2197:, so he began a campaign to drive the aging Ballet Master from the theatre. In 1902 Telyakovsky established a committee of influential members of the Imperial Theatres in an effort to take away Petipa's powers with regard to casting, repertory, and the appointment of dancers, though much to Telyakovsky's annoyance the members of the committee appointed Petipa chairman. Soon Telyakovsky began purposely not sending carriages to collect Petipa for particular rehearsals, or not sending him lists of casting for various ballets, and even not informing Petipa of various rehearsals taking place, information which the Ballet Master was legally required to have. Nevertheless, Petipa's advanced age and failing health left him with little energy to contest the director. Petipa was invited in March 1904 to stage
2345:
1196:
646:, being the first ballet performance ever seen in New York City. The tour proved to be a disaster, as many in the uncultured American audiences of that time had never before seen ballet. To add to the fiasco, the American impresario who arranged the engagements stole a large portion of the troupe's receipts and quickly disappeared without a trace. Upon leaving for France, Petipa's ticket only allowed him passage to Nantes, but instead of returning to that city he stowed away in the cabin of a woman he had seduced so that he could secure passage to Paris.
1524:
169:
1149:
production, and in late 1861 she requested from the director
Saburov that preparations begin post haste. Saburov at first refused, stating that there was not enough funds and that such a production could not be staged in time. Rosati enlisted the assistance of Petipa, who reminded Saburov that the Imperial Theatres were contractually obligated to grant the ballerina a new production for her benefit. Saburov asked Petipa as to whether or not he could produce a new full-length
1508:
2132:
2088:, appointed to the position in 1901, served as a catalyst to the Ballet Master's end. Telyakovsky made no effort in disguising his dislike of Petipa's work, as he felt that the art of classical ballet had become stagnant under him, and felt that other choreographers should have a chance at the helm of the Imperial Ballet. But even at the age of eighty-three, and suffering from the constant pain brought on by a severe case of the skin disease
1496:
1540:
4188:
1484:
919:
36:
1669:
2280:. For Petipa this was the final straw, and soon afterwards he was rarely seen at the theatre or at the Imperial Ballet School where rehearsals were held. The minister of the Imperial Court, the aristocrat Baron Fredericks gave Petipa the title "Ballet Master for life", and granted him a yearly pension of 9,000 roubles.
1987:
8 December] 1896. The ballet was given a sumptuous production. Many critics felt that the ballet was merely a gargantuan excuse for spectacle and dances, something made all the more apparent with the spectacular showcasing of
Pierina Legnani in the principal role of Ysaure. The final tableau
2230:
Petipa's diaries reflect the constant fear of his aging body, and that he had little time left to live. In light of this, the Ballet Master spent nearly every minute he could creating variations and various numbers, as well as reworking many of the dances in his older works. In 1903 Petipa presented
2214:
Despite the situation with
Telyakovsky and the condition of his health, Petipa still managed to work, as he was constantly sought out by the dancers of the Imperial Ballet for advice and coaching, and he even managed to revise some of the dances in his older works. In 1904 Petipa coached the great
1253:
Though Arthur Saint-LĂ©on was by title and technicality Petipa's superior, the two men were viewed as equals by the critics and balletomanes of the day, and would rival one another with splendid productions throughout the 1860s. Not only did Saint-LĂ©on and Petipa have their own respective audiences
560:
Just as he had done with his other children, Jean Petipa began giving the young Marius lessons in ballet at the age of seven. At first the young boy resisted, caring very little for dance. Nevertheless, he soon came to love this art form that was so much the life and identity of his family, and he
2165:
9 February] 1903 at the
Mariinsky Theatre to an audience composed of the whole Imperial Family and many members of the St. Petersburg nobility. The production boasted bizarre décor and costumes that were considered to be unsuited for a classical ballet. In spite of this Petipa received a
2083:
In spite of his vast accomplishments, Petipa's final years with the
Imperial Ballet were difficult. By the turn of the 20th century new innovations in the art of classical dance began to become apparent. With all of this, Petipa's rocky relationship with the new director of the Imperial Theatres,
1148:
had been engaged as guest artist with the
Imperial Theatres since 1855. By 1861 her contract with the company was set to expire, and upon leaving Russia for her native Italy she intended to retire from the stage. Rosati's contract stipulated that she was to be given a benefit performance in a new
1006:
in 1858), all the while learning a great deal from the man who was at that time the most celebrated choreographer in Europe. Although Petipa did not create his own original works during this period, he nevertheless staged many dances for various operas, and on occasion revised dances for Perrot's
1215:
18 January] 1862 to an unrivaled success. The work exceeded even the opulent tastes of the
Tsarist audience, as so lavish and exotic a ballet had not been seen on the Imperial stage for some time. The work went on to become the most popular ballet in the entire repertory of the Imperial
2115:
in a version radically different from Petipa's original. Petipa became furious when he learned this new version would be staged for the St. Peterburg troupe, as he had not even been consulted on the production of a ballet that was originally his creation. While watching a rehearsal of Gorsky's
1846:
being the biggest success on the program. It was soon decided that a revival of the full-length work would be staged for the 1894â1895 season, with Ivanov staging the second and fourth scenes and Petipa staging the first and third scenes. Riccardo Drigo would revise
Tchaikovsky's 1877 score in
1713:
in 1892. The constant pain and itching brought on by this disease caused Petipa to refrain from choreography for the
Imperial Ballet's entire 1892â1893 theatrical season. It has been widely accepted by history that the responsibility of staging Tchaikovsky's second work for the Imperial Ballet
434:
Many individual numbers taken from Petipa's work (both from original works and from revivals) continued to be performed independently, in spite of the fact that the full-length ballets that spawned them had disappeared from the
Imperial Ballet's repertoire. Many of these pieces have endured in
2180:"...the ballet company will have to get used to a new Balletmaster â Alexander Gorsky. He will stage his own versions of 'The Little Humpbacked Horse' and 'Swan Lake'. He has staged both ballets (for the Moscow Bolshoi Theatre) entirely differently and in a much more original manner."
1791:
3 December] 1893, her perfection of technique and execution caused a sensation, with critics and balletomanes hailing her as the supreme ballerina of her generation. In the last act she astounded the audience by performing a feat never before executed by any Ballerina: 32
812:. Rather than keep his fateful appointment, Petipa quickly left Spain, never to return. He then travelled to Paris where he stayed for a brief period. While in the city he took part in a performance at the ThĂ©Ăątre de lâAcadĂ©mie Royale de Musique where he partnered the ballerina
2366:
the Imperial Ballet's régisseur Nicholas Sergeyev left Russia with the notations in hand. Throughout the 1930s Sergeyev would make his most substantial contribution to the artform of classical dance by utilizing the notated choreographies to stage Petipa's
1125:. His years of serving as assistant to Perrot had taught him much. Choreography was a logical alternative to dancing for the now 41-year-old Petipa, who was soon to retire from the stage. But it was not yet to be. In 1860 the renowned French Ballet Master
1747:
in the final scene. The critics also complained that Ivanov's choreography was banal, with only a few passages succeeding simply because Ivanov imitated the choreography of Petipa's dances from other works. One such passage mentioned in reviews was the
1588:
During the twilight of Imperial Russia, the ballet of St. Petersburg flourished before a public that possessed a high level of connoisseurship. The treasury of the Russian Emperorâwho was at that time the wealthiest person on Earthâlavished millions of
1491:. In the center is Pierina Legnani, creator of the title role. On the right of the stage is (right to left) Claudia Kulichevskaya as Clémence, Olga Preobrajenska Henriette, Pavel Gerdt as Abderakhman, and Nikolai Legat as Béranger. St. Petersburg, 1898.
1535:. St. Petersburg, 1900. In the center is Mathilde Kschessinskaya as Nikiya with Pavel Gerdt as Solor kneeling next to her. Left of center stage are the three soloist shades (kneeling, left to right): Varvara Rhykliakova, Anna Pavlova, and Julia Sedova.
2041:
from the last act of the ballet would go on to be one of his most celebrated and enduring excerpts, with the challenging choreography he lavished onto Legnani (who danced the title rĂŽle) becoming one of the ultimate tests of the classical ballerina.
2174:, and was considered to be an all-around failure, though Petipa's choreography was not mentioned among the criticisms. Not long afterwards rumour began to circulate that Petipa was to be replaced, and Telyakovsky even made an announcement to the
828:
In 1847 Marius seduced yet another man's wife, and the husband called for a duel, yet again. Duels were banned, and the threat of court repercussions loomed over Marius, so the family decided it was best for him to leave France. Marius' brother,
1010:
By 1850 Petipa's first child, a son named Marius Mariusovich Petipa (1850â1919) was born. His mother, Marie ThĂ©rĂšse Bourdinâ with whom Petipa had a brief liaisonâdied five years after the birth of their child. In 1854 Petipa married the
2275:
23 January] 1904 for a performance at the Imperial Theatre of the Hermitage, but the director Telyakovsky abruptly cancelled the performance only two weeks before the premiere, the official explanation being the outbreak of the
1742:
at the Mariinsky Theatre. Many critics of the day considered the work to not even be a ballet at all, with far too much emphasis on spectacle, something made all the more unsuccessful since the ballerina's role was reduced to a
2012:, the critics unanimously praised the seventy-eight-year-old Petipa's seemingly limitless imagination in the creation of classical dances, proving once again that no other choreographer in Europe could claim to be his rival.
384:
Petipa also revived a substantial number of works created by other choreographers. Many of his revivals have become the basis of the majority of subsequent productions of those works. The most famous of Petipa's revivals are
711:
was much celebrated, particularly his almost acrobatic lifts and catches of the ballerina that dazzled the audience. While in Bordeaux, Petipa began mounting his own original full-length productions. Among these works were
528:
Marius Petipa spent his early childhood traveling throughout Europe with his family, as his parents' professional engagements took them from city to city. By the time Marius was six years old, his family had settled in
1312:, which was considered to be among Petipa's greatest masterpieces of classical choreography, with the ballerina D'or executing five pirouettes during her piqué turns in rapid succession. The ballet also included the
592:. The violent street fighting that followed caused all theatres to be shut down for a time, and consequently Jean Petipa found himself without a position. The Petipa family was left in dire straits for some years.
1615:
311:), a position he held from 1871 until 1903. Petipa created over fifty ballets, some of which have survived in versions either faithful to, inspired by, or reconstructed from his originals. He is most noted for
994:, a position created especially for him. Aside from dancing the principal rĂŽles in many of Perrot's productions, Petipa rehearsed older works with the company and assisted Perrot in staging revivals (such as
1773:, the great Italian dancer and teacher, began to assist Lev Ivanov in substituting for Petipa in the staging of ballets and rehearsals. In 1893 Petipa supervised Cecchetti and Ivanov's staging of the ballet
1973:
In 1896 Petipa was given a benefit performance to celebrate 50 years in service to the St. Petersburg Imperial Theatres. For the occasion, Petipa created one of the most lavish ballets he ever staged:
1344:
would go on to break attendance records at the St. Petersburg Imperial Bolshoi Kamenny Theatre, and by 1903 the work had been performed 194 times. Petipa would later comment in his memoirs that
1399:
in Paris, Saint-LĂ©on died of a heart attack on 2 September 1870. Not long before his death the composer Cesare PugniâPetipa's chief collaborator for many yearsâdied on 2 February [
1097:
in 1861. All of Petipa's works during this period were tailored especially for the talents of his wife Maria, who performed the principal rĂŽles to considerable acclaim, and soon was named
808:). In 1846, he began a love affair with the wife of the Marquis de Chateaubriand, a prominent member of the French Embassy. Learning of the affair, the Marquis challenged Petipa to a
4398:
2157:. Petipa mounted the work for his own benefit performance, which was to mark a "semi-retirement" for the Ballet Master. The ballet, set to the music of the avant-garde composer
1422:
in the St. Petersburg in an expanded and far more lavish edition. Ludwig Minkus's score was hailed unanimously as a masterwork of ballet music, earning the composer the post of
632:
The 21-year-old Marius Petipa accompanied his father on a tour of the United States with a group of French dancers in July 1839. Among the many engagements was a performance of
4353:
1702:
proved to be so popular that by April 1903 it had been performed 100 times, making it one of the most popular works in the Imperial Ballet's repertory, second only to Petipa's
1836:
In 1893 Tchaikovsky died, and in February 1894 a gala was given in his honor at the Mariinsky Theatre. For the occasion Lev Ivanov mounted the second scene from Tchaikovsky's
4253:
4110:
2668:
955:
At the time Petipa had arrived in St. Petersburg, the Imperial Ballet had experienced a considerable decline in popularity with the public since the 1842 departure of
1605:
for court performances, royal nuptials, etc. With the ballet thriving in such an environment, the late 19th and early 20th centuries saw what is considered to be the
847:
So, Marius Petipa found himself in St. Petersburg late in the same year, beginning his career ascent to become one of the most influential choreographers in history.
1192:
Europe was fascinated with all things concerning the art and culture of ancient Egypt, and Petipa was sure that a ballet on such a subject would be a great success.
875:
24 May] 1847 the twenty-nine-year-old Petipa arrived in the imperial capital. In 1848 Petipa's father also relocated to St. Petersburg, where he taught the
4393:
3145:
707:. While performing with the company his skills as not only a dancer but as a partner were much celebrated. His partnering of Carlotta Grisi during a performance of
1728:, many sources contradict one another. Some claim either that Petipa was responsible for staging the entire ballet or that he merely supervised Ivanov's progress.
967:
brought about a measure of prestige and attention for the company. Critic Raphael Zotov reflected, "Our lovely ballet company was reborn with the productions of
2872:
2796:
1450:
4338:
2724:
4388:
3671:
2860:
1830:
1110:
3667:
3619:
3443:
1826:
1630:
This era coincided with an important change: upon the retirement of Ludwig Minkus in 1886, the director Ivan Vsevolozhsky abolished the official post of
1044:
4177:
2888:
3623:
2940:
1847:
accordance with Petipa's instructions, and Tchaikovsky's brother Modeste would revise the ballet's scenario. The premiere on 27 January [
4103:
3338:(revival, after J. Reisinger). Staged with Lev Ivanov. Music by Pyotr Ilyich Tchaikovsky in a revision by Riccardo Drigo. 27 January [
1203:, St. Petersburg, 1898. In the center is Mathilde Kschessinskaya as the Princess Aspicia (right), and Anna Johannson as the slave Ramzé (left).
689:
to the Grand Théùtre in Bordeaux in 1841. There, he studied further with the great Vestris, all the while dancing the leads in such ballets as
1867:
Petipa would spend a great deal of his final years reviving older ballets. In the winter of 1895 Petipa presented lavish revivals of his 1889
3798:
2263:
1503:. St. Petersburg, 1899. In the center is Mathilde Kschessinskaya in the title role with Pavel Gerdt as Pierre Gringoire kneeling next to her.
1133:, and soon a healthy and productive rivalry between him and Petipa ensued, bringing the Imperial Ballet to new heights throughout the 1860s.
844:). Antoine Titus resolved dilemmas for both parties and introduced the two sides, after which Petipa and his father were invited to Russia.
4383:
4363:
3583:
3345:
2140:
1875:
1230:
421:
561:
excelled quickly. At the age of nine Marius performed for the first time in a ballet production as a Savoyard in his father's staging of
4358:
3450:
2208:
1165:
1053:
623:, France. During his time in Nantes the young Petipa began to try his hand at choreography by creating a number of one-act ballets and
4348:
4239:
4157:
3503:
2996:
1594:
4378:
4096:
3929:
3725:
1395:(1869), led the Minister of the Imperial Court to refuse renewal of the Ballet Master's contract. While in the Café de Divan on the
1265:. Despite their rivalry, nearly every ballet staged by Petipa and Saint-LĂ©on during the 1860s was set to the music of Cesare Pugni.
534:
119:
2576:
1207:
Petipa began work by collaborating with the composer Pugni, who wrote his melodious and apt score with Petipa while in rehearsals.
288:
1 July] 1910), was a French and Russian ballet dancer, pedagogue and choreographer. Petipa is one of the most influential
1855:
would go on to become one of the greatest of all ballets, remaining one of the ultimate tests for the classical ballerina and the
4167:
2916:
2518:
1460:
1372:
was commissioned to write the ballet's score, marking the beginning of a long and fruitful collaboration between him and Petipa.
1043:), for which he collaborated for the first time with the composer Cesare Pugni. The work was presented for the first time at the
891:
3869:
2344:
1195:
1157:
Saburov immediately put all other rehearsals on hold so that the company could concentrate on the production of the new ballet.
2784:
2251:
1330:
1296:
353:
4172:
604:
253:
4343:
4246:
3844:
3455:
3282:
3037:
2700:
2337:
It was in 1891 that many of Petipa's original ballets, revivals, and dances from operas began to be notated in the method of
57:
53:
4162:
3068:
3007:
1121:
In 1858 Jules Perrot retired to his native France, never to return to Russia again. Petipa anticipated succeeding Perrot as
100:
2319:"I can state that I created a ballet company of which everyone said: St. Petersburg has the greatest ballet in all Europe."
3803:
3791:
3771:
3753:
3741:
3721:
3705:
3683:
3663:
3647:
3642:
3635:
3630:
3615:
3595:
3575:
3563:
3551:
3531:
3515:
3499:
3487:
3475:
3459:
3439:
3420:
3404:
3388:
3372:
3356:
3339:
3327:
3302:
3286:
3270:
3254:
3242:
3226:
3214:
3198:
3186:
3174:
3138:
3116:
3079:
3062:
3046:
3030:
3018:
3001:
2989:
2973:
2961:
2933:
2921:
2909:
2897:
2881:
2865:
2853:
2841:
2825:
2813:
2801:
2789:
2777:
2753:
2741:
2729:
2717:
2705:
2693:
2673:
2661:
2641:
2636:
2629:
2613:
2597:
2569:
2540:
2322:
2272:
2162:
2072:
2046:
2016:
1984:
1937:
1851:
15 January] 1895 with Legnani in the dual rĂŽle of Odette/Odile was a triumph, and in Petipa and Ivanov's version
1848:
1814:
1788:
1733:
1695:
1665:, also staged for Cornalba. Although the ballet was not a success Drigo's score was much praised by contemporary critics.
1569:
1415:
1411:
1400:
1391:
1291:
1269:
1212:
1063:
1026:
945:
905:
872:
285:
204:
133:
72:
4299:
3308:
2309:
in southern Russia where the air was more agreeable with his health, and soon the Petipa family relocated to the resort
1775:
1015:
2288:
Petipa noted his final composition on 17 January 1905 in his diaries: a variation to the music of Cesare Pugni for the
2338:
1793:
1780:
1688:
The director Vsevolozhsky commissioned the great composer Pyotr Illyich Tchaikovsky to compose the score for Petipa's
1022:(1857â1930), who would go on to become a celebrated dancer in her own right, and Jean Mariusovich Petipa (1859â1871).
932:
764:
at the Teatro del Circo in Madrid, Spain. For the next three years he would acquire an acute knowledge of traditional
986:
of the St. Petersburg Imperial Theatres. He was accompanied by his chief collaborator, the prolific Italian composer
79:
1035:
3748:
3606:
3470:
3233:
3124:
2369:
2363:
2326:
1690:
1254:
and critics, but also their own ballerinasâPetipa mounted the majority of his works at that time for his wife, the
1093:
975:, and its superlative performances placed the company again at its former level of glory and universal affection."
377:
337:
1246:, with its series of fantastical tableaux set under-water and on an enchanted isle, as well as the ballet's final
467:
46:
4067:
3896:
3411:
3210:
2928:
2769:
2712:
2199:
2153:
1885:
1652:
1466:
1170:
1073:
313:
3434:
1626:, St. Petersburg, 1999. The company restored the lavish production designed for the ballet's original inception.
4207:
3778:
3510:
3238:
86:
3042:
734:
500:
2305:
Petipa remained in St. Petersburg until 1907. At the suggestion of his physicians he left with his family to
1883:), both with Legnani in the principal rĂŽles. The turn of the 20th century saw Petipa present more revivals:
3590:
3579:
2820:
2680:
2561:
1769:
Petipa's illness kept him from working for nearly all of the 1892-1893 season. It was during this time that
1523:
1396:
1239:
650:
744:
359:
168:
3736:
3654:
3570:
3542:
3482:
3085:
2832:
2808:
2748:
2085:
1805:
1800:, and over the course of the next eight years, Petipa staged many new ballets especially for her talents.
1365:
1184:
880:
691:
411:
68:
1966:. The ballet featured some of Petipa's most grand choreography for a 200-member cast, all set to Drigo's
1547:. St. Petersburg, 1901. In the center is Pierina Legnani in the title role with Nikolai Legat as Vestris.
1487:
The stage of the Mariinsky Theatre with the cast of act I/scene 1 of the original production of Petipa's
904:, first staged at the Paris Opéra in 1846. The ballet premiered in St. Petersburg on 8 October [
714:
4030:
The Memoirs of Marius Petipa, Soloist of His Imperial Majesty and Ballet Master of the Imperial Theatres
3687:
3221:
3181:
2648:
1927:
1891:
1869:
1661:
1336:
1305:
887:
554:
399:
331:
249:
3787:
3767:
3368:
2095:
One example of Telyakovsky's efforts in his attempt to "de-throne" Petipa came in 1902 when he invited
1796:. Petipa was so enamored with the stellar ballerina that he bestowed upon her the rarely held title of
841:
516:
303:) of the St. Petersburg Imperial Theatres, making him Ballet Master and principal choreographer of the
3363:
1499:
The stage of the Mariinsky Theatre with the cast of act I of Petipa's final revival of Jules Perrot's
616:
4373:
4368:
3712:
3611:
3522:
3494:
3379:
2760:
2158:
1975:
1573:
1440:
1434:
1426:. Petipa and Minkus created a successful series of original works and revivals throughout the 1870s:
1356:
1262:
1179:
1126:
765:
697:
643:
584:
371:
319:
4026:
Memuary Mariusa Petipa solista ego imperatorskogo velichestva i baletmeistera imperatorskikh teatrov
3078:(revival, J. Mazilier). Music by Adolphe Adam, Cesare Pugni and Ludwig Minkus. 5 February [
1648:
1279:
1130:
4274:
3817:
3806:
23 January] 1904 at the Imperial Theatre of the Hermitage, Winter Palace, St. Petersburg).
3416:
3384:
3112:
3108:
2689:
2657:
2565:
2121:
1758:
1643:
1558:
1118:. Petipa's wife Maria reprised the principal rĂŽle of Lizetta (renamed Gloriette) to great success.
654:
567:
550:
521:
504:
226:
4129:
3029:(revival, after A. Saint-Léon). Music by François Benoist and Ludwig Minkus. 22 January [
2193:
Telyakovsky knew that he could not legally end Petipa's employment, as he was still contracted as
2120:. Petipa was further frustrated by the fact that the Imperial Theatre's newly appointed régisseur
2019:
7 January] 1898 the nearly eighty-year-old Petipa presented one of his greatest ballets,
1980:
1659:âprincipal conductor of the Imperial Ballet & Italian Operaâto compose the score for Petipa's
868:
638:
3547:
3400:
2980:
2957:
2736:
2557:
2546:
2294:
2277:
2246:
2034:
1932:
1325:
912:
837:
724:
575:
3355:(revival, after A. Saint-LĂ©on). Music by Cesare Pugni and Riccardo Drigo. 18 December [
2773:
1698:
3 January] 1890. The ballet proved to be one of Petipa's masterpieces of choreography.
1672:
Caricature of Marius Petipa by the brothers Nikolai and Sergei Legat from their celebrated book
1543:
The stage of the Mariinsky Theatre with the cast of act III in Lev Ivanov's revival of Petipa's
1385:
4083:
3994:
3935:
3925:
3678:
3154:
2945:
2893:
2837:
2685:
2585:
2131:
2050:
1383:
In 1869 Saint-LĂ©on's contract was set to expire. His last works for the St. Petersburg stage,
833:, was familiar with working in Russia and sent an inquiry to Antoine Titus in St. Petersburg.
666:
3802:. Music by Riccardo Drigo. Never premiered (scheduled to have premiered 5 February [
3794:
22 February] 1902. Imperial Theatre of the Hermitage, Winter Palace, St. Petersburg.
3774:
14 February] 1900. Imperial Theatre of the Hermitage, Winter Palace, St. Petersburg.
3756:
10 February] 1900. Imperial Theatre of the Hermitage, Winter Palace, St. Petersburg.
3326:
under the supervision of Petipa. Music by Baron Boris Fitinhof-Schell. 17 December [
1551:
Petipa's next ballet would be one of the most celebrated and enduring of all his works—
836:
This coincided with a need to find a strong male lead for the Russian ballet prima ballerina
3744:
7 February] 1900. Imperial Theatre of the Hermitage, Winter Palace, St. Petersburg.
3558:
3323:
3170:
3150:
2953:
2532:
2392:
2096:
1787:
made her début in the title role, and on the evening of the premiere, 15 December [
1770:
1428:
658:
308:
273:
2075:, a work which would prove to be the last enduring flash of Petipa's choreographic oeuvre.
1601:, that he choreograph the dance sections for various operas, and that he prepare galas and
93:
4202:
3839:
3599:
3535:
3133:
3104:
2848:
2765:
2237:
1923:
1915:
1818:
1784:
1565:
1354:
Petipa's final work of the 1860s remains a cornerstone of the classical ballet repertory.
1145:
895:
813:
608:
304:
2325:
1 July] 1910 at the age of ninety-two, and was interred three days later in the
1813:), set to the music of Riccardo Drigo. The ballet had its premiere on 9 August [
1593:
a year on the Imperial Ballet, opera, and the Imperial Ballet School (today known as the
1258:
Mariia Surovshchikova-Petipa, while Saint-LĂ©on mounted the majority of his works for the
1029:
9 January] 1855 Petipa presented his first original ballet in over six years, a
1647:
in 1888, which was staged for the benefit performance of the visiting Italian ballerina
1495:
4219:
4119:
3897:"El ballet romĂĄntico en el Teatro del Circo de Madrid (1842-50). Actividad y recepciĂłn"
3783:
3659:
3490:
18 November] 1866. Palace of the Grand Duchess Elena Pavlovna, St. Petersburg.
3463:
3334:
3293:
3249:
3166:
3158:
3058:
2968:
2949:
2904:
2877:
2589:
2387:
2354:
2317:, where the Ballet Master spent his remaining years. In 1907 Petipa wrote in his diary
2204:
2187:
2125:
2108:
2045:
Petipa presented what would prove to be his final masterpiece on 23 February [
1953:
1909:
1716:
1656:
1553:
1539:
1507:
1476:
1361:
1287:
1083:
956:
923:
860:
662:
625:
343:
325:
230:
959:, who had been engaged in the Imperial capital as guest ballerina. The productions of
930:
The following season Petipa and his father staged a revival of Mazilier's 1840 ballet
4332:
4291:
3873:
3729:
3691:
3527:
3266:
3096:
3025:
2536:
2005:
1963:
1919:
in 1903. These revivals would prove to be Petipa's "finishing touch" on these works.
1590:
1369:
1189:
915:
in the title rĂŽle and Petipa himself in the largely mimed rĂŽle of Lucien dâHervilly.
830:
817:
670:
562:
508:
289:
4187:
3686:
17 May] 1896, Imperial Bolshoi Theatre, Moscow. For the coronation gala of
3578:
18 May] 1883. Imperial Bolshoi Theatre, Moscow. For the coronation gala of
1622:
from the Kirov/Mariinsky Ballet's reconstruction of Petipa's original production of
511:
and pedagogues in Europe. At the time of Marius's birth, Jean Petipa was engaged as
4316:
3822:
3650:
4 April] 1891. For students of the Imperial Ballet School, St. Petersburg.
3162:
2985:
2625:
2609:
2593:
2581:
2396:
2216:
2055:
1483:
1199:
The stage of the Mariinsky Theatre with cast in act I of Petipa's final revival of
1019:
987:
979:
918:
633:
579:
2139:
2092:, the old Maestro showed no signs of slowing down, much to Telyakovsky's chagrin.
1842:, first produced in Moscow in 1877. The gala was a success, with the excerpt from
1655:, a noted music critic. The next year, Ivan Vsevolozhsky commissioned the Italian
3826:
3598:
22 July] 1886. In honor of Empress Maria Fyodorovna. Imperial Theatre,
3277:
3053:
2620:
2608:(revival, after Jean Coralli and J. Perrot). Staged with Jules Perrot. Music by
2381:
2030:
1903:
1274:
1002:
405:
387:
35:
17:
1668:
3319:
3298:
3261:
3205:
3197:(revival, after A. Saint-LĂ©on). Music by Ludwig Minkus. 18 December [
3100:
1958:
1936:, which proved to be the greatest success during the gala of 29 May [
1756:), which was said to be almost identical to a waltz from Petipa's 1879 ballet
1721:
1607:
546:
416:
348:
137:
3939:
3017:(revival, after A. Saint-LĂ©on). Music by Cesare Pugni. 20 October [
2800:(revival, after Jules Perrot). Music by Cesare Pugni. 13 November [
2089:
1967:
1838:
1710:
859:
to the Imperial Theatres of St. Petersburg, at that time the capital of the
496:
435:
versions either based on the original or choreographed anew by others â the
427:
200:
4231:
4088:
4011:
Nekhendzi, A. (comp.) "Marius Petipa, Materials, recollections, articles" (
3666:
28 July] 1894. Imperial Theatre, Peterhof. For the wedding of the
3562:(revival, after J. Reisinger). Music by Yuli Gerber. 26 December [
3462:
8 October] 1857. Estate of Prince Pyotr Georgievich of Oldenburg,
3919:
1272:
25 January] 1868 Petipa presented a lavish revival of the ballet
607:. While in Bordeaux, Marius completed his ballet training under the great
3395:
3193:
3185:(revival, after J. Perrot). Music by Cesare Pugni. 29 December [
2740:(revival, after J. Perrot). Music by Cesare Pugni. 16 November [
2211:, who wrote the ballet's libretto, but his health prevented him from it.
2103:
to the Imperial Ballet, to stage his own version of Petipa's 1869 ballet
2021:
2008:
to a tremendous ovation from the audience. In spite of the criticisms of
1803:
Petipa returned to choreography from his long infirmity with the one-act
1724:. With regard to who was ultimately responsible for the choreography for
1242:'s famous Russian poem. The work proved to be a success equal to that of
596:
530:
365:
4048:
A Century of Russian Ballet: Documents and Eyewitness Accounts 1810â1910
3634:(revival, after Lev Ivanov). Music by Riccardo Drigo. 25 July [
2852:(revival, after J. Perrot). Music by Cesare Pugni. 7 November [
2531:(revival, after J. Mazilier). Staged with Frédéric Malevergne. Music by
2143:
Petipa's grave in the Alexander Nevsky Monastery, St. Petersburg, Russia
1129:
was given the coveted position by the director of the Imperial Theatres
952:
Andreyonova performed the title rĂŽle, with Petipa in the rĂŽle of Fabio.
4079:
2604:
2527:
2375:
2135:
Funeral cortĂšge for Marius Petipa, 17 July 1910, St. Petersburg, Russia
2026:
1897:
1738:
1216:
Theatresâby 1903 it had been performed 203 times. The great success of
996:
900:
703:
449:
393:
145:
4006:
Letters from a Ballet Master â The Correspondence of Arthur Saint-LĂ©on
3618:
5 June] 1889. Imperial Theatre, Peterhof. For the wedding of
1224:
to the Imperial Theatres. Saint-LĂ©on answered the success of Petipa's
519:(known today as the Opéra de Marseille), and in 1819 he was appointed
2314:
2310:
1290:. Petipa presented his next new grand ballet on 29 October [
620:
222:
2261:
Petipa then set to work on what would prove to be his final ballet.
1736:
6 December] 1892 on a double bill with Tchaikovsky's opera
1576:
was much admired, while the score of Ludwig Minkus was considered a
1572:
23 January] 1877. The libretto by Petipa and the dramatist
922:
Portrait of Marius Petipa around the time of his arrival in Russia.
599:, France, in 1834 where Marius' father had secured the position of
2343:
2306:
2241:. For this revival Petipa created a new version of the celebrated
2147:
In late 1902 Petipa began work on a ballet adaptation of the tale
2138:
2116:
production at the Mariinsky Theatre, Petipa was heard yelling out
1667:
1614:
917:
840:, (who was the mistress of the Director of the Imperial Theaters,
649:
By 1840, Petipa had made his début with the ballet company of the
3704:). Music by Ludwig Minkus and Riccardo Drigo. 9 August [
2624:(revival, after J. Mazilier). Staged with Jules Perrot. Music by
2166:
roaring ovation from the audience at the end of the performance.
588:
at the Théùtre de la Monnaie, where Marius' father now served as
1922:
Petipa also mounted new works. For the celebrations held at the
809:
653:
in Paris. His first performance with this troupe was given as a
4235:
4092:
2271:
The work was scheduled to be presented on 5 February [
2255:. Such work prompted the Ballet Master to write in his diaries
1597:). Each new season required that Petipa create a new multi-act
503:, was a tragic actress and teacher of drama, while his father,
4037:
Dances from Russia: An Introduction to the Sergeyev Collection
3987:. Trans, Ed., and introduction by Lynn Garafola. Published in
3766:). Music by Riccardo Drigo, based on the pastiche arranged by
1825:
in honor of the wedding of Tsar Alexander III's daughter, the
1527:
The stage of the Mariinsky Theatre with the cast of the scene
1511:
The stage of the Mariinsky Theatre with the cast of the scene
177:
of the St. Petersburg Imperial Theatres. St. Petersburg, 1887.
29:
3566:
14 December] 1878. Imperial Bolshoi Theatre, Moscow.
3478:
16 November] 1861. Imperial Theatre, Tsarskoye Selo.
1634:
in an effort to diversify the music supplied for new works.
3554:
25 January] 1870. Imperial Bolshoi Theatre, Moscow.
2267:
to the music of Drigo was, according to Olga Preobrajenska,
1833:. The ballet was soon transferred to the Mariinsky Theatre.
1709:
Petipa was diagnosed with a severe case of the skin disease
3301:. Music by Pyotr Ilyich Tchaikovsky. 18 December [
2118:"Will someone tell that young man that I am not yet dead?!"
2071:
was dedicated by both Drigo and Petipa to the new Empress,
1962:, which was to have been choreographed by Petipa's brother
1153:
for Rosati in only six weeks. Confidently, Petipa answered
982:
arrived in St. Petersburg, having accepted the position of
871:, and Petipa soon relocated to Russia. On 5 June [
867:
had become vacant upon the departure of the French danseur
3518:
29 April] 1869. Imperial Theatre, Tsarskoye Selo.
2656:
for Amalia Ferraris). Music by Cesare Pugni on a theme by
1304:), which was staged especially for the visiting ballerina
27:
French-Russian ballet dancer and choreographer (1818â1910)
3963:. Wesleyan University Press: Middletown, CT, 2005 p.35-38
549:. The young Marius received his general education at the
3955:
3953:
3951:
3949:
1930:, Petipa presented the one-act ballet to Drigo's music,
1294:
17 October] 1868. This was the colossal ballet
495:
Marius Petipa was born Victor Marius Alphonse Petipa in
2348:
A Page of the Stepanov choreographic notation from the
1424:
Ballet Composer of the St. Petersburg Imperial Theatres
557:
where he studied music and learned to play the violin.
1720:, fell to the Imperial Theatre's second Ballet Master
3740:. Music by Alexander Glazunov. 20 February [
3720:). Music by Alexander Glazunov. 30 January [
1414:
29 February] 1871. On 21 November [
886:
For his début, the director of the Imperial Theatres
2128:
and stage many of the ageing Ballet Master's works.
1250:
celebrating the many peoples of the Russian Empire.
1160:
During Petipa's sojourn in Paris for the staging of
768:
while producing new works based on Spanish themes â
4309:
4284:
4267:
4195:
4150:
2944:. Music arranged by Ludwig Minkus from the airs of
2124:was being paid large sums to travel throughout the
259:
245:
237:
211:
182:
159:
60:. Unsourced material may be challenged and removed.
3253:. Music by Nikolai Krotkov. 23 November [
2107:. Gorsky had been engaged as Ballet Master to the
1983:, was given its premiere on 20 December [
1979:, based on the Perrault fairytale to the music of
1651:. The ballet was set to the music of the composer
284:(11 March 1818 – 14 July [
3752:. Music by Riccardo Drigo. 23 February [
3225:. Music by Riccardo Drigo. 6 February [
3137:. Music by Ludwig Minkus. 21 February [
3000:. Music by Ludwig Minkus. 13 February [
2972:. Music by Ludwig Minkus. 14 December [
2920:. Music by Ludwig Minkus. 10 February [
2824:. Music by Ludwig Minkus. 29 December [
2111:, and in 1900 he mounted a complete revision of
1104:On 29 May 1861 Petipa presented his 1859 ballet
1047:, a fanatic balletomane and patron of the arts.
978:In the winter of 1849, the French Ballet Master
4014:Marius Petipa, Materialy, vospominaniya, stat'i
3799:La Romance d'un Bouton de rose et d'un Papillon
3486:. Music by Cesare Pugni. 30 November [
3474:. Music by Cesare Pugni. 28 November [
2932:. Music by Ludwig Minkus. 19 January [
2908:. Music by Ludwig Minkus. 4 February [
2864:. Music by Ludwig Minkus. 6 February [
2728:. Music by Cesare Pugni. 24 December [
2640:. Music by Cesare Pugni. 30 December [
2264:La Romance d'un Bouton de rose et d'un Papillon
1236:The Little Humpbacked Horse, or The Tsar Maiden
665:. Petipa also took part in performances at the
3708:28 July] 1897, Olga Island, Peterhof.
3638:13 July] 1889. Olga Island, Peterhof.
3438:. Music by Cesare Pugni. 21 January [
2812:. Music by Cesare Pugni. 12 January [
2788:. Music by Cesare Pugni. 31 October [
2752:. Music by Cesare Pugni. 22 January [
2716:. Music by Cesare Pugni. 30 January [
1676:. Petipa is shown holding a banner that reads
295:Marius Petipa is noted for his long career as
4247:
4104:
4012:
3594:. Music by Ludwig Minkus. 3 August [
2725:La BeautĂ© du Liban, ou lâEsprit des montagnes
2568:and Konstantin Liadov. 22 February [
2109:Ballet of the Moscow Imperial Bolshoi Theatre
2037:, which premiered to great success. Petipa's
1282:, for which he included the celebrated scene
8:
4008:. Introduction by, and Edited by Ivor Guest.
3999:Jules Perrot â Master of the Romantic Ballet
3682:. Music by Riccardo Drigo. 29 May [
3502:6 March] 1868. For students of the
3498:. Music by Cesare Pugni. 18 March [
2704:. Music by Cesare Pugni. 24 April [
2672:. Music by Cesare Pugni. 30 April [
2231:completely new choreography for many of the
2182:In the end Gorsky never succeeded Petipa as
1994:The Temple of the Past, Present & Future
1231:Le Petit Cheval bossu, Ou La Tsar-Demoiselle
1164:, he acquired a scenario from the dramatist
4354:Male ballet dancers from the Russian Empire
3646:. Music by (?) Richter. 16 April [
3574:. Music by Ludwig Minkus. 30 May [
2339:dance notation created by Vladimir Stepanov
1418:9 November] 1871 Petipa presented
661:where he partnered the legendary ballerina
4254:
4240:
4232:
4111:
4097:
4089:
3514:. Music by Cesare Pugni. 11 May [
3444:Palace of the Grand Duchess Elena Pavlovna
2580:(revival, after F. Taglioni). Staged with
2556:(revival, after J. Mazilier). Staged with
1694:, which premiered on 15 January [
1045:Palace of the Grand Duchess Elena Pavlovna
894:to create the first Russian production of
890:commissioned Petipa and the Ballet Master
167:
156:
4068:Biographical/analytical article on Petipa
3285:and Riccardo Drigo. 31 January [
3057:(revival, after A. Saint-LĂ©on). Music by
1515:from Act II in Petipa's final revival of
1220:earned for Petipa the position of second
1155:"Yes, I shall try, and probably succeed."
1101:to the St. Petersburg Imperial Theatres.
855:In 1847, Petipa accepted the position of
760:In 1843, Petipa was offered the position
120:Learn how and when to remove this message
4046:Wiley, Roland John, ed. and translator.
3115:and Cesare Pugni. 27 December [
2840:and Ludwig Minkus. 19 January [
2776:and Cesare Pugni. 19 November [
2692:and Cesare Pugni. 21 December [
2385:(as danced by the Imperial Ballet), and
2130:
1970:score that boasted an off-stage choir.
1613:
1538:
1522:
1506:
1494:
1482:
1194:
992:Ballet Composer of the Imperial Theatres
4399:Dancers from Provence-Alpes-CĂŽte d'Azur
3856:
3281:(revival, after F. Taglioni). Music by
2984:(revival, after F. Taglioni). Music by
2836:(revival, after M. Taglioni). Music by
2628:and Cesare Pugni. 24 January [
2612:and Cesare Pugni. 7 February [
2292:Olga Preobrajenska from the old ballet
1988:consisted of a three-part astrological
499:, France on 11 March 1818. His mother,
4394:French emigrants to the Russian Empire
4021:(Leningrad State Theater Museum 1971).
1948:: based on the un-staged danced scene
1324:, which would later be transformed by
1059:The Rose, the Violet and the Butterfly
553:in Brussels, while also attending the
292:and choreographers in ballet history.
3924:. New York: Free Press. p. 256.
3864:
3862:
3860:
3456:Prince Pyotr Georgievich of Oldenburg
2988:and Ludwig Minkus. 8 March [
2764:(revival, after J. Perrot). Music by
2186:. The coveted post would later go to
2161:, was given on 22 February [
908:26 September] 1847 with the
7:
2079:Final years with the Imperial Ballet
58:adding citations to reliable sources
4339:Choreographers of Mariinsky Theatre
3961:Legacies of Twentieth-Century Dance
3451:La Rose, la Violette et le Papillon
2245:that would later be transformed by
2209:Jules-Henri Vernoy de Saint-Georges
2178:, a St. Petersburg newspaper, that
1674:"The Russian Ballet in Caricatures"
1368:in the role of Kitri. The composer
1166:Jules-Henri Vernoy de Saint-Georges
1054:La Rose, la violette et le papillon
940:), which premiered under the title
685:Petipa was offered the position of
4389:19th-century French ballet dancers
4055:The Life and Ballets of Lev Ivanov
3921:St. Petersburg: A Cultural History
3899:. Complutense University of Madrid
2488:DĂ©part pour la course des taureaux
2298:. Petipa wrote next to this entry
2049:10 February] 1900 at the
1595:Vaganova Academy of Russian Ballet
1350:" ... the indulgence of my youth."
1211:premiered on 30 January [
1018:. Together they had two children:
802:DĂ©part pour la course des taureaux
25:
3983:Garafola, Lynn / Petipa, Marius.
3726:Imperial Theatre of the Hermitage
3672:Grand Duke Alexander Mikhailovich
3038:Pygmalion, ou La statue de Chypre
2500:Forfasella Ăł la hija del infierno
2321:Petipa died on 14 July [
1831:Grand Duke Alexander Mikhailovich
537:, where his father was appointed
535:United Kingdom of the Netherlands
473:La Halte de Cavalerie Pas de deux
455:Le Carnaval de Venise Pas de deux
173:Maestro Marius Ivanovich Petipa,
4186:
4168:St Petersburg Union of Composers
4134:Encyclopedia of Saint Petersburg
3668:Grand Duchess Xenia Alexandrovna
2519:Imperial Bolshoi Kammeny Theatre
2482:LâAventure dâune fille de Madrid
1732:premiered 18 December [
1584:The golden age of Russian ballet
948:10 February] 1848. The
786:LâAventure dâune fille de Madrid
34:
2917:Roxana, la beauté du Monténégro
2816:31 January 1871] 1872.
2149:Snow White and the Seven Dwarfs
1924:Moscow Imperial Bolshoi Theatre
595:The Petipa family relocated to
578:erupted after a performance of
515:(Principal Male Dancer) to the
481:La Fille Mal Gardée Pas de deux
45:needs additional citations for
3845:List of Russian ballet dancers
3624:Grand Duke Pavel Alexandrovich
3283:Jean Madeleine Schneitzhoeffer
2997:ZoraĂŻa, ou la Maure en Espagne
1926:in honor of the coronation of
1637:Petipa presented his colossal
1007:many revivals of older works.
507:, was among the most renowned
381:(a.k.a. Harlequinade) (1900).
1:
4041:The Harvard Library Bulletin,
2892:. Music by Ludwig Minkus and
2876:. Music by Ludwig Minkus and
2172:scathing reviews in the press
2000:completed the scene with the
1531:in Petipa's final revival of
790:The Adventures of a Madrileña
282:Victor Marius Alphonse Petipa
134:Eastern Slavic naming customs
4300:Mariia Surovshchikova-Petipa
3985:The Diaries of Marius Petipa
3698:Les Noces de Thétis et Pélée
3620:Princess Alexandra of Greece
3534:14 December] 1869.
2543:26 September] 1847.
2373:, his definitive version of
2269:" ... a little masterpiece."
2252:Diane and Actéon Pas de Deux
1863:The turn of the 20th century
1406:Petipa was officially named
1364:, with the famous ballerina
1331:Diane and Actéon Pas de Deux
1228:with the fantastical ballet
1144:The great Italian Ballerina
1069:A Marriage Under the Regency
1016:Mariia Surovshchikova-Petipa
468:Diana and Actéon Pas de deux
347:(choreographed jointly with
4384:Burials at Tikhvin Cemetery
4364:Entertainers from Marseille
3724:17 January] 1900.
3692:Empress Alexandra Fydorovna
3347:The Little Humpbacked Horse
3273:13 February] 1891.
3257:11 November] 1890.
3217:17 February] 1888.
3189:17 December] 1886.
3177:14 February] 1886.
3119:15 December] 1885.
3065:25 November] 1884.
3049:11 December] 1883.
2992:24 February] 1880.
2828:17 December] 1872.
2732:12 December] 1863.
2696:19 December] 1859.
2664:12 February] 1859.
2644:18 December] 1858.
2577:LĂ©da, ou la LaitiĂšre Suisse
2572:10 February] 1848.
1876:The Little Humpbacked Horse
1781:Baron Boris Fitinhof-Schell
1403:26 January] 1870.
1278:for the visiting ballerina
1111:ThĂ©Ăątre ImpĂ©rial de lâOpĂ©ra
806:Leaving for the Bull Fights
642:at the National Theatre on
611:. By 1838 he was appointed
422:The Little Humpbacked Horse
4415:
4359:French male ballet dancers
4130:"2 Architect Rossi Street"
3442:9 January] 1855.
3423:9 February] 1903.
3391:8 December] 1896.
3375:21 January] 1896.
3359:6 December] 1895.
3342:15 January] 1895.
3330:5 December] 1893.
3305:6 December] 1892.
3289:19 January] 1892.
3229:25 January] 1889.
3201:6 December] 1887.
3141:9 February] 1886.
3125:Imperial Mariinsky Theatre
3082:23 January] 1885.
3033:10 January] 1882.
3004:1 February] 1881.
2976:2 December] 1879.
2924:29 January] 1878.
2912:23 January] 1877.
2884:18 January] 1876.
2868:26 January] 1875.
2856:27 October] 1874.
2804:1 November] 1870.
2792:17 October] 1868.
2780:7 November] 1867.
2756:10 January] 1866.
2744:4 November] 1865.
2720:18 January] 1862.
2637:Un Mariage sous la RĂ©gence
2632:12 January] 1858.
2616:26 January] 1850.
2600:4 December] 1849.
2584:and Jean Petipa. Music by
2364:Russian Revolution of 1917
2327:Alexander Nevsky Monastery
1817:28 July] 1894 at
1750:Valse des flocons de neige
1308:. The ballet featured the
1238:), a ballet adaptation of
1064:Un Mariage sous la RĂ©gence
892:Pierre-Frédéric Malevergne
774:Carmen and the Bullfighter
132:In this name that follows
131:
4349:French ballet librettists
4184:
4126:
3989:Studies in Dance History.
3895:HormigĂłn Vicente, Laura.
3407:7 January] 1898.
3245:3 January] 1890.
3021:8 October] 1881.
2941:Frisac, ou la Double Noce
2936:7 January] 1879.
2889:Le Songe dâune nuit dâĂ©tĂ©
2844:7 January] 1874.
2284:Remaining years and death
2004:performed by Legnani and
1764:The Daughter of the Snows
1529:The Kingdom of the Shades
1472:The Daughter of the Snows
944:on 22 February [
883:until his death in 1855.
605:Grand Théùtre de Bordeaux
277:
254:Grand Théùtre de Bordeaux
166:
4379:Ballets by Marius Petipa
4262:The Petipa ballet family
4208:Vera Michurina-Samoilova
4178:Most Holy Trinity Church
4120:2 Architect Rossi Street
3978:Complete Book of Ballets
3918:Volkov, Solomon (1995).
3770:. 27 February [
3607:Les Caprices du papillon
3536:Imperial Bolshoi Theatre
3530:. 26 December [
3419:. 22 February [
3387:. 20 December [
3364:La Halte de la cavalerie
3269:. 25 February [
3239:Pyotr Ilyich Tchaikovsky
3173:. 26 February [
3045:. 23 December [
3043:Prince Nikita Trubestkoi
2964:11 March] 1879.
2770:Sir Michael Andrew Costa
2708:12 April] 1860.
2676:23 April] 1859.
2660:. 24 February [
2596:. 16 December [
2219:for her performances in
2203:at the Paris Opéra (the
2195:premier maĂźtre de ballet
2184:premier maĂźtre de ballet
2015:On 19 January [
1946:ballet Ă grand spectacle
1873:, and Saint-LĂ©on's 1864
1798:Prima ballerina assoluta
1783:. The Italian ballerina
1568:on 4 February [
1456:The Adventures of Peleus
1408:premier maĂźtre de ballet
1379:of the Imperial Theatres
1377:Premier maĂźtre de ballet
1362:Moscow's Bolshoi Theatre
1334:for her 1935 revival of
1268:On 6 February [
1140:of the Imperial Theatres
1123:premier maĂźtre de ballet
1025:On 21 January [
984:premier maĂźtre de ballet
750:The Voice of the Flowers
601:Premier maĂźtre de ballet
590:Premier maĂźtre de ballet
485:Harlequinade Pas de deux
463:La Esmeralda Pas de deux
459:The Talisman Pas de deux
297:Premier maĂźtre de ballet
175:premier maĂźtre de ballet
4158:Vaganova Ballet Academy
3786:, with spoken verse by
3749:Les Millions d'Arlequin
3584:Empress Maria Fyodorvna
3550:. 6 February [
3458:. 20 October [
3403:. 19 January [
3371:. 2 February [
3297:. Staged by Petipa and
3241:. 15 January [
3061:. 7 December [
2900:14 July] 1876.
2880:. 30 January [
2849:La NaĂŻade et le PĂȘcheur
2056:Les Millions d'Arlequin
1940:17 May] 1896.
1754:Waltz of the Snowflakes
1519:. St. Petersburg, 1899.
1162:Le Marché des Innocents
1138:Second maĂźtre de ballet
1116:Le Marché des Innocents
1106:Le Marché des parisiens
1020:Marie Mariusovna Petipa
574:On 25 August 1830, the
477:Don Quixote Pas de deux
378:Les Millions d'Arlequin
270:Marius Ivanovich Petipa
4013:
3779:Le CĆur de la marquise
3702:Les Aventures de Pélée
3504:Imperial Ballet School
3428:Other venues in Russia
2873:Les Aventures de Pélée
2713:The Pharaoh's Daughter
2669:Le Marché des parisien
2539:. 8 October [
2359:
2352:for the Petipa/Minkus
2200:The Pharaoh's Daughter
2144:
2136:
2067:set to Drigo's music.
2039:Pas classique hongrois
2002:Pas de deux éléctrique
1886:The Pharaoh's Daughter
1811:The Awakening of Flora
1779:, set to the music of
1704:The Pharaoh's Daughter
1685:
1627:
1548:
1536:
1520:
1504:
1492:
1451:Les Aventures de Pélée
1410:on 12 March [
1244:The Pharaoh's Daughter
1226:The Pharaoh's Daughter
1218:The Pharaoh's Daughter
1209:The Pharaoh's Daughter
1204:
1201:The Pharaoh's Daughter
1176:The Pharaoh's Daughter
1074:Le Marché des parisien
927:
881:Imperial Ballet School
824:St. Petersburg, Russia
720:The Beauty of Bordeaux
314:The Pharaoh's Daughter
278:ĐĐ°ŃĐžŃŃ ĐĐČĐ°ĐœĐŸĐČĐžŃ ĐĐ”ŃОпа
187:Marius Alphonse Petipa
4344:French ballet masters
4062:Tchaikovsky's Ballets
4017:) Ed. Yuri Slonimsky
3662:. 9 August [
3580:Emperor Alexander III
3091:La Précaution inutile
2960:. 23 March [
2737:La Danseuse en voyage
2649:La Carnaval de Venise
2506:Alba-Flor la pesarosa
2457:Le Langage des fleurs
2395:of London (later the
2347:
2300:" ... it's finished!"
2295:La Danseuse en voyage
2142:
2134:
1682:St. Petersburg Ballet
1671:
1617:
1542:
1526:
1510:
1498:
1486:
1300:(known in Russian as
1198:
1031:ballet-divertissement
921:
898:'s celebrated ballet
798:The Flower of Granada
745:Le Langage des Fleurs
740:The Intrigues of Love
555:Brussels Conservatory
547:Théùtre de la Monnaie
533:in what was then the
491:Early life and career
360:La Halte de cavalerie
250:Brussels Conservatory
4173:Choreographic museum
4060:Wiley, Roland John.
4053:Wiley, Roland John.
4035:Wiley, Roland John.
4004:Guest, Ivor Forbes.
3790:. 7 March [
3700:(one-act version of
3614:. 17 June [
3591:LâOffrande Ă lâAmour
3213:. 1 March [
3149:. Music arranged by
3134:Les Pilules magiques
3074:La Femme capricieuse
2896:. 26 July [
2562:Napoléon Henri Reber
2470:Carmen et son toréro
2445:LâIntrigue amoureuse
2420:La Petite Bohémienne
2414:Le Droit du seigneur
2176:Stock Trade Bulletin
2159:Arsenii Koreshchenko
2086:Vladimir Telyakovsky
2073:Alexandra Feodorovna
1998:Temple of the Future
1794:fouettés en tournant
1678:ĐĐ”ŃĐ”ŃбŃŃĐłŃĐșŃĐč ĐалДŃŃ
1641:set in ancient Rome
1366:Anna Sobeshchanskaya
1248:Grand divertissement
1185:Le Roman de la Momie
1168:for a ballet titled
990:, who was appointed
877:Classe de perfection
782:The Pearl of Seville
770:Carmen et son toréro
735:L'Intrigue Amoureuse
585:La muette de Portici
307:(today known as the
263:Ballet, choreography
54:improve this article
4275:Jean-Antoine Petipa
3811:Cultural depictions
3760:Les ElÚves de Dupré
3688:Emperor Nicholas II
3495:LâAmour bienfaiteur
3435:LâĂtoile de Grenade
3417:Arseny Koreshchenko
3234:The Sleeping Beauty
3109:Peter Ludwig Hertel
3087:La Fille Mal Gardée
2929:La Fille des Neiges
2494:La Fleur de Grenade
2476:La Perle de SĂ©ville
2439:La Jolie Bordelaise
2370:The Sleeping Beauty
2350:Sergeyev Collection
2329:in St. Petersburg.
2235:in his 1868 ballet
1928:Emperor Nicholas II
1827:Grand Duchess Xenia
1759:La Fille des Neiges
1700:The Sleeping Beauty
1691:The Sleeping Beauty
1624:The Sleeping Beauty
1620:Aurora's Bedchamber
1611:of Russian ballet.
1559:benefit performance
1557:was staged for the
1467:La Fille des Neiges
1328:into the so-called
1320:, or simply as the
1318:Les amours de Diane
1171:La Fille du Pharaon
1079:The Parisian Market
1049:LâĂtoile de Grenade
1041:The Star of Granada
1036:LâĂtoile de Grenade
794:La Fleur de Grenade
778:La Perle de SĂ©ville
715:La Jolie Bordelaise
692:La Fille Mal Gardée
655:benefit performance
505:Jean-Antoine Petipa
445:Mazurka des enfants
437:Grand Pas classique
431:(with Lev Ivanov).
412:La Fille Mal Gardée
338:The Sleeping Beauty
301:First Ballet Master
227:Taurida Governorate
4163:Theatrical Library
4043:24.1 January 1976.
3995:Guest, Ivor Forbes
3991:3.1 (Spring 1992).
3976:Beaumont, Cyrl W.
3762:(1 act version of
3718:The Trial of Damis
3655:Le RĂ©veil de Flore
3631:La ForĂȘt enchantĂ©e
3571:La Nuit et le Jour
3401:Alexander Glazunov
3351:La Tsar-Demoiselle
3070:Le Diable Ă Quatre
2981:La Fille du Danube
2958:Gioacchino Rossini
2548:Le Diable amoureux
2360:
2278:Russo-Japanese War
2247:Agrippina Vaganova
2207:) by relatives of
2145:
2137:
2035:Alexander Glazunov
1881:La Tsar-Demoiselle
1823:Le RĂ©veil de Flore
1806:Le RĂ©veil de Flore
1686:
1628:
1549:
1537:
1521:
1505:
1493:
1326:Agrippina Vaganova
1205:
933:Le Diable amoureux
928:
913:Yelena Andreyanova
888:Alexander Gedeonov
863:. The position of
838:Yelena Andreyanova
669:where his brother
576:Belgian Revolution
501:Victorine Grasseau
354:Le RĂ©veil de Flore
4326:
4325:
4229:
4228:
4216:(Memorial plaque)
4210:(Memorial plaque)
3768:Albert Vinzentini
3732:, St. Petersburg.
3713:Les Ruses d'Amour
3506:, St. Petersburg.
3446:, St. Petersburg.
3369:Johann Armsheimer
3155:Johann Strauss II
3153:from the airs of
2946:Giacomo Meyerbeer
2894:Felix Mendelssohn
2838:Jacques Offenbach
2686:Jean-Pierre Aumer
2586:Adalbert Gyrowetz
2333:Notation of works
2223:and her début in
2168:Le Miroir magique
2122:Nicholas Sergeyev
2051:Hermitage Theatre
1745:Grand Pas de deux
1397:Avenue de l'Opéra
1188:. Throughout the
1180:Théophile Gautier
1127:Arthur Saint-LĂ©on
938:The Devil in Love
842:Alexandr Gedeonov
651:Comédie Française
525:to that theatre.
267:
266:
130:
129:
122:
104:
16:(Redirected from
4406:
4256:
4249:
4242:
4233:
4190:
4145:
4143:
4141:
4113:
4106:
4099:
4090:
4024:Petipa, Marius.
4016:
3964:
3959:Garafola, Lynn.
3957:
3944:
3943:
3915:
3909:
3908:
3906:
3904:
3892:
3886:
3885:
3883:
3881:
3872:. Archived from
3866:
3643:Un conte de fées
3412:The Magic Mirror
3324:Enrico Cecchetti
3171:Anton Rubinstein
3151:Albert Vizentini
3127:, St. Petersburg
3113:Ferdinand HĂ©rold
3095:(revival, after
2954:Vincenzo Bellini
2809:Les Deux Ă©toiles
2690:Ferdinand HĂ©rold
2684:(revival, after
2658:NiccolĂČ Paganini
2566:François Benoist
2533:Edouard Deldevez
2521:, St. Petersburg
2433:Bordeaux, France
2426:La Noce Ă Nantes
2393:Vic-Wells Ballet
2249:into the famous
2173:
2154:The Magic Mirror
2097:Alexander Gorsky
2033:to the music of
1821:. Petipa staged
1771:Enrico Cecchetti
1480:, also in 1879.
1360:was mounted for
1286:to the music of
1222:MaĂźtre de ballet
1051:was followed by
730:The Grape Picker
657:for the actress
617:Ballet de Nantes
539:MaĂźtre de ballet
522:MaĂźtre de ballet
309:Mariinsky Ballet
279:
218:
196:
194:
171:
157:
125:
118:
114:
111:
105:
103:
62:
38:
30:
21:
18:Titania (ballet)
4414:
4413:
4409:
4408:
4407:
4405:
4404:
4403:
4329:
4328:
4327:
4322:
4305:
4298:(1818 â 1910),
4294:(1815 â 1898),
4280:
4263:
4260:
4230:
4225:
4203:Fyodor Lopukhov
4191:
4182:
4146:
4139:
4137:
4128:
4122:
4117:
4076:
3973:
3968:
3967:
3958:
3947:
3932:
3917:
3916:
3912:
3902:
3900:
3894:
3893:
3889:
3879:
3877:
3876:on 3 March 2016
3868:
3867:
3858:
3853:
3840:List of dancers
3836:
3825:; portrayed by
3813:
3788:Frédéric Febvre
3612:Nikolai Krotkov
3105:Virginia Zucchi
3099:). Staged with
2785:Le Roi Candaule
2774:NiccolĂČ Bajetti
2766:Giacomo Panizza
2515:
2466:
2435:
2410:
2405:
2335:
2290:Prima ballerina
2286:
2257:"I am amazing."
2238:Le Roi Candaule
2171:
2101:premier danseur
2081:
1916:Le Roi Candaule
1865:
1857:corps de ballet
1819:Peterhof Palace
1785:Pierina Legnani
1632:Ballet Composer
1603:divertissements
1586:
1574:Sergei Khudekov
1566:Ekaterina Vazem
1563:Prima ballerina
1513:Le Jardin animé
1474:) in 1879, and
1386:Le Poisson doré
1381:
1346:Le Roi Candaule
1342:Le Roi Candaule
1297:Le Roi Candaule
1284:Le jardin animé
1263:Marfa Muravieva
1260:Prima ballerina
1256:Prima ballerina
1178:), inspired by
1146:Carolina Rosati
1142:
1099:Prima ballerina
1089:The Blue Dahlia
1013:Prima ballerina
950:prima ballerina
910:Prima ballerina
896:Joseph Mazilier
865:premier danseur
857:premier danseur
853:
826:
814:ThérÚse Elssler
766:Spanish Dancing
762:premier danseur
758:
687:Premier danseur
683:
675:Premier danseur
673:was engaged as
626:divertissements
613:Premier danseur
609:Auguste Vestris
565:'s 1800 ballet
543:Premier danseur
513:Premier danseur
493:
305:Imperial Ballet
252:
241:French, Russian
233:
220:
216:
207:
198:
192:
190:
189:
188:
178:
162:
153:
126:
115:
109:
106:
69:"Marius Petipa"
63:
61:
51:
39:
28:
23:
22:
15:
12:
11:
5:
4412:
4410:
4402:
4401:
4396:
4391:
4386:
4381:
4376:
4371:
4366:
4361:
4356:
4351:
4346:
4341:
4331:
4330:
4324:
4323:
4321:
4320:
4313:
4311:
4310:3rd Generation
4307:
4306:
4304:
4303:
4288:
4286:
4285:2nd Generation
4282:
4281:
4279:
4278:
4271:
4269:
4265:
4264:
4261:
4259:
4258:
4251:
4244:
4236:
4227:
4226:
4224:
4223:
4220:Galina Ulanova
4217:
4211:
4205:
4199:
4197:
4193:
4192:
4185:
4183:
4181:
4180:
4175:
4170:
4165:
4160:
4154:
4152:
4148:
4147:
4127:
4124:
4123:
4118:
4116:
4115:
4108:
4101:
4093:
4087:
4086:
4075:
4074:External links
4072:
4071:
4070:
4065:
4058:
4051:
4044:
4033:
4022:
4009:
4002:
3992:
3981:
3972:
3969:
3966:
3965:
3945:
3930:
3910:
3887:
3855:
3854:
3852:
3849:
3848:
3847:
3842:
3835:
3832:
3831:
3830:
3812:
3809:
3808:
3807:
3795:
3784:Ernest Guiraud
3775:
3764:LâOrdre du roi
3757:
3745:
3733:
3709:
3695:
3675:
3660:Riccardo Drigo
3651:
3639:
3627:
3603:
3587:
3567:
3555:
3539:
3519:
3507:
3491:
3479:
3467:
3464:Tsarskoye Selo
3447:
3425:
3424:
3408:
3392:
3376:
3360:
3343:
3331:
3306:
3294:The Nutcracker
3290:
3274:
3258:
3246:
3230:
3218:
3211:Mikhail Ivanov
3202:
3190:
3178:
3167:Jules Massenet
3146:LâOrdre du Roi
3142:
3121:
3120:
3083:
3066:
3050:
3034:
3022:
3005:
2993:
2977:
2965:
2950:Giuseppe Verdi
2937:
2925:
2913:
2901:
2885:
2869:
2857:
2845:
2829:
2817:
2805:
2793:
2781:
2757:
2745:
2733:
2721:
2709:
2701:Le Dahlia Bleu
2697:
2677:
2665:
2645:
2633:
2617:
2601:
2590:Michele Carafa
2573:
2544:
2514:
2511:
2510:
2509:
2503:
2497:
2491:
2485:
2479:
2473:
2465:
2462:
2461:
2460:
2454:
2448:
2442:
2434:
2431:
2430:
2429:
2423:
2417:
2409:
2408:Nantes, France
2406:
2404:
2401:
2388:The Nutcracker
2334:
2331:
2285:
2282:
2205:Palais Garnier
2188:Mikhail Fokine
2126:Russian Empire
2080:
2077:
2063:), a balletic
1990:divertissement
1864:
1861:
1730:The Nutcracker
1726:The Nutcracker
1717:The Nutcracker
1657:Riccardo Drigo
1653:Mikhail Ivanov
1649:Elena Cornalba
1585:
1582:
1580:of its genre.
1380:
1374:
1306:Henrietta D'or
1280:AdĂšle Grantzow
1141:
1135:
1131:Andrei Saburov
1091:) in 1860 and
1084:Le Dahlia Bleu
957:Marie Taglioni
924:St. Petersburg
861:Russian Empire
852:
849:
825:
822:
757:
754:
682:
679:
663:Carlotta Grisi
509:Ballet Masters
492:
489:
344:The Nutcracker
290:ballet masters
265:
264:
261:
260:Known for
257:
256:
247:
243:
242:
239:
235:
234:
231:Russian Empire
221:
219:(aged 92)
213:
209:
208:
199:
186:
184:
180:
179:
172:
164:
163:
160:
128:
127:
42:
40:
33:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
4411:
4400:
4397:
4395:
4392:
4390:
4387:
4385:
4382:
4380:
4377:
4375:
4372:
4370:
4367:
4365:
4362:
4360:
4357:
4355:
4352:
4350:
4347:
4345:
4342:
4340:
4337:
4336:
4334:
4319:(1857 - 1930)
4318:
4315:
4314:
4312:
4308:
4302:(1836 â 1882)
4301:
4297:
4296:Marius Petipa
4293:
4292:Lucien Petipa
4290:
4289:
4287:
4283:
4277:(1787 - 1855)
4276:
4273:
4272:
4270:
4266:
4257:
4252:
4250:
4245:
4243:
4238:
4237:
4234:
4221:
4218:
4215:
4214:Marius Petipa
4212:
4209:
4206:
4204:
4201:
4200:
4198:
4194:
4189:
4179:
4176:
4174:
4171:
4169:
4166:
4164:
4161:
4159:
4156:
4155:
4153:
4151:Organizations
4149:
4135:
4131:
4125:
4121:
4114:
4109:
4107:
4102:
4100:
4095:
4094:
4091:
4085:
4081:
4080:Marius Petipa
4078:
4077:
4073:
4069:
4066:
4063:
4059:
4056:
4052:
4049:
4045:
4042:
4039:Published in
4038:
4034:
4031:
4027:
4023:
4020:
4015:
4010:
4007:
4003:
4000:
3996:
3993:
3990:
3986:
3982:
3979:
3975:
3974:
3970:
3962:
3956:
3954:
3952:
3950:
3946:
3941:
3937:
3933:
3931:0-02-874052-1
3927:
3923:
3922:
3914:
3911:
3898:
3891:
3888:
3875:
3871:
3865:
3863:
3861:
3857:
3850:
3846:
3843:
3841:
3838:
3837:
3833:
3828:
3824:
3820:
3819:
3815:
3814:
3810:
3805:
3801:
3800:
3796:
3793:
3789:
3785:
3781:
3780:
3776:
3773:
3769:
3765:
3761:
3758:
3755:
3751:
3750:
3746:
3743:
3739:
3738:
3734:
3731:
3730:Winter Palace
3727:
3723:
3719:
3715:
3714:
3710:
3707:
3703:
3699:
3696:
3693:
3689:
3685:
3681:
3680:
3676:
3673:
3669:
3665:
3661:
3657:
3656:
3652:
3649:
3645:
3644:
3640:
3637:
3633:
3632:
3628:
3625:
3621:
3617:
3613:
3609:
3608:
3604:
3601:
3597:
3593:
3592:
3588:
3585:
3581:
3577:
3573:
3572:
3568:
3565:
3561:
3560:
3556:
3553:
3549:
3545:
3544:
3540:
3537:
3533:
3529:
3528:Ludwig Minkus
3525:
3524:
3520:
3517:
3513:
3512:
3508:
3505:
3501:
3497:
3496:
3492:
3489:
3485:
3484:
3480:
3477:
3473:
3472:
3468:
3465:
3461:
3457:
3453:
3452:
3448:
3445:
3441:
3437:
3436:
3432:
3431:
3430:
3429:
3422:
3418:
3414:
3413:
3409:
3406:
3402:
3398:
3397:
3393:
3390:
3386:
3385:Pyotr Schenck
3382:
3381:
3377:
3374:
3370:
3366:
3365:
3361:
3358:
3354:
3352:
3348:
3344:
3341:
3337:
3336:
3332:
3329:
3325:
3321:
3317:
3315:
3311:
3307:
3304:
3300:
3296:
3295:
3291:
3288:
3284:
3280:
3279:
3275:
3272:
3268:
3267:Ludwig Minkus
3264:
3263:
3259:
3256:
3252:
3251:
3247:
3244:
3240:
3236:
3235:
3231:
3228:
3224:
3223:
3219:
3216:
3212:
3208:
3207:
3203:
3200:
3196:
3195:
3191:
3188:
3184:
3183:
3179:
3176:
3172:
3168:
3164:
3160:
3156:
3152:
3148:
3147:
3143:
3140:
3136:
3135:
3131:
3130:
3129:
3128:
3126:
3118:
3114:
3110:
3106:
3102:
3098:
3097:Paul Taglioni
3094:
3092:
3088:
3084:
3081:
3077:
3075:
3071:
3067:
3064:
3060:
3056:
3055:
3051:
3048:
3044:
3040:
3039:
3035:
3032:
3028:
3027:
3023:
3020:
3016:
3014:
3010:
3009:La VivandiĂšre
3006:
3003:
2999:
2998:
2994:
2991:
2987:
2983:
2982:
2978:
2975:
2971:
2970:
2966:
2963:
2959:
2955:
2951:
2947:
2943:
2942:
2938:
2935:
2931:
2930:
2926:
2923:
2919:
2918:
2914:
2911:
2907:
2906:
2902:
2899:
2895:
2891:
2890:
2886:
2883:
2879:
2875:
2874:
2870:
2867:
2863:
2862:
2858:
2855:
2851:
2850:
2846:
2843:
2839:
2835:
2834:
2830:
2827:
2823:
2822:
2818:
2815:
2811:
2810:
2806:
2803:
2799:
2798:
2794:
2791:
2787:
2786:
2782:
2779:
2775:
2771:
2767:
2763:
2762:
2758:
2755:
2751:
2750:
2746:
2743:
2739:
2738:
2734:
2731:
2727:
2726:
2722:
2719:
2715:
2714:
2710:
2707:
2703:
2702:
2698:
2695:
2691:
2687:
2683:
2682:
2681:La Somnambule
2678:
2675:
2671:
2670:
2666:
2663:
2659:
2655:
2651:
2650:
2646:
2643:
2639:
2638:
2634:
2631:
2627:
2623:
2622:
2618:
2615:
2611:
2607:
2606:
2602:
2599:
2595:
2591:
2587:
2583:
2579:
2578:
2574:
2571:
2567:
2563:
2559:
2555:
2553:
2549:
2545:
2542:
2538:
2537:Ludvig Minkus
2534:
2530:
2529:
2525:
2524:
2523:
2522:
2520:
2512:
2507:
2504:
2501:
2498:
2495:
2492:
2489:
2486:
2483:
2480:
2477:
2474:
2471:
2468:
2467:
2464:Madrid, Spain
2463:
2458:
2455:
2452:
2449:
2446:
2443:
2440:
2437:
2436:
2432:
2427:
2424:
2421:
2418:
2415:
2412:
2411:
2407:
2402:
2400:
2398:
2394:
2390:
2389:
2384:
2383:
2378:
2377:
2372:
2371:
2365:
2357:
2356:
2351:
2346:
2342:
2340:
2332:
2330:
2328:
2324:
2320:
2316:
2312:
2308:
2303:
2301:
2297:
2296:
2291:
2283:
2281:
2279:
2274:
2270:
2266:
2265:
2259:
2258:
2254:
2253:
2248:
2244:
2240:
2239:
2234:
2228:
2226:
2222:
2218:
2212:
2210:
2206:
2202:
2201:
2196:
2191:
2189:
2185:
2181:
2177:
2169:
2164:
2160:
2156:
2155:
2150:
2141:
2133:
2129:
2127:
2123:
2119:
2114:
2110:
2106:
2102:
2098:
2093:
2091:
2087:
2078:
2076:
2074:
2070:
2066:
2062:
2058:
2057:
2052:
2048:
2043:
2040:
2036:
2032:
2028:
2024:
2023:
2018:
2013:
2011:
2007:
2006:Nikolai Legat
2003:
1999:
1995:
1991:
1986:
1982:
1978:
1977:
1971:
1969:
1965:
1961:
1960:
1955:
1951:
1947:
1943:
1939:
1935:
1934:
1929:
1925:
1920:
1918:
1917:
1912:
1911:
1906:
1905:
1900:
1899:
1894:
1893:
1888:
1887:
1882:
1878:
1877:
1872:
1871:
1862:
1860:
1858:
1854:
1850:
1845:
1841:
1840:
1834:
1832:
1828:
1824:
1820:
1816:
1812:
1808:
1807:
1801:
1799:
1795:
1790:
1786:
1782:
1778:
1777:
1772:
1767:
1765:
1761:
1760:
1755:
1751:
1746:
1741:
1740:
1735:
1731:
1727:
1723:
1719:
1718:
1712:
1707:
1705:
1701:
1697:
1693:
1692:
1683:
1679:
1675:
1670:
1666:
1664:
1663:
1658:
1654:
1650:
1646:
1645:
1640:
1635:
1633:
1625:
1621:
1616:
1612:
1610:
1609:
1604:
1600:
1596:
1592:
1583:
1581:
1579:
1575:
1571:
1567:
1564:
1560:
1556:
1555:
1546:
1541:
1534:
1530:
1525:
1518:
1514:
1509:
1502:
1497:
1490:
1485:
1481:
1479:
1478:
1473:
1469:
1468:
1463:
1462:
1457:
1453:
1452:
1447:
1443:
1442:
1437:
1436:
1431:
1430:
1425:
1421:
1417:
1413:
1409:
1404:
1402:
1398:
1394:
1393:
1388:
1387:
1378:
1375:
1373:
1371:
1370:Ludwig Minkus
1367:
1363:
1359:
1358:
1352:
1351:
1347:
1343:
1339:
1338:
1333:
1332:
1327:
1323:
1319:
1315:
1311:
1307:
1303:
1299:
1298:
1293:
1289:
1285:
1281:
1277:
1276:
1271:
1266:
1264:
1261:
1257:
1251:
1249:
1245:
1241:
1240:Pyotr Yershov
1237:
1233:
1232:
1227:
1223:
1219:
1214:
1210:
1202:
1197:
1193:
1191:
1190:Victorian era
1187:
1186:
1181:
1177:
1173:
1172:
1167:
1163:
1158:
1156:
1152:
1147:
1139:
1136:
1134:
1132:
1128:
1124:
1119:
1117:
1113:
1112:
1107:
1102:
1100:
1096:
1095:
1090:
1086:
1085:
1080:
1076:
1075:
1070:
1066:
1065:
1060:
1056:
1055:
1050:
1046:
1042:
1038:
1037:
1032:
1028:
1023:
1021:
1017:
1014:
1008:
1005:
1004:
1000:in 1850, and
999:
998:
993:
989:
985:
981:
976:
974:
970:
966:
962:
958:
953:
951:
947:
943:
939:
935:
934:
925:
920:
916:
914:
911:
907:
903:
902:
897:
893:
889:
884:
882:
878:
874:
870:
866:
862:
858:
850:
848:
845:
843:
839:
834:
832:
831:Lucien Petipa
823:
821:
819:
818:Fanny Elssler
815:
811:
807:
803:
799:
795:
791:
787:
783:
779:
775:
771:
767:
763:
755:
753:
751:
747:
746:
741:
737:
736:
731:
727:
726:
721:
717:
716:
710:
706:
705:
700:
699:
694:
693:
688:
680:
678:
676:
672:
671:Lucien Petipa
668:
664:
660:
656:
652:
647:
645:
641:
640:
635:
630:
628:
627:
622:
618:
614:
610:
606:
602:
598:
593:
591:
587:
586:
581:
577:
572:
570:
569:
568:La Dansomanie
564:
563:Pierre Gardel
558:
556:
552:
551:Grand College
548:
544:
540:
536:
532:
526:
524:
523:
518:
517:Salle Bauveau
514:
510:
506:
502:
498:
490:
488:
486:
482:
478:
474:
470:
469:
464:
460:
456:
452:
451:
446:
442:
438:
432:
430:
429:
424:
423:
418:
414:
413:
408:
407:
402:
401:
396:
395:
390:
389:
382:
380:
379:
374:
373:
368:
367:
362:
361:
356:
355:
350:
346:
345:
340:
339:
334:
333:
328:
327:
322:
321:
316:
315:
310:
306:
302:
298:
293:
291:
287:
283:
275:
271:
262:
258:
255:
251:
248:
244:
240:
236:
232:
228:
224:
214:
210:
206:
202:
197:11 March 1818
185:
181:
176:
170:
165:
161:Marius Petipa
158:
155:
151:
147:
144: and the
143:
139:
135:
124:
121:
113:
110:February 2024
102:
99:
95:
92:
88:
85:
81:
78:
74:
71: â
70:
66:
65:Find sources:
59:
55:
49:
48:
43:This article
41:
37:
32:
31:
19:
4317:Marie Petipa
4295:
4213:
4138:. Retrieved
4136:(in Russian)
4133:
4061:
4054:
4047:
4040:
4036:
4029:
4025:
4018:
4005:
3998:
3988:
3984:
3977:
3960:
3920:
3913:
3901:. Retrieved
3890:
3878:. Retrieved
3874:the original
3823:Emil Loteanu
3818:Anna Pavlova
3816:
3797:
3777:
3763:
3759:
3747:
3735:
3717:
3711:
3701:
3697:
3677:
3653:
3641:
3629:
3605:
3589:
3569:
3557:
3541:
3521:
3509:
3493:
3481:
3469:
3449:
3433:
3427:
3426:
3410:
3394:
3378:
3362:
3350:
3346:
3333:
3318:. Staged by
3313:
3309:
3292:
3276:
3260:
3248:
3232:
3220:
3204:
3192:
3182:La Esmeralda
3180:
3163:Daniel Auber
3144:
3132:
3123:
3122:
3090:
3086:
3073:
3069:
3052:
3036:
3024:
3012:
3008:
2995:
2986:Adolphe Adam
2979:
2967:
2939:
2927:
2915:
2903:
2887:
2871:
2861:Les Brigands
2859:
2847:
2831:
2819:
2807:
2795:
2783:
2759:
2747:
2735:
2723:
2711:
2699:
2688:). Music by
2679:
2667:
2653:
2647:
2635:
2626:Adolphe Adam
2619:
2610:Adolphe Adam
2603:
2594:Cesare Pugni
2582:Jules Perrot
2575:
2551:
2547:
2526:
2517:
2516:
2505:
2499:
2493:
2487:
2481:
2475:
2469:
2456:
2450:
2444:
2438:
2425:
2419:
2413:
2397:Royal Ballet
2386:
2380:
2374:
2368:
2361:
2353:
2349:
2336:
2318:
2304:
2299:
2293:
2289:
2287:
2268:
2262:
2260:
2256:
2250:
2243:Pas de Diane
2242:
2236:
2232:
2229:
2224:
2220:
2217:Anna Pavlova
2213:
2198:
2194:
2192:
2183:
2179:
2175:
2167:
2152:
2148:
2146:
2117:
2112:
2104:
2100:
2094:
2082:
2069:Harlequinade
2068:
2065:Harlequinade
2064:
2061:Harlequinade
2060:
2054:
2044:
2038:
2020:
2014:
2009:
2001:
1997:
1993:
1989:
1981:Pyotr Schenk
1974:
1972:
1957:
1950:La Pérégrina
1949:
1945:
1944:was truly a
1941:
1931:
1921:
1914:
1913:in 1900 and
1908:
1902:
1896:
1892:La Esmeralda
1890:
1884:
1880:
1874:
1868:
1866:
1856:
1852:
1843:
1837:
1835:
1822:
1810:
1804:
1802:
1797:
1774:
1768:
1763:
1757:
1753:
1749:
1744:
1737:
1729:
1725:
1715:
1708:
1703:
1699:
1689:
1687:
1681:
1677:
1673:
1660:
1642:
1639:grand ballet
1638:
1636:
1631:
1629:
1623:
1619:
1606:
1602:
1599:Grand ballet
1598:
1587:
1578:chef d'Ćuvre
1577:
1562:
1552:
1550:
1544:
1532:
1528:
1516:
1512:
1501:La Esmeralda
1500:
1488:
1475:
1471:
1465:
1459:
1455:
1449:
1445:
1441:Les Brigands
1439:
1433:
1427:
1423:
1419:
1407:
1405:
1390:
1384:
1382:
1376:
1355:
1353:
1349:
1345:
1341:
1337:La Esmeralda
1335:
1329:
1322:Pas de Diane
1321:
1317:
1313:
1310:Pas de VĂ©nus
1309:
1302:Tsar Candavl
1301:
1295:
1283:
1273:
1267:
1259:
1255:
1252:
1247:
1243:
1235:
1229:
1225:
1221:
1217:
1208:
1206:
1200:
1183:
1175:
1169:
1161:
1159:
1154:
1151:grand ballet
1150:
1143:
1137:
1122:
1120:
1115:
1114:in Paris as
1109:
1105:
1103:
1098:
1092:
1088:
1082:
1078:
1072:
1068:
1062:
1058:
1052:
1048:
1040:
1034:
1030:
1024:
1012:
1009:
1001:
995:
991:
988:Cesare Pugni
983:
980:Jules Perrot
977:
972:
968:
964:
960:
954:
949:
941:
937:
931:
929:
909:
899:
885:
876:
869:Emile Gredlu
864:
856:
854:
851:Early career
846:
835:
827:
816:, sister of
805:
801:
797:
793:
789:
785:
781:
777:
773:
769:
761:
759:
749:
743:
739:
733:
729:
723:
719:
713:
708:
702:
696:
690:
686:
684:
674:
648:
639:La tarentule
637:
634:Jean Coralli
631:
624:
612:
600:
594:
589:
583:
580:Daniel Auber
573:
566:
559:
542:
538:
527:
520:
512:
494:
484:
480:
476:
472:
466:
462:
458:
454:
448:
444:
441:Pas de trois
440:
436:
433:
426:
420:
410:
404:
400:La Esmeralda
398:
392:
386:
383:
376:
375:(1900), and
370:
364:
358:
352:
342:
336:
330:
324:
318:
312:
300:
296:
294:
281:
269:
268:
217:(1910-07-14)
215:14 July 1910
174:
154:
149:
141:
116:
107:
97:
90:
83:
76:
64:
52:Please help
47:verification
44:
4374:1910 deaths
4369:1818 births
3870:"ĐĐžĐŸĐłŃĐ°ŃĐžŃ"
3827:Pyotr Gusev
3782:. Music by
3737:Les Saisons
3658:. Music by
3610:. Music by
3548:Yuli Gerber
3546:. Music by
3526:. Music by
3523:Don Quixote
3471:Terpsichore
3454:. Music by
3415:. Music by
3399:. Music by
3383:. Music by
3380:Barbe-bleue
3367:. Music by
3278:La Sylphide
3265:. Music by
3237:. Music by
3222:Le Talisman
3209:. Music by
3159:LĂ©o Delibes
3107:. Music by
3059:LĂ©o Delibes
3041:. Music by
2905:La BayadĂšre
2878:LĂ©o Delibes
2833:Le Papillon
2654:pas de deux
2621:Le Corsaire
2560:. Music by
2558:Jean Petipa
2451:La Vendange
2355:La BayadĂšre
2113:Don Quixote
2105:Don Quixote
2031:Middle Ages
2029:during the
1910:La BayadĂšre
1904:Le Corsaire
1870:Le Talisman
1662:Le Talisman
1554:La BayadĂšre
1533:La BayadĂšre
1517:Le Corsaire
1458:) in 1876,
1448:) in 1875,
1446:The Bandits
1435:Le Papillon
1420:Don Quixote
1389:(1866) and
1357:Don Quixote
1288:LĂ©o Delibes
1275:Le Corsaire
1094:Terpsichore
1081:) in 1859,
1071:) in 1858,
1061:) in 1857,
1003:Le Corsaire
725:La Vendange
667:Paris Opéra
388:Le Corsaire
372:Les Saisons
332:Le Talisman
326:La BayadĂšre
320:Don Quixote
238:Nationality
146:family name
4333:Categories
4140:17 October
3851:References
3821:, film by
3320:Lev Ivanov
3310:Cendrillon
3299:Lev Ivanov
3262:Kalkabrino
3206:La Vestale
3101:Lev Ivanov
3026:PĂąquerette
3013:Markitenka
2821:La Camargo
2362:After the
2170:was given
1959:Don Carlos
1776:Cinderella
1722:Lev Ivanov
1680:, meaning
1644:La Vestale
1618:The scene
1608:golden age
1545:La Camargo
1429:La Camargo
926:, c. 1855.
483:; and the
417:Lev Ivanov
351:) (1892);
349:Lev Ivanov
193:1818-03-11
138:patronymic
80:newspapers
4268:Patriarch
4196:Memorials
3940:243825848
3538:, Moscow.
3511:LâEsclave
3335:Swan Lake
2552:Satanella
2358:, c. 1900
2099:, former
2090:pemphigus
2025:, set in
2010:Bluebeard
1976:Bluebeard
1968:Wagnerian
1907:in 1899;
1889:in 1898;
1853:Swan Lake
1844:Swan Lake
1839:Swan Lake
1711:pemphigus
1464:in 1878,
1438:in 1874,
1432:in 1872,
1316:known as
973:Satanella
965:Satanella
942:Satanella
582:'s opera
571:in 1827.
497:Marseille
428:Swan Lake
246:Education
201:Marseille
142:Ivanovich
4222:(Statue)
3834:See also
3679:La Perle
3600:Peterhof
3396:Raymonda
3314:Zolushka
3250:NĂ©nuphar
3194:Fiametta
3054:Coppélia
2797:Catarina
2391:for the
2382:Coppélia
2022:Raymonda
1942:Le Perle
1933:Le Perle
1489:Raymonda
681:Bordeaux
644:Broadway
597:Bordeaux
531:Brussels
406:Coppélia
369:(1898);
366:Raymonda
363:(1896);
357:(1894);
341:(1890);
335:(1889);
329:(1877);
323:(1869);
317:(1862);
280:), born
3971:Sources
3903:10 July
3880:2 March
3829:(1983).
3670:to the
3622:to the
3559:Ariadne
3483:Titania
2749:Florida
2605:Giselle
2528:Paquita
2403:Ballets
2376:Giselle
2313:in the
2225:Paquita
2221:Giselle
2151:titled
2027:Hungary
1992:titled
1954:Verdi's
1898:Giselle
1829:to the
1739:Iolanta
1561:of the
1108:at the
1033:titled
997:Giselle
969:Paquita
961:Paquita
901:Paquita
879:at the
709:La PĂ©ri
704:Giselle
698:La PĂ©ri
615:to the
603:to the
545:to the
450:Paquita
394:Giselle
274:Russian
94:scholar
4019:et al.
3938:
3928:
3543:Trilby
2513:Russia
2508:(1847)
2502:(1846)
2496:(1846)
2490:(1845)
2484:(1845)
2478:(1845)
2472:(1845)
2459:(1844)
2453:(1842)
2447:(1841)
2441:(1840)
2428:(1838)
2422:(1838)
2416:(1838)
2315:Crimea
2311:Gurzuf
1996:. The
1964:Lucien
1956:opera
1591:rubles
1461:Roxana
1392:Le Lys
800:) and
756:Madrid
742:) and
659:Rachel
621:Nantes
475:; the
465:; the
415:(with
223:Gurzuf
205:France
150:Petipa
136:, the
96:
89:
82:
75:
67:
2969:Mlada
2761:Faust
2307:Yalta
1952:from
1477:Mlada
447:from
101:JSTOR
87:books
4142:2009
4084:IMDb
3936:OCLC
3926:ISBN
3905:2024
3882:2016
3804:O.S.
3792:O.S.
3772:O.S.
3754:O.S.
3742:O.S.
3722:O.S.
3716:(or
3706:O.S.
3690:and
3684:O.S.
3664:O.S.
3648:O.S.
3636:O.S.
3616:O.S.
3596:O.S.
3582:and
3576:O.S.
3564:O.S.
3552:O.S.
3532:O.S.
3516:O.S.
3500:O.S.
3488:O.S.
3476:O.S.
3460:O.S.
3440:O.S.
3421:O.S.
3405:O.S.
3389:O.S.
3373:O.S.
3357:O.S.
3349:(as
3340:O.S.
3328:O.S.
3322:and
3312:(as
3303:O.S.
3287:O.S.
3271:O.S.
3255:O.S.
3243:O.S.
3227:O.S.
3215:O.S.
3199:O.S.
3187:O.S.
3175:O.S.
3169:and
3139:O.S.
3117:O.S.
3103:and
3089:(as
3080:O.S.
3072:(as
3063:O.S.
3047:O.S.
3031:O.S.
3019:O.S.
3011:(as
3002:O.S.
2990:O.S.
2974:O.S.
2962:O.S.
2956:and
2934:O.S.
2922:O.S.
2910:O.S.
2898:O.S.
2882:O.S.
2866:O.S.
2854:O.S.
2842:O.S.
2826:O.S.
2814:O.S.
2802:O.S.
2790:O.S.
2778:O.S.
2754:O.S.
2742:O.S.
2730:O.S.
2718:O.S.
2706:O.S.
2694:O.S.
2674:O.S.
2662:O.S.
2642:O.S.
2630:O.S.
2614:O.S.
2598:O.S.
2592:and
2570:O.S.
2550:(as
2541:O.S.
2535:and
2323:O.S.
2273:O.S.
2163:O.S.
2059:(or
2047:O.S.
2017:O.S.
1985:O.S.
1938:O.S.
1901:and
1879:(as
1849:O.S.
1815:O.S.
1789:O.S.
1734:O.S.
1696:O.S.
1570:O.S.
1416:O.S.
1412:O.S.
1401:O.S.
1348:was
1292:O.S.
1270:O.S.
1213:O.S.
1027:O.S.
971:and
963:and
946:O.S.
906:O.S.
873:O.S.
810:duel
701:and
541:and
443:and
425:and
286:O.S.
212:Died
183:Born
73:news
4082:at
2399:).
2341:.
2233:pas
2227:.
1766:).
1314:pas
1182:'s
792:),
784:),
776:),
752:).
732:),
722:),
636:'s
619:in
419:),
148:is
140:is
56:by
4335::
4132:.
4032:).
3997:.
3948:^
3934:.
3859:^
3728:,
3165:,
3161:,
3157:,
3111:,
2952:,
2948:,
2772:,
2768:,
2588:,
2564:,
2379:,
2302:.
2190:.
2053:,
1895:,
1859:.
1706:.
1340:.
820:.
695:,
677:.
629:.
487:.
479:;
471:;
461:;
457:;
453:;
439:,
409:,
403:,
397:,
391:,
276::
229:,
225:,
203:,
4255:e
4248:t
4241:v
4144:.
4112:e
4105:t
4098:v
4064:.
4057:.
4050:.
4028:(
4001:.
3980:.
3942:.
3907:.
3884:.
3694:.
3674:.
3626:.
3602:.
3586:.
3466:.
3353:)
3316:)
3093:)
3076:)
3015:)
2652:(
2554:)
1809:(
1762:(
1752:(
1684:.
1470:(
1454:(
1444:(
1234:(
1174:(
1087:(
1077:(
1067:(
1057:(
1039:(
936:(
804:(
796:(
788:(
780:(
772:(
748:(
738:(
728:(
718:(
299:(
272:(
195:)
191:(
152:.
123:)
117:(
112:)
108:(
98:·
91:·
84:·
77:·
50:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
