555:. Directed by Jean Negulesco, it departs considerably from the original scenario of the ballet. The unit set, which was designed to conform to Hollywood's idea of elegant architecture, including a typical "stairway to nowhere," bears no resemblance to a room in a Parisian nightclub or café of the Second Empire. Many costumes were redesigned to be somewhat more modest than those seen on the ballet stage, but they were realized in startlingly garish colors to take advantage of the Technicolor process. Further, Massine cut much of his choreography to achieve the desired twenty-minute length and restaged what was left for the movie camera. The result was to focus the work on the role of the Peruvian, played by himself. Besides the loss of some of the most entertaining dances, his changes also obscured the relationships of the characters. The cast also includes
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1954. The synchronization of sound and picture is not exact. Issued on DVD in 2006 by Video
Artists International, the film stars Danilova as the Glove Seller, Franklin as the Baron, and Leon Danielian as the Peruvian. Featured performers are Tatiana Grantzeva as the Flower Girl, Robert Lindgren as the Officer, Shirley Haynes as La Lionne, Peter Deign as the Duke, Harding Dorn as the Dancing Master, and Moscelyne Larkin and Gertrude Tyven as the lead can-can girl. Optional features include audio commentary by Frederic Franklin and explanatory English subtitles.
189:, flighty young women of questionable virtue, with three billiards players as their escorts. The group dances about the room in a rousing mazurka. At its conclusion, a glamorous Glove Seller appears in the doorway and waltzes into the room, charming everyone there. A change of music announces the arrival of a wealthy Peruvian tourist, who enters in a state of high excitement. Bearing two carpetbags, he is so eager to join the Parisian nightlife that he has not stopped to deposit his luggage. The
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267:, but, owing to lack of time, he asked his friend Rosenthal to take on the commission. Initially not inclined to fulfill the assignment, Rosenthal reportedly said, "I don't know Offenbach well; I'm not used to orchestrating the music of other people; I don't want to do it; I don't know Miasine ". However, Désormière was insistent enough that Rosenthal eventually accepted the task.
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by laboriously splicing together strips of film he had surreptitiously recorded in theaters during performances by Ballet Russe de Monte Carlo over a ten-year period (1944–1954) and then editing the footage to conform to a sound recording he had also secretly made during a performance sometime around
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are interested in him, and in his apparent wealth, but he is attracted to the Glove Seller. Next, to the strains of a swelling waltz, a handsome Baron enters. He is welcomed by the Flower Girl, but he is immediately captivated by the Glove Seller. When they dance together, they seem to form a perfect
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as the Glove Seller and
Delarova, Lauret, Franklin, Youskevitch, and Massine in the same roles they had danced at the premiere in Monte Carlo. Danilova, who had shared the role of the Glove Seller with Tarakanova in Europe, became indelibly associated with the role in America. Unlike Tarakanova, who
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The charming role of the Flower Girl was choreographed especially to suit the talents and abilities of
Eugenia Delarova, Massine's second wife, and she was ideally suited to its exuberant lyricism. Frederic Franklin, young, blond, and handsome, was perfectly cast as the Baron and was long known for
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act as arbitrator over the acceptance of the score, to which
Massine agreed. Upon hearing the music, Stravinsky strongly advised Massine to accept Rosenthal's arrangements. However, because of the poor relations between Massine and Rosenthal, Rosenthal himself did not conduct the first performance
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became one of the attractions of the Ballet Russe, and the ballet often concluded a season's opening-night performance. On the opening night of the company's 1941 season in New York, when
Danilova made her first entrance she was given a spontaneous ovation that stopped the show. Such show-stopping
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was conductor for the ballet's premiere. Yon considers the ballet music as the culmination of the practice of adaptations and pasticcios running through the period of relative neglect of the composer between the two wars "written in a spirit foreign to
Offenbach" which continued for many years "to
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As the curtain opens, four waiters and four cleaning women are preparing the room for the evening's entertainment. They dance a merry dance before the doors are opened to the public. The first to arrive is a pretty Flower Girl, who has come to sell her nosegays to the customers. She dances happily
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Thereafter, the mood softens; the lights dim, and to the strains of a gentle barcarole, everyone prepares to leave. Some of the guests pair off. La Lionne departs with the
Officer, the Flower Girl leaves with the Duke, and others slowly drift out into the night. The Peruvian returns, expecting to
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La Lionne, in a bright red ball gown, becomes the center of attraction. She vies for the attention of the
Officer, who flirts with the Glove Seller, who contrives to make the Baron jealous by pretending to respond to the attention of the Peruvian. The Duke is disconcerted by the behavior of La
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and the Flower Girl in another dance. Suddenly, a fashionable society beauty, a courtesan known as La Lionne, arrives, accompanied by her escort, a Duke, and a companion, the Lady in Green. The room is now filled with people seeking an evening's diversion, entertainment, and, possibly, amorous
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find the Glove Seller waiting for him. Instead, he discovers her and the Baron in a passionate embrace. From the dusky doorway, they wave farewell to him as he is left alone in a spotlight, slumped over, drained of energy, disappointed by the outcome of the evening. The curtain closes.
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dancers enters, led by a
Dancing Master. They dance a lively can-can with the traditional high kicks, dizzying spins, whirling turns, and much display of ruffled skirts, black garters, and frothy white underthings. At the height of the ensuing merriment, everyone joins in a boisterous
352:. The production was not a success and was performed only sporadically until 1999, when it was dropped from the repertory. It returned for a few performances in 2014 during the company's New York season, once again meeting with only a tepid response from audiences and critics.
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Performed in one act, the ballet does not have a conventional narrative. Instead, it depicts the amorous flirtations, convivial dancing, and high spirits of a diverse group of people who patronize a fashionable Paris café one evening during the period of the
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as the Baron, Nathalie
Krassovska as the Flower Girl, Igor Youskevitch as the Officer, and André Eglevsky as the Dancing Master. The film is commercially available only in a "short subjects gallery" as a bonus feature on the "three-disc special edition" of
211:, but almost everyone else joins in. After order is restored and everyone has left the room, the Baron and the Glove Seller return and dance an exuberant, romantic waltz, with aerial lifts and swooping turns. At its conclusion, a troupe of
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recorded the ballet for RCA Victor; this high fidelity recording was later issued by RCA as its first 33-1/3 rpm LP in 1950. In 1954, Fiedler recorded the concert suite in stereo, his first stereophonic session for RCA.
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With advice from Nadia Boulanger, Massine directed Rosenthal's selection of the Offenbach excerpts. After completion of the score, Massine was unsure about it and was inclined to reject it. Rosenthal then proposed that
164:(1904–2003) in collaboration with Jacques Brindejont-Offenbach, the composer's grandson. With a libretto and décor by Comte Étienne de Beaumont and costumes executed by Barbara Karinska, it was first presented by the
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The full ballet, as well as a concert suite, has been frequently performed and recorded. Efrem Kurtz, who conducted the world premiere, recorded some of the music for Columbia Records on 78-rpm discs. In 1947,
348:(1989). Lorca Massine staged a revival of his father's ballet for American Ballet Theatre in 1988, with cartoonish sets by Zack Brown and extravagantly patterned and colorful costumes by French fashion designer
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Yon, Jean-Claude. La carrière posthume d'un musicien ou Offenbach aux Enfers. In: Histoire, économie et société, 2003, 22ᵉ année, n°2. L'opéra, à la croisée de l'histoire et de la musicologie. pp. 268 &
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that role. Jeannette Lauret, a statuesque dancer with sparkling eyes, was also particularly admired as La Lionne, which she performed many times. After Massine left the Ballet Russe de Monte Carlo in 1943,
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eventually inherited the role of the Peruvian and became closely identified with it. Over time, he altered the original choreography to suit his personal style and was much admired in the role.
260:, after a Paris café, but Manuel Rosenthal recalled that Count Étienne de Beaumont, the ballet's librettist, eventually came up with the title that was used at the premiere.
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At the premiere, the role of the Glove Seller was danced by Nina Tarakanova, the Flower Girl was Eugenia Delarova, and La Lionne was portrayed by Jeannette Lauret.
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partnership. Drum beats and march music then signal the arrival of an Officer and a platoon of soldiers. On the lookout for girls, the soldiers engage the
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Lionne, but he is also interested in the Glove Seller, and he joins the Officer, the Baron, and the Peruvian in wooing her in a vivacious
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had played the Glove Seller as demure and naive, Danilova portrayed her as a vivacious, glamorous, sophisticated woman of the world. As
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and the London Philharmonic recorded it in stereo for Urania. Rosenthal himself made four recordings of the ballet.
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with the waiters, flouncing her skirts and petticoats, as the charladies depart. Next to enter is a gaggle of six
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In 1941, Warner Brothers produced a Technicolor film version of the Ballet Russe de Monte Carlo production of
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Frederic Franklin, interviewed by John Mueller, Cincinnati, Ohio, October 2004; bonus material on
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had a specially choreographed Can-Can routine, later reprising this for the 1941 film.
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was the Officer, and Massine himself danced the major comedy role of the Peruvian.
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Before the opening night, the ballet was advertised under the tentative titles of
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Brian Seibert, "The Parisian Life Beckons, Waiting to Become Unforgettable,"
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181:(1851–1870). Members of various social classes are among the participants.
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Martin Anderson, "A Century in Music: Manuel Rosenthal in Conversation,"
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ovations thenceforth became a tradition of every opening-night
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George Balanchine and Francis Mason, "Gaîté Parisienne," in
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In 1954, Victor Jessen created a black-and-white film of
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Massine had originally commissioned this ballet from
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603:The One and Only: The Ballet Russe de Monte Carlo
287:was first presented in the United States by the
806:Nancy Vreeland Dalva, "GaÎté Très Parisienne,"
784:, a film (1954) by Victor Jessen on DVD (2006).
758:, a film (1954) by Victor Jessen on DVD (2006).
643:, a film (1954) by Victor Jessen on DVD (2006).
168:at the Théâtre de Monte Carlo on 5 April 1938.
1651:Le barbier de Séville ou La précaution inutile
988:Tromb-al-ca-zar, ou Les criminels dramatiques
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281:impose its deformed vision" of the composer.
8:
842:Video Artists International page on DVD of
48:Jacques Brindejont-Offenbach (orchestration)
837:Opera and Ballet website, with plot summary
720:Léonide Massine and the 20th Century Ballet
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551:that it released in 1942, under the title
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1747:Ballets to the music of Jacques Offenbach
1661:La folle journée, ou Le mariage de Figaro
605:(New York: Dance Horizons, 1981), p. 281.
696:(April 2000), new ser. (212): pp. 31-37.
631:(New York: Doubleday, 1989), pp. 183–86.
1762:Ballets designed by Étienne de Beaumont
793:Janet Sinclair, "Gaîté Parisienne," in
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1187:Croquefer, ou Le dernier des paladins
592:(New York,: Knopf, 1995), pp. 254–55.
564:issued in 2006 by Warner Home Video.
295:, New York, on 12 October 1938, with
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1752:Ballets designed by Barbara Karinska
152:) is a 1938 ballet choreographed by
1227:M. Choufleuri restera chez lui le …
722:(Jefferson, N.C.: McFarland, 2004).
502:18. Can-Can Scene 2 - Polka (from:
1144:Vent du soir, ou L'horrible festin
795:International Dictionary of Ballet
14:
810:(New York) (May 1988), pp. 52–55.
113:Comte Étienne de Beaumont (décor)
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1617:(conversation alsacienne) (1863)
1287:La Grande-Duchesse de Gérolstein
1051:La chatte métamorphosée en femme
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743:101 Stories of the Great Ballets
654:101 Stories of the Great Ballets
629:101 Stories of the Great Ballets
46:Manuel Rosenthal (orchestration)
672:. iUniverse. pp. 133–136.
509:19. Can-Can Scene 3 (potpourri)
454:12. Entrée du Brésilien (from:
328:Other productions of Massine's
1767:Arrangements of opera excerpts
1757:Ballets by Étienne de Beaumont
488:16. Prelude au Can-Can (from:
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1607:(chinoiserie musicale) (1855)
413:7. Entrée du Brésilen (from:
754:Franklin, interview (2004),
236:took the part of the Baron,
1440:La permission de dix heures
1124:Le financier et le savetier
771:(Dance Books, 1989), p. 18.
495:17. Can-Can Scene 1 (from:
370:2. Allegro moderato (from:
289:Ballet Russe de Monte Carlo
276:of the ballet, and instead
166:Ballet Russe de Monte-Carlo
115:Barbara Karinska (costumes)
86:Ballet Russe de Monte Carlo
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1742:Ballets by Léonide Massine
1327:La princesse de Trébizonde
346:Les Ballets de Monte Carlo
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1597:(légende bretonne) (1855)
1520:La fille du tambour-major
1164:Apothicaire et perruquier
1031:Une demoiselle en loterie
504:Orpheus in the Underworld
497:Orpheus in the Underworld
490:Orpheus in the Underworld
432:Orpheus in the Underworld
56:Comte Étienne de Beaumont
1420:Monsieur et Madame Denis
1041:Le mariage aux lanternes
666:Phillips, Peggy (2002).
588:Vicente García-Marques,
293:Metropolitan Opera House
156:(1896–1979) to music by
68:Théâtre de Monte Carlo,
780:Franklin, commentator,
338:American Ballet Theatre
82:Original ballet company
1563:Le voyage dans la lune
1410:La chanson de Fortunio
1011:La rose de Saint-Flour
741:Balanchine and Mason,
652:Balanchine and Mason,
473:Le voyage dans la lune
382:Le voyage dans la lune
342:London Festival Ballet
1737:1938 ballet premieres
969:Bouffonnerie musicale
909:The Tales of Hoffmann
525:Boston Pops Orchestra
464:Les contes d'Hoffmann
391:Lieschen et Fritzchen
1684:List of compositions
1641:Le malade imaginaire
1614:Lischen et Fritzchen
1207:Geneviève de Brabant
1154:Mesdames de la Halle
1101:Pierrette et Jacquot
590:Massine: A Biography
373:Mesdames de la Halle
361:1. Ouverture (from:
334:Royal Swedish Ballet
332:were mounted by the
1480:La jolie parfumeuse
1237:Le pont des soupirs
669:My Brother's Keeper
1307:L'île de Tulipatan
1061:Un mari à la porte
821:The New York Times
562:The Maltese Falcon
499:, Robinson Crusoe)
438:10. Marche (from:
397:5. Mazurka (from:
388:4. Landler (from:
297:Alexandra Danilova
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1698:List of operettas
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1347:Madame l'archiduc
1297:Le château à Toto
1277:La vie parisienne
1247:Bavard et bavarde
1197:Orphée aux enfers
1134:La bonne d'enfant
1081:Il signor Fagotto
978:Les deux aveugles
962:Other stage works
881:Jacques Offenbach
745:(19889), p. 183).
557:Frederic Franklin
538:Leonard Bernstein
479:15. Valse (from:
461:13. Valse (from:
456:La vie parisienne
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415:La vie parisienne
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379:3. Polka (from:
356:Order of numbers
330:Gaîté Parisienne
317:with Danilova."
306:The One and Only
285:Gaîté Parisienne
265:Roger Désormière
238:Igor Youskevitch
162:Manuel Rosenthal
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823:(21 May 2014).
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808:Dance Magazine
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542:René Leibowitz
540:for Columbia.
534:Phase 4 Stereo
521:Arthur Fiedler
515:
512:
511:
510:
507:
500:
493:
486:
477:
468:
459:
452:
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441:Tromb-al-Cazar
436:
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323:Leon Danielian
249:
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242:Lubov Roudenko
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1530:Belle Lurette
1526:
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1510:Madame Favart
1506:
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1380:Opéra comique
1377:
1369:
1368:
1363:
1359:
1358:
1357:Le docteur Ox
1353:
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764:
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728:
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721:
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712:
709:(April 2000).
708:
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679:9780595216680
675:
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531:
530:Charles Munch
526:
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302:Jack Anderson
298:
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286:
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279:
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245:
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239:
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228:Original cast
227:
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179:Second Empire
171:
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63:
59:
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44:
41:
37:
34:
31:
29:Choreographer
27:
22:
19:
1714:Compositions
1707:
1691:
1677:
1659:
1649:
1639:
1612:
1602:
1594:Le violoneux
1592:
1571:
1561:
1551:
1543:Opéra féerie
1528:
1518:
1508:
1498:
1488:
1478:
1468:
1458:
1448:
1438:
1428:
1418:
1408:
1398:
1388:
1365:
1355:
1345:
1337:Les brigands
1335:
1325:
1317:La Périchole
1315:
1305:
1295:
1285:
1280:(1866, 1873)
1275:
1265:
1255:
1245:
1235:
1225:
1215:
1205:
1195:
1185:
1177:Opéra bouffe
1162:
1152:
1142:
1132:
1122:
1099:
1089:
1079:
1069:
1059:
1049:
1039:
1029:
1019:
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820:
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584:
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566:
561:
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548:
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517:
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482:La Périchole
480:
471:
462:
455:
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407:
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389:
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371:
362:
344:(1973), and
329:
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231:
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175:
132:
131:
130:
105:The Peruvian
95:Glove Seller
65:5 April 1938
18:
1585:Other types
1573:Whittington
1430:Les bergers
1267:Barbe-bleue
1091:Pomme d'api
937:Le papillon
278:Efrem Kurtz
254:Gay Mabille
205:pas de cinq
199:adventure.
103:The Officer
97:Flower Girl
70:Monte Carlo
16:1938 ballet
1731:Categories
1604:Ba-ta-clan
949:(arranged
767:Anderson,
705:Anderson,
576:References
514:Recordings
196:cocodettes
191:cocodettes
187:cocodettes
92:Characters
1500:La créole
1490:Bagatelle
1460:Vert-Vert
400:Vert-Vert
304:wrote in
218:ballabile
101:The Baron
99:La Lionne
1644:(1851/2)
1470:Fantasio
1390:L'alcôve
1001:Opérette
523:and the
340:(1970),
336:(1956),
172:Synopsis
61:Premiere
53:Libretto
1217:Barkouf
927:Ballets
912:(1881)
291:at the
258:Tortoni
248:History
213:can-can
141:
120:Setting
1664:(1852)
1654:(1852)
1576:(1874)
1566:(1875)
1556:(1872)
1533:(1880)
1523:(1879)
1513:(1878)
1503:(1875)
1493:(1874)
1483:(1873)
1473:(1872)
1463:(1869)
1453:(1867)
1443:(1867)
1433:(1865)
1423:(1862)
1413:(1861)
1403:(1853)
1400:Pépito
1393:(1847)
1370:(1878)
1360:(1877)
1350:(1874)
1340:(1869)
1330:(1869)
1320:(1868)
1310:(1868)
1300:(1868)
1290:(1867)
1270:(1866)
1260:(1864)
1250:(1862)
1240:(1861)
1230:(1861)
1220:(1860)
1210:(1859)
1200:(1858)
1190:(1857)
1167:(1861)
1157:(1858)
1147:(1861)
1137:(1856)
1127:(1856)
1104:(1876)
1094:(1873)
1084:(1863)
1074:(1860)
1064:(1859)
1054:(1858)
1044:(1857)
1034:(1857)
1024:(1856)
1014:(1856)
991:(1856)
981:(1855)
902:(1864)
889:Operas
676:
110:Design
74:Monaco
1021:Le 66
707:Tempo
694:Tempo
315:Gaîté
310:Gaîté
209:mêlée
124:Paris
39:Music
732:270.
674:ISBN
256:and
138:lit.
1733::
220:.
72:,
953:)
873:e
866:t
859:v
682:.
506:)
492:)
485:)
476:)
467:)
458:)
451:)
444:)
435:)
426:)
417:)
410:)
403:)
394:)
385:)
376:)
367:)
150:'
144:'
136:(
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