sections for various operas, and to prepare galas and divertissements for court performances, royal nuptials, etc.

Although the ballet was not a success Drigo's score caused a sensation, leaving Petipa to exclaim " I should have had the orchestra play on stage and the dancers perform in the pit!

It was soon decided that a revival of the full-length work would be mounted for the 1894-1895 season, with Ivanov would staging the second and fourth tableaux, while Petipa would stage the remainder of the work.

Petipa was further frustrated by the fact that the Imperial Theatre's newly appointed régisseur Nicholas Sergeyev was being paid large sums to travel throughout the Russian Empire and stage many of the ageing Ballet Master's works.

< center > Photographic postcard of Anna Pavlova as the Princess Aspicia in the Petipa / Pugni The Pharaoh's Daughter, Saint Petersburg, c. 1910

The Pharaoh's Daughter ( The Daughter of the Pharaoh, Russian title Doch Faraona, French title La Fille du Pharaon ), is a ballet choreographed by Marius Petipa, to the music of Cesare Pugni, with libretto by Jules-Henri Vernoy de Saint-Georges from Théophile Gautier's Le Roman de la Momie.

During his sojourn in Paris for the staging of Le Marché des Innocents, Petipa acquired a scenario from the dramatist Jules-Henri Vernoy de Saint-Georges for a ballet titled The Pharaoh's Daughter, inspired by Théophile Gautier's Le Roman de la Momie.

The great success of The Pharaoh's Daughter earned for Petipa the position of Second Maître de Ballet to the Imperial Theatres.

The turn of the 20th century saw Petipa present even more spectacular revivals: The Pharaoh's Daughter in 1898 ; La Esmeralda, Giselle and Le Corsaire in 1899 ; and La Bayadère in 1900.

< center > Vasiliy Tikhomirov as Taor in Alexander Gorsky's production of the Petipa / Pugni The Pharaoh's Daughter, Moscow, 1912

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.

In 1878, the composer Ludwig Minkus and the Balletmaster Marius Petipa staged a ballet adaptation of Snegurochka titled The Daughter of the Snows for the Tsar's Imperial Ballet.