Giselle - Knowledge (XXG)

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Using Albrecht's hunting horn, Hilarion calls back the party of noblemen. Albrecht has no time to hide and has no choice but to greet Bathilde as his fiancée. All are shocked by the revelation, but none more than Giselle, who becomes inconsolable when faced with his deception. Knowing that they can never be together, she flies into a mad fit of grief in which all the tender moments she shared with Loys flash before her eyes. She begins to dance wildly and erratically, ultimately causing her weak heart to give out. She collapses and dies in Albrecht's arms. Hilarion and Albrecht turn on each other in rage before Albrecht flees the scene in misery. The curtain closes as Berthe weeps over her Giselle's body.

347:, the ghosts of unmarried women who died after being betrayed by their lovers and take revenge in the night by dancing men to death by exhaustion (a popular theme in Romantic-era ballets). Led by Myrtha, the Queen of the Wilis, they target Albrecht when he comes to mourn at Giselle's grave, but her great love frees him from their grasp. They gain their power in numbers as they effortlessly move through dramatic patterns and synchronized movements and control the stage with their long tulle dresses and stoic expressions, creating an ethereal atmosphere that builds as they gradually close in on Albrecht. By saving him from the Wilis, Giselle also saves herself from becoming one of them. 1240: 1201: 49: 1131:.</ref> Everyone in the Paris dance world knew that Perrot had created Grisi's dances and Coralli admitted it, but Perrot was given no official credit in the printed materials such as posters and programs. This was most likely done to prevent Perrot from collecting royalties on the ballet. Perrot liked bold touches and planned several rapid aerial swoops on wires in act 2 for Giselle. Grisi was afraid of these swoops, therefore a stage hand was brought in to test them. He crashed face-first into the scenery and the swoops were dropped. 813: 1192:

her disappear are no longer employed. A trapdoor is sometimes utilized to make Giselle rise from her grave and then sink into it at the end of act 2. At the end of act 2 Bathilde formerly entered with the courtiers to search for Albrecht. He took a few unsteady steps toward them and then collapsed into their arms. This moment was an artistic parallel to the act 1 finale when the peasants gathered about the dead Giselle. Now, Bathilde and the courtiers are cut and Albrecht slowly leaves the stage alone.</ref>

490: 661: 469:, is also in love with Giselle and is highly suspicious of the newcomer who has won her affections. He tries to convince her that her beau can not be trusted, but she ignores his warnings. Her mother, Berthe, is very protective of her, as she has a weak heart that leaves her in delicate health. She discourages a relationship between Giselle and Loys, thinking Hilarion would be a better match, and disapproves of her fondness for dancing, due to the strain on her heart. 509:

Giselle's pleas are also dismissed and he is forced to dance until sunrise. However, the power of Giselle's love counters the Wilis' magic and spares his life. The other spirits return to their graves at daybreak, but Giselle has broken through the chains of hatred and vengeance that control the Wilis, and is thus released from their powers and will haunt the forest no more. After bidding a tender farewell to Albrecht, she returns to her grave to rest in peace.

3941: 3018: 1350:. Beneath these branches on the left is a marble cross with 'Giselle' carved on it. From one of its arms hangs the crown of grape leaves Giselle wore as Queen of the Vintage. On the stage, thick weeds and wildflowers (200 bulrushes and 120 branches of flowers) were the undergrowth. The gas jets of the footlights and those overhead suspended in the flies were turned low to create a mood of mystery and terror. 428: 1332: 3028: 1109: 343:-filled ballet tells the tragic, romantic story of a beautiful young peasant girl named Giselle and a disguised nobleman named Albrecht, who fall in love, but when his true identity is revealed by his rival, Hilarion, Giselle goes mad and dies of heartbreak. After her death, she is summoned from her grave into the vengeful, deadly sisterhood of the 763:. He praised other moments in Act I (especially the mad scene), and was in raptures with the music of act 2, singling out the entrance of the Wilis and the viola solo played through Giselle's last moments. He thought the flute and harp music accompanying Giselle as she disappeared into her grave at ballet's end "full of tragic beauty". 894:

be called great music, but it cannot be denied that it is admirably suited to its purpose. It is danceable, and it has colour and mood attuned to the various dramatic situations ... As we listen today to these haunting melodies composed over a century ago, we quickly become conscious of their intense

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and thought these evil spirits would make a "pretty ballet". He planned their story for act 2 and settled upon a verse by Victor Hugo called "Fantômes" to provide the inspiration for act 1. This verse is about a beautiful 15-year-old Spanish girl who loves to dance. She becomes too warm at a ball and

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is also slightly cut back. The Duke of Courland and his daughter Bathilde used to make their entrance on horseback, but today they walk on. In the original production they were present at Giselle's death, but now they leave the scene before she dies. The machines used to make Giselle fly and to make

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tells of supernatural young women called the Wilis. They have died before their wedding day and rise from their graves in the middle of the night to dance. Any young man who crosses their path is forced to dance to his death. In another book, the Wilis are said to be jilted young women who have died

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Late at night, Hilarion mourns at Giselle's forest grave, but is frightened away by the arrival of the Wilis, the ghostly spirits of maidens betrayed by their lovers. Many were abandoned on their wedding days, and all died of broken hearts. They, led by their merciless queen, Myrtha, dance and haunt

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The villagers continue the harvest festivities, and Albrecht emerges again to dance with Giselle, who is named the Harvest Queen. Hilarion interrupts the festivities. He has discovered Albrecht's finely made sword and presents it as proof that he is really a nobleman who is engaged to another woman.

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Myrtha and the Wilis rouse Giselle's spirit from her grave and induct her into their clan before disappearing into the forest. Albrecht arrives to lay flowers on Giselle's grave and he weeps with guilt over her death. Her spirit appears and he begs her forgiveness. She, her love undiminished unlike

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In the original version, taken up again recently by a production of the ROB, Giselle stabs herself with Albrecht's sword, which explains why her body is laid to rest in the forest, in unhallowed ground, where the Wilis have the power to summon her. Most modern versions are sanitized and have edited

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Adam thought Ciceri's backdrop for act 1 was "not so good ... it is all weak and pale" but he liked the set for act 2: " second act is a delight, a dark humid forest filled with bulrushes and wild flowers, and ending with a sunrise, seen at first through the trees at the end of the piece, and very

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of 1845 shows Giselle's cottage with a roof of straw on the left and Albrecht's cottage on the right. The two cottages are framed by the branches of two large trees on either sides of the stage. Between the two cottages, in the distance, appears a castle and slopes covered with vineyards. Although

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At first, Gautier thought that some of the dancers in the waltz for the Wilis should dress in ethnic costume and dance ethnic steps. Adam put bits of French, Spanish, German, and Indian-sounding music in the waltz for this purpose. Gautier's "ethnic" idea was dropped as the ballet developed and it

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Another leitmotif is associated with the "he loves me, he loves me not" flower test in act 1, which is heard again in the mad scene, and in act 2 when Giselle offers flowers to Albrecht. The Wilis have their own motif. It is heard in the overture, in act 1 when Berthe tells the story of the Wilis,

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in the ballet. This is a short musical phrase that is associated with a certain character, event, or idea. Adam's leitmotifs are heard several times throughout the ballet. There is a leitmotif associated with Giselle and another with Albrecht. Hilarion's motif marks his every entrance. It suggests

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Adam thought Petipa "charming" as both dancer and actor, and that he had "rehabilitated" male dancing with his performance. Of Dumilâtre he wrote, "... in spite of her coldness, deserved the success she achieved by the correctness and the 'mythological' quality of her poses: perhaps this word may

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Grisi and Petipa were great successes as the tragic lovers. Gautier praised their performance in act 2, writing that the two dancers made the act "a real poem, a choreographic elegy full of charm and tenderness ... More than one eye that thought it was seeing only was surprised to find its vision

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Hopes that the ballet would be ready in May were dashed and the opening night was postponed several times. Grisi was absent for a few days and her return was delayed to protect her health. Lighting, trapdoors, and scene changes needed further rehearsals. Cuts were made in Grisi's role to spare the

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A circular hole was cut into the backdrop and covered with a transparent material. A strong light behind this hole represented the moon. The light was occasionally manipulated to suggest the passage of clouds. Gautier and St. Georges wanted the pool to be made of large mirrors but Pillet rejected

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Gautier was not satisfied with this story. It was basically a succession of dances with one moment of drama at its end. He had no experience writing ballet scenarios so he called upon Vernoy de St. Georges, a man who had written many ballet librettos. St. Georges liked Gautier's basic idea of the

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Gautier thought Heine's Wilis and Hugo's fifteen-year-old Spanish girl would make a good ballet story. His first idea was to present an empty ballroom glittering with crystal and candlelight. The Wilis would cast a spell over the floor. Giselle and other dancers would enter and whirl through the

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was performed in Paris from its debut in 1841 to 1849, with Grisi always dancing the title role. In 1849, it was dropped from the repertoire. The ballet was revived in 1852 and 1853, without Grisi, then dropped from the repertoire after 1853. It was revived in 1863 for a Russian ballerina, then

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A party of noblemen seeking refreshment following the rigors of the hunt arrive in the village with Bathilde among them. Albrecht hurries away, knowing he would be recognized and greeted by her, exposing him as a nobleman. The villagers welcome the party, offer them drinks, and perform several

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made 6 500 French francs (equivalent to 37 529 € in 2015) between June and September 1841. This was twice the amount for the same time period in 1839. Grisi's salary was increased to make her the top earner among the dancers at the Opéra. Souvenirs were sold, pictures of Grisi as Giselle were

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Meanwhile, the Wilis have cornered a terrified Hilarion. They use their magic to force him to dance until he is nearly dead, and then drown him in a nearby lake. Then they spy Albrecht, and turn on him, sentencing him to death as well. He pleads to Myrtha for his life, but she coldly refuses.

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is made up of two elements: dance and mime. Act 1 features short mimed scenes, he points out, and episodes of dancing which are fused with mime. In act 2, mime has become fused entirely with dance. He indicates that the choreographic vocabulary is composed of a small number of simple steps:

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in 1924 at the Paris Opéra, and from then on all productions staged outside of Russia included the variation. There was much confusion at that time as to who was responsible for composing the music, leading many ballet historians and musicologists to credit Ludwig Minkus as the author, a

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and for the "elegance" of act 2. Coralli followed a suggestion made by Gautier and picked the most beautiful girls in the company to play the peasants and the Wilis. One observer thought the selection process cruel: the almost-beautiful girls were turned away without a second thought.

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is not indicated in the story. Paul Lormier, the chief costume designer at the Paris Opéra, probably consulted Gautier on this matter. It is also possible that Pillet had the ballet's budget in mind and decided to use the many Renaissance-style costumes in the Opéra's wardrobe for

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in Milan on 17 January 1843. The music however was not Adam's but that of Niccolò Bajetti. The dances were not the original either but those of Antonio Cortesi. It is possible that the ballet was first staged in the provincial theatres. This, however, is not known with certainty.

899:, between whose pages lies an admirably preserved Valentine—in all the glory of its intricate paper lace and symbolic floral designs—which whispers of a leisured age now forever past. For a brief space the air seems faintly perfumed with parma violet and gardenia. The music of 1328:, it has remained the model for most modern productions. Ciceri's set was in use until the ballet was dropped from the repertoire in 1853. At that time, Gautier noticed that the sets were falling apart: "Giselle's cottage has barely three or four straws on its roof." 1278:

was revived in 1863 with new costumes by Lormier's assistant, Alfred Albert. Albert's costumes are closer to those of modern productions than those of Lormier, and were in use at the opera until 1868. The ballet was revived again in 1924 with scenery and costumes by

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was written, people thought of Germany when they heard a waltz because the waltz is of German origin. Giselle makes her first entrance to the music of a waltz, and the audience would have known at once that the ballet was set in Germany. Adam wrote three waltzes for

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on 12 March 1842 with Grisi as Giselle and Perrot as Albrecht. The dances were credited to Perrot and one Deshayes. This production was revived many times, once in 1884 with a Mlle. Sismondi in the role of Albrecht. This production, preceded by an operetta called

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was two months in rehearsal, which was a very long rehearsal time for the period. Even so, Ciceri did not have enough time to design sets for both acts and focused on the second act. The sets for the first act were actually those designed for the 1838 ballet,

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approached. News reports kept their interest alive. Some reports said that Grisi had had an accident whilst other reports indicated that the conductor was ill with a tumor. Still others said that the stage hands feared for their safety.

1217:: two for Giselle and one for the Wilis. He said that the "Giselle Waltz" in act 1 has "all the German color indicated by the locality" and people agreed. One critic wrote: "A lovely waltz ... in the Germanic spirit of the subject". 517: 680:

dancer's health. Instead of returning to her tomb at the end of the ballet, it was decided that she would be placed on a bed of flowers and sink slowly into the earth. This touch preserved the romantic mood of the act 2 finale.

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in December of that year, where it has remained ever since. The variation was also danced by Cornalba's successors in the role of Giselle at the Mariinsky Theatre. Cornalba's variation was first performed outside of Russia by

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room, unable to resist the spell to keep them dancing. Giselle would try to keep her lover from partnering other girls. The Queen of the Wilis would enter, lay her cold hand on Giselle's heart and the girl would drop dead.

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was only retained for Grisi's performances and never performed again after her departure from Saint Petersburg. Marius Petipa would also commission an additional piece for the first tableau of the ballet. This was a

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dances. Bathilde is charmed with Giselle's sweet and demure nature, not knowing of her relationship with Albrecht. Giselle is honored when Bathilde offers her a necklace as a gift before the group of nobles depart.

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for artistic reasons rather than spectacle and was also the first to wear the white, bell-shaped, calf-length ballet skirt now considered an essential feature of the romantic ballet. Poet and critic

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and in the mad scene. It is heard again in act 2 when the Wilis make their first entrance. The hunting horn motif marks sudden surprises. This motif is heard when Albrecht is exposed as a nobleman.

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printed, and sheet music arrangements were made for social dancing. The sculptor Emile Thomas made a statuette of Giselle in her act 2 costume. A silk cloth was manufactured called

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in Saint Petersburg in 1851. He made many changes to the ballet in his years of service to the Imperial Ballet. In the 1880s, Petipa made many changes to the Perrot production.

1408:, who had seen the ballet in Paris the same year. The play was performed on 23 August 1841 at the Theatre Royal, Sadler's Wells. The actual ballet was first staged in London at 4003: 454:'s daughter. He disguises himself as a humble villager called "Loys" to court the enchanting and innocent Giselle, who knows nothing of his true identity. With the help of his 1272:(1838). Lormier certainly designed the costumes for the principal characters. His costumes were in use at the Opéra until the ballet was dropped from the repertoire in 1853. 1034:. The music was composed by Cesare Pugni and was based on Adolphe Adam's "he loves me, he loves me not" leitmotif. This variation has been retained in the ballet ever since. 570:

who loves James, a young Scotsman. Tragedy occurs. After dallying in the woods, the sylph dies when her earthly lover uses a bewitched scarf to trap her. This ballet brought

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The music was completely original. A critic noted, however, that Adam had borrowed eight bars from a romance by a Miss Puget and three bars from the huntsman's chorus in

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and used in Paris before, caused a scandal, as he danced in tights without the then-common trousers. He refused to apologize and was dismissed from the Imperial Ballet.

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have been cut or changed since the ballet's first night. Giselle's act 1 pantomime scene in which she tells Albrecht of her strange dream is cut and the peasant

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the forest at night to exact their revenge on any man they encounter, regardless of who he may be, forcing their victims to dance until they die of exhaustion.

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acquired several additional numbers over the course of its history, with some of these pieces becoming an integral part of the ballet's performance tradition.

3197: 3031: 2822: 2806: 1385: 2840: 1971: 804:, and Madame Lainné, a milliner, sold an artificial flower called 'Giselle'. The ballet was parodied at the Théâtre du Palais-Royal in October 1841. 3993: 1291: 955:

serving as Fitz-James's partner. Coralli's original intentions were to have the ballet's composer Adolphe Adam supply the music for Fitz-James's

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obscured by a tear—something that does not often happen in a ballet ... Grisi danced with a perfection ... that places her in the ranks between

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inserted for herself into the ballet. Jean Coralli was required to quickly arrange a number for Fitz-James, which was arranged by Coralli as a

534:(1789–1799) brought sweeping changes to theatre in France. Banished were the ballets the aristocracy preferred about the gods and goddesses of 3021: 2774: 2673: 2619: 2586: 1985: 1026:

Three solo variations were added to the ballet by Petipa during the latter half of the 19th century. The first was arranged in 1867 for the

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was mounted by other ballet companies in Europe and America almost immediately after its first night. The British had their first taste of

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ten years later. It would be set in a real place and in the past, for example, and would be about everyday people and supernatural women.

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as Giselle. It was an unqualified triumph. It became hugely popular and was staged at once across Europe, Russia, and the United States.

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for many years. The traditional choreography that has been passed down to the present day derives primarily from the revivals staged by

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Adolphe Adam was a popular writer of ballet and opera music in early 19th-century France. He wrote with great speed and completed

557:. In this little ballet, nuns rise from their graves to dance in the moonlight. The public loved this little supernatural ballet. 3978: 3973: 3968: 3341: 2933: 3253: 2892: 619:, Théophile Gautier recorded his part in the creation of the ballet. He had read Heinrich Heine's description of the Wilis in 505:

her vengeful sisters, gently forgives him. She disappears to join the rest of the Wilis and Albrecht desperately follows her.

4018: 3963: 3277: 2887: 644:, the director of the Paris Opéra. Pillet needed a good story to introduce Grisi to the Paris public. He found that story in 3456: 3408: 2993: 986:

For Carlotta Grisi's performances as Giselle with the Imperial Ballet in Saint Petersburg, Perrot commissioned the composer

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features a blind ballerina who is to play the title role of Giselle in a production staged by the Fantasia Ballet Company.

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The third variation added by Petipa was also composed by Drigo and has survived as one of the most beloved passages of

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arrived in Paris to study with Coralli for a year. She returned to the United States in 1841 with the directions for

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was the chief set designer at the Paris Opéra from 1815 to 1847. He designed the sets for the first production of

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frail young girl and the Wilis. He wrote the story of Giselle as it is known today in three days, and sent it to

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wrote the music for the variation. The music was never used again after Bessone's departure from Russia until

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seem a little pretentious, but I can think of no other to express such cold and noble dancing as would suit

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Beaumont speculates that the simple steps were deliberately planned to allow the "utmost expressiveness".

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this idea because of its cost. In the 1868 revival, however, mirrors were acquired for this scene.

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In spite of the chief machinist shouting orders to his crew that could be heard by the audience,

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Giselle perf. by the Bolshoi Theatre Orch., cond. by Algis Zhuraitis (liner note for LP SRB4118)

1482: 3631: 3365: 2770: 2745: 2733:Мариус Петипа. Материалы. Воспоминания. Статьи. (Marius Petipa: Materials, Memories, Articles) 2713: 2691: 2669: 2645: 2615: 2582: 2549: 2521: 2503: 1981: 1668: 1567: 1505: 1440: 1405: 1379: 1096: 1042: 705: 531: 325: 2573:

Cordova, Sarah Davies (2007), "Romantic ballet in France: 1830–1850", in Kant, Marion (ed.),

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shows a dark wood with a pool of water in the distance. The branches of aged trees create a

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in about two months. The music was written in the smooth, song-like style of the day called

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in a merry mood, and in this respect seems to bear a strong resemblance to that goddess."

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are dressed in full, white, bell-shaped skirts and the dances have a geometric design).

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dropped again in 1868. It was revived almost 50 years later in 1924 for the debut of

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used her influence as the mistress of an influential patron of the theatre to have a

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as Myrtha, the Queen of the Wilis. Typical of the theatrical practices of the time,

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Ethnic music, dance, and costume were a large part of romantic ballet. At the time

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was preceded by an excerpt from another production—in this case, the third act of

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was a great success. Grisi was a sensation. Ballet-goers regarded her as another

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The second variation was added by Petipa to the first tableau for the ballerina

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Two ballets caused great excitement in Paris in the 1830s. In November 1831,

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and become vampires. This is assumed to be the reason that they hate men.

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Grisi and Petipa on the sheet music cover of "Valse favorite de Giselle"

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made her first appearance in the title role for the first production of

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took the role in 1937 when Markova left the company. The English loved

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in the United States. She did this on 1 January 1846 in Boston at the

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The balletomanes of Paris became very excited as the opening night of

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that was added to the choreographer's 1884 revival for the ballerina

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as her lover Albrecht, Jean Coralli as the gamekeeper Hilarion, and

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remains part of the Mariinsky Theatre's performance tradition of

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magical in its effect." The sunrise also delighted the critics.

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Ballet 101: A Complete Guide to Learning and Loving the Ballet

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has not been picked up by modern producers. Today, act 2 is a

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in love". One critic made a detailed analysis of the music in

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Dance Research: The Journal of the Society for Dance Research

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had its first performance. It featured a short ballet called

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Dictionary of Women Worldwide: 25,000 Women Through the Ages

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by Minkus never became part of the performance tradition of

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for the ballerina that was added to the first tableau. This

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In an 1841 news article announcing the first performance of

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nostalgic quality, not unlike the opening of a Victorian

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Guest, Ivor (1983), "Cesare Pugni: A Plea For Justice",

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danced the role with the Vic-Wells Ballet in 1934, and

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in attendance. His costume, which had been designed by

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One of Cleopatra's Nights and Other Fantastic Romances

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Paris Opera Ballet – Giselle – Albrecht entrechats-six

1485:. George Washington Smith played Albrecht. Lee danced 1227:(a "white" ballet in which all the ballerinas and the 983:), became part of the ballet's performance tradition. 747:

wrote that Grisi "runs flies across the stage like a

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during the late 19th and early 20th centuries for the

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This article is about the ballet. For other uses, see

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in Spain. She performed in numerous works by Pepita.

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At last, on Monday, 28 June 1841 the curtain rose on

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before the French public. She was the first to dance

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at the Salle Le Peletier. Grisi danced Giselle with

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The ballet opens on a sunny autumnal morning in the

266: 3919: 3892: 3861: 3840: 3792: 3751: 3658: 3384: 3165: 3082: 2960: 2901: 2815: – Insight DaySome dance history of 566:debuted in Paris. This ballet is about a beautiful 257: 230: 222: 214: 185: 175: 158: 127: 106: 96: 75: 65: 41: 3618:The Little Humpbacked Horse (as "The Tsar Maiden") 2705: 2683: 890:By no stretch of the imagination can the score of 1357:Benois' design for act 1 at the Paris Opera, 1910 322:Ballet du Théâtre de l'Académie Royale de Musique 320:performance canon, it was first performed by the 180:Ballet du Théâtre de l'Académie Royale de Musique 2159: 2157: 2155: 1477:and other ballets. Lee was the first to present 1382:. This production was revived in 1932 and 1938. 1061:in 1932. The inclusion of this variation in the 828:. This style is well known to music lovers from 1157:chasse, glissade, pas de basque, pas de bourrée 888: 3984:Ballets by Jules-Henri Vernoy de Saint-Georges 2595:Edgecombe, Rodney Stenning (1 December 2005), 2440: 2438: 2389: 2387: 937:on the stage of the Paris Opéra, the danseuse 3729: 3058: 2861: 1866: 1864: 1862: 1547:danced Giselle with her own company in 1913. 1090:. Cornalba then included it for her début in 739:was a great artistic and commercial success. 8: 3702:The Romance of the Rosebud and the Butterfly 1084:'s performance in a revival of Saint-Léon's 307: 4004:Ballets premiered at the Paris Opera Ballet 2686:Four Centuries of Ballet: Fifty Masterworks 1665:Four Centuries of Ballet: Fifty Masterworks 1580:. This adaptation set the ballet among the 1045:in 1886, and on this occasion the composer 967:to fashion music for Fitz-James's required 648:. Grisi liked it as much as Pillet did, so 358:took their inspiration for the plot from a 3736: 3722: 3714: 3457:Le Diable à Quatre (as "The Willful Wife") 3065: 3051: 3043: 2868: 2854: 2846: 2566:Supplement to the Complete Book of Ballets 1942: 1766: 1737:. Paris, France: Opéra national de Paris. 1076:. This variation, sometimes dubbed as the 766:Coralli was praised for the act 1 peasant 38: 3310:Ondine (as "The Naiad and the Fisherman") 2841:International Music Score Library Project 2601:Brolga: An Australian Journal About Dance 2321: 2319: 2214: 2202: 1825: 1823: 1651: 1080:, was arranged in 1887 for the ballerina 2819:by Suzanne McCarthy for the Royal Ballet 2767:Ballet and Opera in the Age of "Giselle" 2480: 2444: 2429: 2417: 2405: 2393: 2378: 2354: 2337: 2286: 2238: 2146: 2131: 2119: 2107: 2083: 2047: 1894: 1870: 1829: 1814: 1802: 1790: 1778: 1762: 1760: 1751: 1400:with a drama based on the ballet called 1030:of the second tableau for the ballerina 743:praised act 2 for its "poetic effects". 728:, the greatest ballerina of the period. 332:on 28 June 1841, with Italian ballerina 3666:Les Ruses d'Amour or The Trial of Damis 3131:The Rose, the Violet, and the Butterfly 2468: 2250: 1918: 1624: 1605:as she performs the role of Giselle in 1439:, the Director of the Saint Petersburg 1389:Ballet in the Salle Le Peletier in 1864 370:, and from a poem called "Fantômes" in 2456: 2366: 2226: 2187: 2175: 2004: 1954: 1741:from the original on 17 November 2021. 1720:from the original on 17 November 2021. 1699:from the original on 17 November 2021. 1123:choreographed the original version of 2548:(2nd ed.), London: Dance Books, 2325: 2310: 2298: 2274: 2262: 2163: 2095: 2071: 2059: 2035: 2023: 1930: 1906: 1882: 1853: 1841: 1402:Giselle, or The Phantom Night Dancers 1057:for the Kirov Ballet's production of 759:was filled with "quite new" harmonic 624:dies of a chill in the cool morning. 293: 278: 7: 3999:Ballets designed by Alexandre Benois 2712:. New York: Carol Publishing Group. 2708:Vaslav Nijinsky: A Leap into Madness 1562:In a departure from the traditional 1169:pirouette, petit tour, tour en l'air 1100:misconception which still persists. 3142:(*1858, *1863, *1868, *1885, *1899) 3099:Le Diable amoureux (as "Satanella") 2597:"A Ragbag of Ballet Music Oddments" 352:Jules-Henri Vernoy de Saint-Georges 114:Jules-Henri Vernoy de Saint-Georges 2785:Riccardo Drigo: L'uomo e l'artista 2735:, Leningrad: Iskusstvo (Искусство) 584:attended the first performance of 25: 2668:, Alton, Hampshire: Dance Books, 2575:The Cambridge Companion to Ballet 732:Contemporary reviews and comments 652:was put into production at once. 316:. Considered a masterwork in the 3940: 3939: 3026: 3017: 3016: 2518:101 Stories of the Great Ballets 2502:, Woodbury, New York: Barron's, 1612:The 2019 South Korean TV series 1324:this scene was not designed for 929:Immediately following the first 247: 218:Rhineland during the Middle Ages 47: 3409:La Vivandière (as "Markitenka") 1584:and African Americans in 1840s 1570:restaged the ballet in 1984 as 1417:, met with little enthusiasm. 1319:by Adam. An illustration from 1145:développé, grand rond de jambe 1015:for Grisi, Gorshenkova's 1884 526:in the Salle Le Peletier, 1831 1: 3147:A Marriage During the Regency 3073:The ballets and *revivals of 2934:Giralda ou La nouvelle psyché 2800:The Earliest Russian Giselles 2579:Cambridge Companions to Music 1688:Peasant pas de deux rehearsal 1461:was first staged in Italy at 1295:Photograph of Ciceri, c. 1857 3994:Ballets by Théophile Gautier 3118:(*1850, *1884, *1899, *1903) 2666:The Romantic Ballet in Paris 2490:General and cited references 1508:in Saint Petersburg for the 1469:In 1844, American ballerina 1342:The act 2 illustration from 458:, he hides his fine attire, 312:) in two acts with music by 3538:The Caprices of a Butterfly 2831:dancing Albrecht in Giselle 2516:Balanchine, George (1979), 1970:; Klezmer, Deborah (2007). 1134:Cyril Beaumont writes that 1041:'s début as Giselle at the 362:passage about the Wilis in 27:Romantic ballet in two acts 4035: 2787:, Padua: Guglielmo Zanibon 2783:Travaglia, Silvio (1929), 2742:The Borzoi Book of Ballets 2704:Ostwald, Peter F. (1991). 2682:Kirstein, Lincoln (1984), 2608:Greskovic, Robert (2005), 2564:Beaumont, Cyril W (1952), 2544:Beaumont, Cyril W (1996), 2534:Beaumont, Cyril W (1944), 2520:, New York: Anchor Books, 1663:Kirstein, Lincoln (1984). 1614:Angel's Last Mission: Love 1533:Royal Opera, Covent Garden 1247:The historical period for 886:One dance historian wrote: 560:In March 1832, the ballet 207:Myrtha, Queen of the Wilis 29: 3937: 3820:One of Cleopatra's Nights 3358:The Daughter of the Snows 3012: 2918:Le postillon de Lonjumeau 2883: 2546:The Ballet Called Giselle 2536:The Ballet Called Giselle 2496:Ashton, Geoffrey (1985), 1638:Dictionary.com Unabridged 1601:follows the journey of a 1543:as Giselle and Albrecht. 1523:The ballet was staged by 1300:Pierre Luc Charles Ciceri 627:Heine's prose passage in 195:Albrecht, Duke of Silesia 69: 46: 3989:Ballets by Marius Petipa 3688:The Heart of the Marquis 3326:The Adventures of Peleus 3107:Leda, the Swiss Milkmaid 2756:Smakov, Gennadi (1967), 1710:Natalia Osipova (2014). 1693:Pacific Northwest Ballet 1685:Margaret Mullin (2014). 1243:Albrecht by Paul Lormier 434:as Giselle (before 1931) 201:Berthe, Giselle's mother 32:Giselle (disambiguation) 3979:Ballets by Jules Perrot 3974:Ballets by Jean Coralli 3969:Ballets by Adolphe Adam 3901:Théophile Gautier, fils 3497:The Sacrifices to Cupid 2731:Petipa, Marius (1971), 1713:Giselle Act I Variation 1591:A 2012 novel by author 1578:Dance Theatre of Harlem 1435:, on 18 December 1842. 1423:was first performed in 1112:Jean Coralli about 1830 1011:. As with Pugni's 1850 975:, which was dubbed the 965:Souvenirs de Ratisbonne 910:A Ballet Called Giselle 903:still exerts its magic. 816:Adolphe Adam about 1835 192:Giselle, a peasant girl 176:Original ballet company 3602:The Awakening of Flora 3190:The Pharaoh's Daughter 2942:La poupée de Nuremberg 2765:Smith, Marian (2000), 2740:Robert, Grace (1949), 2538:, London: C W Beaumont 1667:. Dover Publications. 1390: 1358: 1339: 1337:Les Beautés de l'Opéra 1321:Les Beautés de l'Opera 1296: 1244: 1205: 1113: 918:Additions to the score 915: 817: 668: 612: 592:would show touches of 527: 523:The Ballet of the Nuns 497: 435: 308: 295:[ʒizɛlulevili] 198:Hilarion, a gamekeeper 4019:Ballets about suicide 3964:1841 ballet premieres 3425:The Night and the Day 3238:The Benevolent Cupid 3198:The Beauty of Lebanon 1531:later in 1911 at the 1410:Her Majesty's Theatre 1388: 1356: 1334: 1294: 1242: 1203: 1111: 815: 745:Moniteur des théâtres 663: 607: 520: 492: 430: 390:created the original 300:Giselle, or The Wilis 286:Giselle, ou les Wilis 283:), originally titled 70:Giselle, ou les Wilis 42:Giselle, or The Wilis 3530:The Enchanted Forest 3484:(1886, *1887, *1900) 3257:(1868, *1891, *1903) 3206:The Traveling Dancer 3193:(1862, *1885, *1898) 2664:Guest, Ivor (2008), 2636:(1), London: 30–38, 1069:to the present day. 961:Friedrich Burgmüller 875:Carl Maria von Weber 204:Bathilde, a princess 56:in the first act of 3546:The Sleeping Beauty 3465:La Fille Mal Gardée 3452:(*1884, 1899, 1903) 3155:The Parisian Market 3123:The Star of Granada 2744:, New York: Knopf, 2690:, New York: Dover, 2483:, pp. 126–128. 2241:, pp. 150–151. 2062:, pp. 353–354. 1909:, pp. 172–173. 1897:, pp. 202–203. 1844:, pp. 170–172. 1598:Letters from Yelena 1512:, with the Tsarina 1163:balloné, temps levé 1151:arabesque, attitude 1063:Peasant pas de deux 1055:Peasant pas de deux 981:Peasant pas de deux 939:Nathalie Fitz-James 931:répétition générale 908:Cyril W. Beaumont, 845:Lucia di Lammermoor 398:to dance it at the 146:'s "Fantômes" from 4009:Germany in fiction 3928:Art for art's sake 3802:La Morte Amoureuse 3481:The King's Command 3393:La Fille du Danube 2994:Le diable à quatre 2969:La fille du Danube 2827: – 2760:, Moscow: Melodiya 2408:, pp. 126–127 2328:, pp. 191–195 1856:, pp. 172–174 1445:Yelena Andreyanova 1391: 1359: 1340: 1316:La Fille du Danube 1297: 1245: 1206: 1114: 1051:Agrippina Vaganova 1003:from the composer 858:the Fate theme in 851:Adam used several 818: 753:La France Musicale 741:Le Constitutionnel 669: 613: 554:Ballet of the Nuns 528: 498: 465:Hilarion, a local 436: 3951: 3950: 3745:Théophile Gautier 3711: 3710: 3704:(never presented) 3366:Frizak the Barber 3040: 3039: 2776:978-0-691-04994-6 2675:978-1-85273-119-9 2621:978-0-87910-325-5 2588:978-0-521-53986-9 2381:, pp. 60–61. 2357:, pp. 59–60. 2340:, pp. 64–67. 2289:, pp. 85–88. 2122:, pp. 55–58. 2110:, pp. 55–56. 1987:978-0-7876-7585-1 1805:, pp. 13–14. 1568:Frederic Franklin 1506:Mariinsky Theatre 1463:Teatro alla Scala 1441:Imperial Theatres 1406:William Moncrieff 1380:Olga Spessivtzeva 1370:Early productions 1269:Benvenuto Cellini 1235:Sets and costumes 1097:Olga Spessivtzeva 1043:Mariinsky Theatre 1028:grand pas de deux 1009:Maria Gorshenkova 951:with the danseur 922:Adam's score for 711:Marie Guy-Stéphan 656:First performance 609:Théophile Gautier 582:Théophile Gautier 532:French Revolution 496:as Albrecht, 1910 481:out the suicide. 356:Théophile Gautier 326:Salle Le Peletier 238: 237: 119:Théophile Gautier 16:(Redirected from 4026: 3943: 3942: 3930: 3912: 3904: 3885: 3875: 3854: 3833: 3823: 3814: 3811:The Mummy's Foot 3805: 3785: 3781:Captain Fracasse 3775: 3765: 3738: 3731: 3724: 3715: 3695:The Magic Mirror 3625:The Cavalry Halt 3067: 3060: 3053: 3044: 3030: 3020: 3019: 2870: 2863: 2856: 2847: 2839:: Scores at the 2813: 2788: 2779: 2761: 2752: 2736: 2727: 2724:Internet Archive 2711: 2700: 2689: 2678: 2660: 2624: 2604: 2591: 2569: 2568:, London: Putnam 2558: 2539: 2530: 2512: 2484: 2478: 2472: 2466: 2460: 2454: 2448: 2442: 2433: 2427: 2421: 2415: 2409: 2403: 2397: 2391: 2382: 2376: 2370: 2364: 2358: 2352: 2341: 2335: 2329: 2323: 2314: 2308: 2302: 2296: 2290: 2284: 2278: 2272: 2266: 2260: 2254: 2248: 2242: 2236: 2230: 2224: 2218: 2212: 2206: 2200: 2191: 2185: 2179: 2173: 2167: 2161: 2150: 2144: 2135: 2129: 2123: 2117: 2111: 2105: 2099: 2093: 2087: 2081: 2075: 2069: 2063: 2057: 2051: 2045: 2039: 2033: 2027: 2021: 2008: 2002: 1996: 1995: 1992:Encyclopedia.com 1980:. p. 1176. 1964: 1958: 1952: 1946: 1940: 1934: 1928: 1922: 1916: 1910: 1904: 1898: 1892: 1886: 1880: 1874: 1868: 1857: 1851: 1845: 1839: 1833: 1827: 1818: 1812: 1806: 1800: 1794: 1788: 1782: 1776: 1770: 1764: 1755: 1749: 1743: 1742: 1728: 1722: 1721: 1707: 1701: 1700: 1682: 1676: 1661: 1655: 1649: 1643: 1642: 1629: 1607:Saint Petersburg 1603:principal dancer 1537:Tamara Karsavina 1518:Alexandre Benois 1514:Maria Feodorovna 1496:In January 1911 1433:Saint Petersburg 1281:Alexandre Benois 1053:added it to the 913: 667:as Giselle, 1841 588:. His ideas for 548:Robert le diable 412:Saint Petersburg 318:classical ballet 311: 309:ballet-pantomime 297: 292: 282: 277: 273: 272: 269: 268: 265: 262: 259: 256: 253: 171: 170: 71: 51: 39: 21: 4034: 4033: 4029: 4028: 4027: 4025: 4024: 4023: 3954: 3953: 3952: 3947: 3933: 3926: 3915: 3907: 3899: 3888: 3878: 3868: 3857: 3850:Émaux et Camées 3847: 3836: 3826: 3817: 3808: 3799: 3788: 3778: 3768: 3758: 3747: 3742: 3712: 3707: 3654: 3473:The Magic Pills 3380: 3254:Le Roi Candaule 3174:The Blue Dahlia 3161: 3078: 3071: 3041: 3036: 3008: 2956: 2897: 2893:List of ballets 2879: 2874: 2811: 2807:"Royal Ballet: 2795: 2782: 2777: 2764: 2755: 2739: 2730: 2720: 2703: 2698: 2681: 2676: 2663: 2642:10.2307/1290799 2627: 2622: 2607: 2594: 2589: 2572: 2563: 2556: 2543: 2533: 2528: 2515: 2510: 2495: 2492: 2487: 2479: 2475: 2467: 2463: 2455: 2451: 2443: 2436: 2428: 2424: 2416: 2412: 2404: 2400: 2392: 2385: 2377: 2373: 2365: 2361: 2353: 2344: 2336: 2332: 2324: 2317: 2309: 2305: 2297: 2293: 2285: 2281: 2273: 2269: 2261: 2257: 2249: 2245: 2237: 2233: 2225: 2221: 2213: 2209: 2201: 2194: 2186: 2182: 2174: 2170: 2162: 2153: 2145: 2138: 2130: 2126: 2118: 2114: 2106: 2102: 2094: 2090: 2082: 2078: 2070: 2066: 2058: 2054: 2046: 2042: 2034: 2030: 2022: 2011: 2003: 1999: 1988: 1976:. Vol. 1. 1966: 1965: 1961: 1953: 1949: 1943:Balanchine 1979 1941: 1937: 1929: 1925: 1917: 1913: 1905: 1901: 1893: 1889: 1881: 1877: 1869: 1860: 1852: 1848: 1840: 1836: 1828: 1821: 1813: 1809: 1801: 1797: 1789: 1785: 1777: 1773: 1767:Balanchine 1979 1765: 1758: 1750: 1746: 1730: 1729: 1725: 1709: 1708: 1704: 1684: 1683: 1679: 1662: 1658: 1650: 1646: 1631: 1630: 1626: 1622: 1510:Imperial Ballet 1483:Howard Athenæum 1437:Stepan Gedeonov 1429:Bolshoi Theatre 1372: 1289: 1237: 1229:corps de ballet 1198: 1196:Ethnic elements 1173:Leaping steps: 1167:Turning steps: 1161:Hopping steps: 1155:Gliding steps: 1106: 990:to score a new 977:Pas des paysans 953:Auguste Mabille 920: 914: 907: 810: 802:façonné Giselle 734: 693:Adèle Dumilâtre 658: 602: 515: 494:Vaslav Nijinsky 487: 425: 420: 408:Imperial Ballet 304:romantic ballet 290: 280:[ʒizɛl] 275: 250: 246: 234:Romantic ballet 210: 165: 164: 162: 154: 123: 92: 61: 35: 28: 23: 22: 15: 12: 11: 5: 4032: 4030: 4022: 4021: 4016: 4014:Romantic dance 4011: 4006: 4001: 3996: 3991: 3986: 3981: 3976: 3971: 3966: 3956: 3955: 3949: 3948: 3938: 3935: 3934: 3932: 3931: 3923: 3921: 3917: 3916: 3914: 3913: 3909:Judith Gautier 3905: 3896: 3894: 3890: 3889: 3887: 3886: 3876: 3865: 3863: 3859: 3858: 3856: 3855: 3844: 3842: 3838: 3837: 3835: 3834: 3824: 3815: 3806: 3796: 3794: 3790: 3789: 3787: 3786: 3776: 3766: 3755: 3753: 3749: 3748: 3743: 3741: 3740: 3733: 3726: 3718: 3709: 3708: 3706: 3705: 3699: 3691: 3685: 3677: 3669: 3662: 3660: 3656: 3655: 3653: 3652: 3644: 3636: 3628: 3622: 3614: 3606: 3598: 3590: 3586:The Nutcracker 3582: 3574: 3566: 3558: 3550: 3542: 3534: 3526: 3518: 3510: 3501: 3493: 3492:(*1886, *1899) 3485: 3477: 3469: 3461: 3453: 3445: 3437: 3429: 3421: 3413: 3405: 3397: 3388: 3386: 3382: 3381: 3379: 3378: 3370: 3362: 3354: 3346: 3338: 3330: 3322: 3314: 3313:(*1874, *1892) 3306: 3298: 3290: 3282: 3274: 3266: 3258: 3250: 3242: 3234: 3226: 3218: 3210: 3202: 3194: 3186: 3178: 3169: 3167: 3163: 3162: 3160: 3159: 3151: 3143: 3135: 3127: 3119: 3111: 3103: 3095: 3094:(*1847, *1881) 3086: 3084: 3080: 3079: 3072: 3070: 3069: 3062: 3055: 3047: 3038: 3037: 3035: 3034: 3024: 3013: 3010: 3009: 3007: 3006: 2998: 2990: 2989: 2988: 2985:Creole Giselle 2973: 2964: 2962: 2958: 2957: 2955: 2954: 2950:Si j'étais roi 2946: 2938: 2930: 2922: 2914: 2905: 2903: 2899: 2898: 2896: 2895: 2890: 2888:List of operas 2884: 2881: 2880: 2875: 2873: 2872: 2865: 2858: 2850: 2844: 2843: 2832: 2829:Rudolf Nureyev 2820: 2804: 2794: 2793:External links 2791: 2790: 2789: 2780: 2775: 2762: 2753: 2737: 2728: 2718: 2701: 2696: 2679: 2674: 2661: 2625: 2620: 2605: 2592: 2587: 2570: 2561: 2560: 2559: 2554: 2531: 2526: 2513: 2508: 2491: 2488: 2486: 2485: 2473: 2461: 2459:, p. 163. 2449: 2434: 2432:, p. 130. 2422: 2420:, p. 128. 2410: 2398: 2383: 2371: 2359: 2342: 2330: 2315: 2313:, p. 176. 2303: 2301:, p. 354. 2291: 2279: 2277:, p. 149. 2267: 2265:, p. 148. 2255: 2253:, p. 116. 2243: 2231: 2229:, p. 266. 2219: 2215:Edgecombe 2005 2207: 2203:Travaglia 1929 2192: 2190:, p. 267. 2180: 2168: 2151: 2136: 2134:, p. 146. 2124: 2112: 2100: 2098:, p. 173. 2088: 2076: 2074:, p. 357. 2064: 2052: 2040: 2038:, p. 353. 2028: 2026:, p. 351. 2009: 1997: 1986: 1959: 1957:, p. 169. 1947: 1945:, p. 192. 1935: 1933:, p. 349. 1923: 1911: 1899: 1887: 1875: 1858: 1846: 1834: 1819: 1807: 1795: 1783: 1781:, p. 147. 1771: 1756: 1744: 1723: 1702: 1677: 1656: 1654:, p. 304. 1652:Greskovic 2005 1644: 1641:(Online). n.d. 1623: 1621: 1618: 1573:Creole Giselle 1553:Margot Fonteyn 1549:Alicia Markova 1529:Ballets Russes 1447:. 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3075:Marius Petipa 3068: 3063: 3061: 3056: 3054: 3049: 3048: 3045: 3033: 3029: 3025: 3023: 3015: 3014: 3011: 3004: 3003: 2999: 2996: 2995: 2991: 2987: 2986: 2982: 2981: 2979: 2978: 2974: 2971: 2970: 2966: 2965: 2963: 2959: 2952: 2951: 2947: 2944: 2943: 2939: 2936: 2935: 2931: 2928: 2927: 2923: 2920: 2919: 2915: 2912: 2911: 2907: 2906: 2904: 2900: 2894: 2891: 2889: 2886: 2885: 2882: 2878: 2871: 2866: 2864: 2859: 2857: 2852: 2851: 2848: 2842: 2838: 2837: 2833: 2830: 2826: 2825: 2821: 2818: 2814: 2810: 2805: 2802: 2801: 2797: 2796: 2792: 2786: 2781: 2778: 2772: 2768: 2763: 2759: 2754: 2751: 2747: 2743: 2738: 2734: 2729: 2725: 2721: 2719:0-8184-0535-X 2715: 2710: 2709: 2702: 2699: 2697:0-486-24631-0 2693: 2688: 2687: 2680: 2677: 2671: 2667: 2662: 2659: 2655: 2651: 2647: 2643: 2639: 2635: 2631: 2626: 2623: 2617: 2614:, Limelight, 2613: 2612: 2606: 2602: 2598: 2593: 2590: 2584: 2580: 2576: 2571: 2567: 2562: 2557: 2555:1-85273-004-8 2551: 2547: 2541: 2540: 2537: 2532: 2529: 2527:0-385-03398-2 2523: 2519: 2514: 2511: 2509:0-8120-5673-6 2505: 2501: 2500: 2494: 2493: 2489: 2482: 2481:Beaumont 1944 2477: 2474: 2471:, p. 46. 2470: 2465: 2462: 2458: 2453: 2450: 2447:, p. 129 2446: 2445:Beaumont 1944 2441: 2439: 2435: 2431: 2430:Beaumont 1944 2426: 2423: 2419: 2418:Beaumont 1944 2414: 2411: 2407: 2406:Beaumont 1944 2402: 2399: 2396:, p. 126 2395: 2394:Beaumont 1944 2390: 2388: 2384: 2380: 2379:Beaumont 1944 2375: 2372: 2369:, p. 36. 2368: 2363: 2360: 2356: 2355:Beaumont 1944 2351: 2349: 2347: 2343: 2339: 2338:Beaumont 1944 2334: 2331: 2327: 2322: 2320: 2316: 2312: 2307: 2304: 2300: 2295: 2292: 2288: 2287:Beaumont 1944 2283: 2280: 2276: 2271: 2268: 2264: 2259: 2256: 2252: 2247: 2244: 2240: 2239:Kirstein 1984 2235: 2232: 2228: 2223: 2220: 2216: 2211: 2208: 2204: 2199: 2197: 2193: 2189: 2184: 2181: 2177: 2172: 2169: 2165: 2160: 2158: 2156: 2152: 2149:, p. 145 2148: 2147:Beaumont 1952 2143: 2141: 2137: 2133: 2132:Kirstein 1984 2128: 2125: 2121: 2120:Beaumont 1944 2116: 2113: 2109: 2108:Beaumont 1944 2104: 2101: 2097: 2092: 2089: 2086:, p. 53. 2085: 2084:Beaumont 1944 2080: 2077: 2073: 2068: 2065: 2061: 2056: 2053: 2050:, p. 58. 2049: 2048:Beaumont 1944 2044: 2041: 2037: 2032: 2029: 2025: 2020: 2018: 2016: 2014: 2010: 2007:, p. 160 2006: 2001: 1998: 1993: 1989: 1983: 1979: 1975: 1974: 1969: 1968:Commire, Anne 1963: 1960: 1956: 1951: 1948: 1944: 1939: 1936: 1932: 1927: 1924: 1921:, p. 113 1920: 1915: 1912: 1908: 1903: 1900: 1896: 1895:Beaumont 1944 1891: 1888: 1885:, p. 174 1884: 1879: 1876: 1872: 1871:Beaumont 1944 1867: 1865: 1863: 1859: 1855: 1850: 1847: 1843: 1838: 1835: 1831: 1830:Beaumont 1944 1826: 1824: 1820: 1817:, p. 18. 1816: 1815:Beaumont 1944 1811: 1808: 1804: 1803:Beaumont 1944 1799: 1796: 1793:, p. 16. 1792: 1791:Beaumont 1944 1787: 1784: 1780: 1779:Kirstein 1984 1775: 1772: 1769:, p. 459 1768: 1763: 1761: 1757: 1753: 1752:Beaumont 1944 1748: 1745: 1740: 1736: 1735: 1727: 1724: 1719: 1716:. Opus Arte. 1715: 1714: 1706: 1703: 1698: 1694: 1690: 1689: 1681: 1678: 1674: 1673:0-486-24631-0 1670: 1666: 1660: 1657: 1653: 1648: 1645: 1640: 1639: 1634: 1628: 1625: 1619: 1617: 1615: 1610: 1608: 1604: 1600: 1599: 1594: 1593:Guy Mankowski 1589: 1587: 1583: 1579: 1575: 1574: 1569: 1565: 1560: 1558: 1554: 1550: 1546: 1542: 1538: 1534: 1530: 1526: 1521: 1519: 1515: 1511: 1507: 1503: 1499: 1494: 1492: 1491:New York City 1488: 1484: 1480: 1476: 1472: 1467: 1464: 1460: 1456: 1454: 1450: 1446: 1442: 1438: 1434: 1430: 1426: 1422: 1418: 1416: 1411: 1407: 1403: 1399: 1395: 1387: 1383: 1381: 1376: 1369: 1367: 1363: 1355: 1351: 1349: 1345: 1338: 1333: 1329: 1327: 1322: 1318: 1317: 1311: 1307: 1305: 1301: 1293: 1286: 1284: 1282: 1277: 1273: 1271: 1270: 1265: 1261: 1260: 1255: 1250: 1241: 1234: 1232: 1230: 1226: 1225: 1218: 1216: 1211: 1202: 1195: 1193: 1190: 1186: 1181: 1176: 1172: 1170: 1166: 1164: 1160: 1158: 1154: 1152: 1148: 1146: 1142: 1141: 1140: 1137: 1132: 1130: 1126: 1122: 1118: 1110: 1103: 1101: 1098: 1093: 1089: 1088: 1083: 1079: 1075: 1070: 1068: 1064: 1060: 1056: 1052: 1048: 1044: 1040: 1035: 1033: 1029: 1024: 1022: 1018: 1014: 1010: 1006: 1005:Ludwig Minkus 1002: 997: 993: 989: 984: 982: 978: 974: 970: 966: 962: 958: 954: 950: 949: 944: 940: 936: 932: 927: 925: 917: 911: 904: 902: 898: 893: 887: 884: 882: 881: 876: 871: 867: 865: 861: 856: 855: 849: 847: 846: 841: 837: 836: 831: 827: 823: 814: 807: 805: 803: 798: 794: 792: 786: 784: 780: 774: 771: 770: 764: 762: 758: 754: 750: 746: 742: 738: 731: 729: 727: 723: 718: 716: 712: 708: 707: 702: 698: 694: 690: 689:Lucien Petipa 686: 681: 677: 674: 666: 662: 655: 653: 651: 647: 643: 637: 633: 630: 625: 622: 618: 610: 606: 599: 597: 595: 591: 587: 583: 579: 578: 573: 569: 565: 564: 558: 556: 555: 550: 549: 544: 539: 537: 536:Mount Olympus 533: 525: 524: 519: 512: 510: 506: 502: 495: 491: 484: 482: 478: 474: 470: 468: 463: 461: 457: 453: 449: 445: 441: 433: 429: 422: 417: 415: 413: 409: 405: 404:Marius Petipa 401: 397: 393: 389: 385: 381: 379: 375: 374: 369: 365: 361: 357: 353: 348: 346: 342: 337: 335: 331: 327: 323: 319: 315: 310: 305: 301: 296: 288: 287: 281: 271: 244: 243: 233: 229: 225: 221: 217: 213: 206: 203: 200: 197: 194: 191: 190: 188: 184: 181: 178: 174: 168: 161: 157: 151: 150: 145: 142: 140: 136: 133: 132: 130: 126: 120: 117: 115: 112: 111: 109: 105: 102: 99: 95: 89: 86: 84: 81: 80: 78: 76:Choreographer 74: 68: 64: 59: 55: 50: 45: 40: 37: 33: 19: 3879: 3870: 3869: 3848: 3827: 3779: 3769: 3759: 3701: 3693: 3687: 3681:Harlequinade 3679: 3671: 3665: 3646: 3638: 3630: 3624: 3616: 3608: 3600: 3592: 3584: 3576: 3570:A Fairy Tale 3568: 3560: 3552: 3544: 3536: 3528: 3522:The Talisman 3520: 3512: 3504: 3495: 3489:La Esmeralda 3487: 3479: 3471: 3463: 3455: 3448: 3447: 3439: 3431: 3423: 3415: 3407: 3399: 3391: 3372: 3364: 3356: 3348: 3340: 3332: 3324: 3316: 3308: 3300: 3292: 3284: 3276: 3268: 3260: 3252: 3244: 3236: 3228: 3220: 3212: 3204: 3196: 3188: 3180: 3172: 3153: 3145: 3137: 3129: 3121: 3114: 3113: 3105: 3097: 3089: 3000: 2992: 2983: 2976: 2975: 2967: 2948: 2940: 2932: 2924: 2916: 2908: 2877:Adolphe Adam 2835: 2823: 2816: 2808: 2799: 2784: 2766: 2757: 2741: 2732: 2722:– via 2707: 2685: 2665: 2633: 2629: 2610: 2600: 2574: 2565: 2545: 2535: 2517: 2498: 2476: 2469:Ostwald 1991 2464: 2452: 2425: 2413: 2401: 2374: 2362: 2333: 2306: 2294: 2282: 2270: 2258: 2251:Cordova 2007 2246: 2234: 2222: 2210: 2205:, p. 74 2183: 2171: 2166:, p. 36 2127: 2115: 2103: 2091: 2079: 2067: 2055: 2043: 2031: 2000: 1990:– via 1978:Thomson-Gale 1972: 1962: 1950: 1938: 1926: 1919:Cordova 2007 1914: 1902: 1890: 1878: 1873:, p. 20 1849: 1837: 1832:, p. 19 1810: 1798: 1786: 1774: 1754:, p. 9. 1747: 1733: 1726: 1712: 1705: 1687: 1680: 1664: 1659: 1647: 1636: 1627: 1611: 1596: 1590: 1571: 1563: 1561: 1556: 1545:Anna Pavlova 1522: 1501: 1495: 1486: 1478: 1474: 1471:Mary Ann Lee 1468: 1458: 1457: 1452: 1448: 1420: 1419: 1414: 1401: 1397: 1393: 1392: 1374: 1373: 1364: 1360: 1343: 1341: 1336: 1325: 1320: 1314: 1309: 1308: 1303: 1298: 1275: 1274: 1267: 1259:William Tell 1257: 1253: 1248: 1246: 1228: 1224:ballet blanc 1222: 1219: 1214: 1209: 1207: 1188: 1184: 1182: 1179: 1174: 1168: 1162: 1156: 1150: 1144: 1135: 1133: 1124: 1121:Jules Perrot 1117:Jean Coralli 1115: 1104:Choreography 1091: 1085: 1077: 1073: 1071: 1066: 1062: 1058: 1054: 1039:Emma Bessone 1036: 1027: 1025: 1020: 1016: 1012: 1000: 995: 991: 988:Cesare Pugni 985: 980: 976: 972: 968: 964: 956: 946: 942: 934: 930: 928: 923: 921: 909: 900: 896: 891: 889: 885: 878: 872: 868: 852: 850: 843: 833: 825: 821: 819: 801: 796: 795: 787: 775: 767: 765: 752: 744: 740: 736: 735: 721: 719: 714: 704: 696: 684: 682: 678: 672: 670: 649: 645: 638: 634: 628: 626: 620: 616: 614: 593: 589: 585: 575: 561: 559: 552: 546: 540: 529: 521: 507: 503: 499: 479: 475: 471: 464: 460:hunting horn 437: 432:Anna Pavlova 392:choreography 388:Jules Perrot 384:Jean Coralli 382: 371: 363: 350:Librettists 349: 338: 314:Adolphe Adam 299: 285: 284: 241: 240: 239: 163:28 June 1841 147: 138: 101:Adolphe Adam 88:Jules Perrot 83:Jean Coralli 66:Native title 57: 36: 3673:The Seasons 3578:La Sylphide 3334:La Bayadère 3318:The Bandits 3302:Le Papillon 3262:Don Quixote 3182:Terpsichore 3139:Le Corsaire 3002:Le Corsaire 2926:Le toréador 2603:(23): 12–19 2457:Robert 1949 2367:Ashton 1985 2227:Petipa 1971 2188:Petipa 1971 2176:Smakov 1967 2005:Robert 1949 1955:Robert 1949 1348:tree tunnel 1344:Les Beautés 1335:Act 2 from 1262:(1829) and 1189:pas de deux 1143:Movements: 1017:pas de deux 1013:pas de cinq 1001:pas de deux 992:pas de cinq 973:pas de deux 948:pas de deux 769:pas de deux 761:modulations 642:Léon Pillet 600:Development 594:La Sylphide 586:La Sylphide 563:La Sylphide 444:Middle Ages 442:during the 400:Paris Opera 378:Victor Hugo 223:Created for 144:Victor Hugo 3958:Categories 3911:(daughter) 3594:Cinderella 3562:Kalkabrino 3514:The Vestal 3417:Pâquerette 2326:Smith 2000 2311:Smith 2000 2299:Guest 2008 2275:Guest 2008 2263:Guest 2008 2164:Guest 1983 2096:Smith 2000 2072:Guest 2008 2060:Guest 2008 2036:Guest 2008 2024:Guest 2008 1931:Guest 2008 1907:Smith 2000 1883:Smith 2000 1854:Smith 2000 1842:Smith 2000 1500:danced in 1415:Pocahontas 963:'s titled 854:leitmotifs 709:. In 1844 703:'s opera, 513:Background 467:gamekeeper 186:Characters 3640:Bluebeard 3632:The Pearl 3610:Swan Lake 3433:Pygmalion 3246:The Slave 3077:in Russia 2910:Le chalet 2650:0264-2875 2542:See also 1633:"Giselle" 1620:Citations 1595:entitled 1586:Louisiana 1525:Diaghilev 1183:Parts of 1129:pantomime 880:Euryanthe 877:'s opera 860:Beethoven 840:Donizetti 832:'s opera 826:cantilena 757:narrative 577:en pointe 545:'s opera 543:Meyerbeer 440:Rhineland 396:ballerina 3945:Category 3862:Libretti 3822:" (1838) 3813:" (1840) 3804:" (1836) 3761:Fortunio 3648:Raymonda 3554:Nénuphar 3506:Fiametta 3441:Coppélia 3278:Catarina 3022:Category 2750:16747462 1739:Archived 1718:Archived 1697:Archived 1576:for the 1541:Nijinsky 1498:Nijinsky 1087:Fiametta 1078:Pas seul 906:— 897:Keepsake 783:Taglioni 452:Courland 418:Synopsis 302:), is a 169:, France 159:Premiere 128:Based on 107:Libretto 3920:Related 3881:La Péri 3871:Giselle 3659:1900–03 3621:(*1895) 3613:(*1895) 3581:(*1892) 3533:(*1889) 3468:(*1885) 3460:(*1885) 3449:Giselle 3444:(*1884) 3420:(*1882) 3412:(*1881) 3401:Zoraiya 3396:(*1880) 3385:1880–99 3350:Ariadne 3305:(*1874) 3294:Camargo 3281:(*1870) 3233:(*1867) 3222:Titania 3214:Florida 3166:1860–79 3115:Giselle 3102:(*1848) 3091:Paquita 3083:1847–59 2980:(1841) 2977:Giselle 2961:Ballets 2836:Giselle 2824:Giselle 2817:Giselle 2809:Giselle 2658:1290799 2499:Giselle 1582:Creoles 1564:Giselle 1557:Giselle 1535:, with 1504:at the 1502:Giselle 1487:Giselle 1479:Giselle 1475:Giselle 1459:Giselle 1453:Giselle 1449:Giselle 1427:at the 1421:Giselle 1398:Giselle 1394:Giselle 1375:Giselle 1326:Giselle 1310:Giselle 1304:Giselle 1276:Giselle 1264:Berlioz 1254:Giselle 1249:Giselle 1215:Giselle 1210:Giselle 1185:Giselle 1149:Poses: 1136:Giselle 1125:Giselle 1092:Giselle 1074:Giselle 1067:Giselle 1059:Giselle 1021:Giselle 971:. This 935:Giselle 924:Giselle 912:, p. 58 901:Giselle 892:Giselle 830:Bellini 822:Giselle 797:Giselle 791:Minerva 779:Elssler 749:gazelle 737:Giselle 722:Giselle 715:Giselle 701:Rossini 697:Giselle 685:Giselle 673:Giselle 650:Giselle 646:Giselle 617:Giselle 590:Giselle 448:Silesia 324:at the 291:French: 276:French: 242:Giselle 215:Setting 58:Giselle 3893:Family 3884:(1843) 3874:(1841) 3853:(1852) 3841:Poetry 3832:(1882) 3784:(1863) 3774:(1856) 3771:Avatar 3764:(1837) 3752:Novels 3698:(1903) 3690:(1902) 3684:(1900) 3676:(1900) 3668:(1900) 3651:(1898) 3643:(1896) 3635:(1896) 3627:(1896) 3605:(1894) 3597:(1893) 3589:(1892) 3573:(1891) 3565:(1891) 3557:(1890) 3549:(1890) 3517:(1888) 3509:(1887) 3500:(1886) 3476:(1886) 3436:(1883) 3428:(1883) 3404:(1881) 3369:(1879) 3361:(1879) 3353:(1878) 3345:(1878) 3342:Roxana 3321:(1875) 3297:(1872) 3289:(1871) 3273:(1870) 3270:Trilby 3249:(1868) 3241:(1868) 3225:(1866) 3217:(1866) 3209:(1864) 3201:(1863) 3185:(1861) 3150:(1858) 3134:(1857) 3126:(1855) 3110:(1849) 3005:(1856) 2997:(1845) 2972:(1836) 2953:(1852) 2945:(1852) 2937:(1850) 2929:(1849) 2921:(1836) 2913:(1834) 2902:Operas 2773: 2748: 2716: 2694: 2672: 2656: 2648: 2618: 2585: 2552: 2524: 2506: 1984: 1671: 1425:Russia 611:, 1838 485:Act II 456:squire 60:(1842) 3903:(son) 3374:Mlada 3230:Faust 3032:Audio 2654:JSTOR 835:Norma 808:Music 568:sylph 423:Act I 366:, by 360:prose 345:Wilis 341:ghost 330:Paris 231:Genre 167:Paris 97:Music 2771:ISBN 2746:OCLC 2714:ISBN 2692:ISBN 2670:ISBN 2646:ISSN 2616:ISBN 2583:ISBN 2550:ISBN 2522:ISBN 2504:ISBN 1982:ISBN 1669:ISBN 1539:and 1287:Sets 1119:and 979:(or 838:and 781:and 530:The 386:and 354:and 339:The 18:Loys 2638:doi 1527:'s 1404:by 1266:'s 996:pas 969:pas 957:pas 943:pas 933:of 862:'s 842:'s 410:in 376:by 328:in 137:'s 3960:: 3503:* 2652:, 2644:, 2632:, 2599:, 2577:, 2437:^ 2386:^ 2345:^ 2318:^ 2195:^ 2154:^ 2139:^ 2012:^ 1861:^ 1822:^ 1759:^ 1695:. 1691:. 1635:. 1609:. 1588:. 1566:, 1493:. 1431:, 1023:. 883:. 866:. 848:. 380:. 298:, 274:; 252:dʒ 3818:" 3809:" 3800:" 3737:e 3730:t 3723:v 3066:e 3059:t 3052:v 2869:e 2862:t 2855:v 2812:" 2726:. 2640:: 2634:1 2217:. 2178:. 1994:. 1675:. 306:( 289:( 270:/ 267:l 264:ɛ 261:z 258:ˈ 255:ɪ 249:/ 245:( 34:. 20:)

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