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#f28500}.mw-parser-output .ambox-style{border-left:10px solid #fc3}.mw-parser-output .ambox-move{border-left:10px solid #9932cc}.mw-parser-output .ambox-protection{border-left:10px solid #a2a9b1}.mw-parser-output .ambox .mbox-text{border:none;padding:0.25em 0.5em;width:100%}.mw-parser-output .ambox .mbox-image{border:none;padding:2px 0 2px 0.5em;text-align:center}.mw-parser-output .ambox .mbox-imageright{border:none;padding:2px 0.5em 2px 0;text-align:center}.mw-parser-output .ambox .mbox-empty-cell{border:none;padding:0;width:1px}.mw-parser-output .ambox .mbox-image-div{width:52px}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}@media print{body.ns-0 .mw-parser-output .ambox{display:none!important}}</style><table class="box-More_citations_needed plainlinks metadata ambox ambox-content ambox-Refimprove" role="presentation"><tbody><tr><td class="mbox-text"><div class="mbox-text-span">This article needs additional citations for <a href="/wiki/Wikipedia:Verifiability" title="Wikipedia:Verifiability">verification</a>. Please help <a href="/wiki/Special:EditPage/Marius_Petipa" title="Special:EditPage/Marius Petipa">improve this article</a> by <a href="/wiki/Help:Referencing_for_beginners" title="Help:Referencing for beginners">adding citations to reliable sources</a>. Unsourced material may be challenged and removed. Find sources: <a rel="nofollow" class="external text" href="https://www.google.com/search?as_eq=wikipedia&q=%22Marius+Petipa%22">"Marius Petipa"</a> – <a rel="nofollow" class="external text" href="https://www.google.com/search?tbm=nws&q=%22Marius+Petipa%22+-wikipedia&tbs=ar:1">news</a> · <a rel="nofollow" class="external text" href="https://www.google.com/search?&q=%22Marius+Petipa%22&tbs=bkt:s&tbm=bks">newspapers</a> · <a rel="nofollow" class="external text" href="https://www.google.com/search?tbs=bks:1&q=%22Marius+Petipa%22+-wikipedia">books</a> · <a rel="nofollow" class="external text" href="https://scholar.google.com/scholar?q=%22Marius+Petipa%22">scholar</a> · <a rel="nofollow" class="external text" href="https://www.jstor.org/action/doBasicSearch?Query=%22Marius+Petipa%22&acc=on&wc=on">JSTOR</a> (February 2024) (<a href="/wiki/Help:Maintenance_template_removal" title="Help:Maintenance template removal">Learn how and when to remove this message</a>)</div></td></tr></tbody></table> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">In this name that follows <a href="/wiki/Eastern_Slavic_naming_customs" title="Eastern Slavic naming customs">Eastern Slavic naming customs</a>, the <a href="/wiki/Patronymic" title="Patronymic">patronymic</a> is Ivanovich and the <a href="/wiki/Surname" title="Surname">family name</a> is Petipa.</div> <style data-mw-deduplicate="TemplateStyles:r1257001546">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style>Marius Ivanovich Petipa (<a href="/wiki/Russian_language" title="Russian language">Russian</a>: Мариус Иванович Петипа), born Victor Marius Alphonse Petipa (11 March 1818 – 14 July [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 1 July] 1910),<a href="#cite_note-%D0%91%D0%98%D0%9E-1">[1]</a> was a French and Russian ballet dancer, pedagogue and choreographer. Petipa is one of the most influential <a href="/wiki/Ballet_master" title="Ballet master">ballet masters</a> and choreographers in ballet history. <table class="infobox biography vcard"><tbody><tr><th colspan="2" class="infobox-above" style="font-size:125%;"><div class="fn">Marius Petipa</div></th></tr><tr><td colspan="2" class="infobox-image"><a href="/wiki/File:Marius_Ivanovich_Petipa_-Feb._14_1898.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Marius_Ivanovich_Petipa_-Feb._14_1898.JPG/220px-Marius_Ivanovich_Petipa_-Feb._14_1898.JPG" decoding="async" width="220" height="299" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Marius_Ivanovich_Petipa_-Feb._14_1898.JPG/330px-Marius_Ivanovich_Petipa_-Feb._14_1898.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Marius_Ivanovich_Petipa_-Feb._14_1898.JPG/440px-Marius_Ivanovich_Petipa_-Feb._14_1898.JPG 2x" data-file-width="1728" data-file-height="2348"></a><div class="infobox-caption">Maestro Marius Ivanovich Petipa, premier maître de ballet of the St. Petersburg Imperial Theatres. St. Petersburg, 1887.</div></td></tr><tr><th scope="row" class="infobox-label">Born</th><td class="infobox-data"><div style="display:inline" class="nickname">Marius Alphonse Petipa</div> (1818-03-11)11 March 1818 <div style="display:inline" class="birthplace"><a href="/wiki/Marseille" title="Marseille">Marseille</a>, <a href="/wiki/Bourbon_Restoration_in_France" title="Bourbon Restoration in France">France</a></div></td></tr><tr><th scope="row" class="infobox-label">Died</th><td class="infobox-data">14 July 1910(1910-07-14) (aged 92) <div style="display:inline" class="deathplace"><a href="/wiki/Gurzuf" title="Gurzuf">Gurzuf</a>, <a href="/wiki/Taurida_Governorate" title="Taurida Governorate">Taurida Governorate</a>, <a href="/wiki/Russian_Empire" title="Russian Empire">Russian Empire</a></div></td></tr><tr><th scope="row" class="infobox-label">Nationality</th><td class="infobox-data category">French, Russian</td></tr><tr><th scope="row" class="infobox-label">Education</th><td class="infobox-data"><a href="/wiki/Brussels_Conservatory" class="mw-redirect" title="Brussels Conservatory">Brussels Conservatory</a> <a href="/wiki/Grand_Th%C3%A9%C3%A2tre_de_Bordeaux" title="Grand Théâtre de Bordeaux">Grand Théâtre de Bordeaux</a></td></tr><tr><th scope="row" class="infobox-label">Known for</th><td class="infobox-data">Ballet, choreography</td></tr></tbody></table> Marius Petipa is noted for his long career as Premier maître de ballet (First Ballet Master) of the St. Petersburg Imperial Theatres, making him Ballet Master and principal choreographer of the <a href="/wiki/Imperial_Ballet" class="mw-redirect" title="Imperial Ballet">Imperial Ballet</a> (today known as the <a href="/wiki/Mariinsky_Ballet" title="Mariinsky Ballet">Mariinsky Ballet</a>), 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 <a href="/wiki/The_Pharaoh%27s_Daughter" title="The Pharaoh's Daughter">The Pharaoh's Daughter</a> (1862); <a href="/wiki/Don_Quixote_(ballet)" title="Don Quixote (ballet)">Don Quixote</a> (1869); <a href="/wiki/La_Bayad%C3%A8re" title="La Bayadère">La Bayadère</a> (1877); <a href="/wiki/The_Talisman_(ballet)" title="The Talisman (ballet)">Le Talisman</a> (1889); <a href="/wiki/The_Sleeping_Beauty_Ballet" class="mw-redirect" title="The Sleeping Beauty Ballet">The Sleeping Beauty</a> (1890); <a href="/wiki/The_Nutcracker" title="The Nutcracker">The Nutcracker</a> (choreographed jointly with <a href="/wiki/Lev_Ivanov" title="Lev Ivanov">Lev Ivanov</a>) (1892); <a href="/wiki/The_Awakening_of_Flora_(ballet)" class="mw-redirect" title="The Awakening of Flora (ballet)">Le Réveil de Flore</a> (1894); <a href="/w/index.php?title=La_Halte_de_cavalerie&action=edit&redlink=1" class="new" title="La Halte de cavalerie (page does not exist)">La Halte de cavalerie</a> (1896); <a href="/wiki/Raymonda" title="Raymonda">Raymonda</a> (1898); <a href="/wiki/The_Seasons_(ballet)" title="The Seasons (ballet)">Les Saisons</a> (1900), and <a href="/wiki/Les_Millions_d%27Arlequin" class="mw-redirect" title="Les Millions d'Arlequin">Les Millions d'Arlequin</a> (a.k.a. Harlequinade) (1900). 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 <a href="/wiki/Le_Corsaire" title="Le Corsaire">Le Corsaire</a>, <a href="/wiki/Giselle" title="Giselle">Giselle</a>, <a href="/wiki/La_Esmeralda_(ballet)" title="La Esmeralda (ballet)">La Esmeralda</a>, <a href="/wiki/Copp%C3%A9lia" title="Coppélia">Coppélia</a>, <a href="/wiki/La_Fille_Mal_Gard%C3%A9e" class="mw-redirect" title="La Fille Mal Gardée">La Fille Mal Gardée</a> (with <a href="/wiki/Lev_Ivanov" title="Lev Ivanov">Lev Ivanov</a>), <a href="/wiki/The_Little_Humpbacked_Horse_(ballet)" title="The Little Humpbacked Horse (ballet)">The Little Humpbacked Horse</a> and <a href="/wiki/Swan_Lake" title="Swan Lake">Swan Lake</a> (with Lev Ivanov).<a href="#cite_note-%D0%91%D0%98%D0%9E-1">[1]</a> 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 versions either based on the original or choreographed anew by others – the Grand Pas classique, Pas de trois and Mazurka des enfants from <a href="/wiki/Paquita" title="Paquita">Paquita</a>; Le Carnaval de Venise Pas de deux; The Talisman Pas de deux; La Esmeralda Pas de deux; the <a href="/w/index.php?title=Diana_and_Act%C3%A9on_Pas_de_deux&action=edit&redlink=1" class="new" title="Diana and Actéon Pas de deux (page does not exist)">Diana and Actéon Pas de deux</a>; La Halte de Cavalerie Pas de deux; the Don Quixote Pas de deux; La Fille Mal Gardée Pas de deux; and the Harlequinade Pas de deux. <div id="toc" class="toc" role="navigation" aria-labelledby="mw-toc-heading"><input type="checkbox" role="button" id="toctogglecheckbox" class="toctogglecheckbox" style="display:none"><div class="toctitle" lang="en" dir="ltr"><h2 id="mw-toc-heading">Contents</h2><label class="toctogglelabel" for="toctogglecheckbox"></label></div> <ul> <li class="toclevel-1 tocsection-1"><a href="#Early_life_and_career">1 Early life and career</a> <ul> <li class="toclevel-2 tocsection-2"><a href="#Bordeaux">1.1 Bordeaux</a></li> <li class="toclevel-2 tocsection-3"><a href="#Madrid">1.2 Madrid</a></li> </ul> </li> <li class="toclevel-1 tocsection-4"><a href="#St._Petersburg,_Russia">2 St. Petersburg, Russia</a> <ul> <li class="toclevel-2 tocsection-5"><a href="#Early_career">2.1 Early career</a></li> <li class="toclevel-2 tocsection-6"><a href="#Second_ma%C3%AEtre_de_ballet_of_the_Imperial_Theatres">2.2 Second maître de ballet of the Imperial Theatres</a></li> <li class="toclevel-2 tocsection-7"><a href="#Premier_ma%C3%AEtre_de_ballet_of_the_Imperial_Theatres">2.3 Premier maître de ballet of the Imperial Theatres</a></li> <li class="toclevel-2 tocsection-8"><a href="#The_golden_age_of_Russian_ballet">2.4 The golden age of Russian ballet</a></li> <li class="toclevel-2 tocsection-9"><a href="#The_turn_of_the_20th_century">2.5 The turn of the 20th century</a></li> <li class="toclevel-2 tocsection-10"><a href="#Final_years_with_the_Imperial_Ballet">2.6 Final years with the Imperial Ballet</a></li> </ul> </li> <li class="toclevel-1 tocsection-11"><a href="#Remaining_years_and_death">3 Remaining years and death</a></li> <li class="toclevel-1 tocsection-12"><a href="#Notation_of_works">4 Notation of works</a></li> <li class="toclevel-1 tocsection-13"><a href="#Ballets">5 Ballets</a> <ul> <li class="toclevel-2 tocsection-14"><a href="#Nantes,_France">5.1 Nantes, France</a></li> <li class="toclevel-2 tocsection-15"><a href="#Bordeaux,_France">5.2 Bordeaux, France</a></li> <li class="toclevel-2 tocsection-16"><a href="#Madrid,_Spain">5.3 Madrid, Spain</a></li> <li class="toclevel-2 tocsection-17"><a href="#Russia">5.4 Russia</a></li> </ul> </li> <li class="toclevel-1 tocsection-18"><a href="#Cultural_depictions">6 Cultural depictions</a></li> <li class="toclevel-1 tocsection-19"><a href="#See_also">7 See also</a></li> <li class="toclevel-1 tocsection-20"><a href="#References">8 References</a></li> <li class="toclevel-1 tocsection-21"><a href="#Sources">9 Sources</a></li> <li class="toclevel-1 tocsection-22"><a href="#External_links">10 External links</a></li> </ul> </div> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(1)"><h2 id="Early_life_and_career">Early life and career</h2> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=1" title="Edit section: Early life and career" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-1 collapsible-block" id="mf-section-1"> Marius Petipa was born Victor Marius Alphonse Petipa in <a href="/wiki/Marseille" title="Marseille">Marseille</a>, France on 11 March 1818. His mother, <a href="/w/index.php?title=Victorine_Morel-Grasseau&action=edit&redlink=1" class="new" title="Victorine Morel-Grasseau (page does not exist)">Victorine Grasseau</a>, was a tragic actress and teacher of drama, while his father, <a href="/wiki/Jean-Antoine_Petipa" title="Jean-Antoine Petipa">Jean-Antoine Petipa</a>, was among the most renowned <a href="/wiki/Ballet_Master" class="mw-redirect" title="Ballet Master">Ballet Masters</a> and pedagogues in Europe. At the time of Marius's birth, Jean Petipa was engaged as Premier danseur (Principal Male Dancer) to the <a href="/wiki/Op%C3%A9ra_de_Marseille" title="Opéra de Marseille">Salle Bauveau</a> (known today as the Opéra de Marseille), and in 1819 he was appointed <a href="/wiki/Ma%C3%AEtre_de_ballet" class="mw-redirect" title="Maître de ballet">Maître de ballet</a> to that theatre. 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 <a href="/wiki/Brussels" title="Brussels">Brussels</a> in what was then the <a href="/wiki/United_Kingdom_of_the_Netherlands" title="United Kingdom of the Netherlands">United Kingdom of the Netherlands</a>, where his father was appointed Maître de ballet and Premier danseur to the <a href="/wiki/La_Monnaie" title="La Monnaie">Théâtre de la Monnaie</a>. The young Marius received his general education at the <a href="/w/index.php?title=Grand_College&action=edit&redlink=1" class="new" title="Grand College (page does not exist)">Grand College</a> in Brussels, while also attending the <a href="/wiki/Brussels_Conservatory" class="mw-redirect" title="Brussels Conservatory">Brussels Conservatory</a> where he studied music and learned to play the violin. 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 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 <a href="/wiki/Pierre_Gardel" title="Pierre Gardel">Pierre Gardel</a>'s 1800 ballet <a href="/w/index.php?title=La_Dansomanie&action=edit&redlink=1" class="new" title="La Dansomanie (page does not exist)">La Dansomanie</a> in 1827. On 25 August 1830, the <a href="/wiki/Belgian_Revolution" title="Belgian Revolution">Belgian Revolution</a> erupted after a performance of <a href="/wiki/Daniel_Auber" title="Daniel Auber">Daniel Auber</a>'s opera <a href="/wiki/La_muette_de_Portici" title="La muette de Portici">La muette de Portici</a> at the Théâtre de la Monnaie, where Marius' father now served as Premier maître de ballet. 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. The Petipa family relocated to <a href="/wiki/Bordeaux" title="Bordeaux">Bordeaux</a>, France, in 1834 where Marius' father had secured the position of Premier maître de ballet to the <a href="/wiki/Grand_Th%C3%A9%C3%A2tre_de_Bordeaux" title="Grand Théâtre de Bordeaux">Grand Théâtre de Bordeaux</a>. While in Bordeaux, Marius completed his ballet training under the great <a href="/wiki/Auguste_Vestris" title="Auguste Vestris">Auguste Vestris</a>. By 1838 he was appointed Premier danseur to the <a href="/w/index.php?title=Ballet_de_Nantes&action=edit&redlink=1" class="new" title="Ballet de Nantes (page does not exist)">Ballet de Nantes</a> in <a href="/wiki/Nantes" title="Nantes">Nantes</a>, 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 <a href="/wiki/Divertissement" title="Divertissement">divertissements</a>. 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 <a href="/wiki/Jean_Coralli" title="Jean Coralli">Jean Coralli</a>'s <a href="/wiki/La_Tarentule" title="La Tarentule">La Tarentule</a> at the National Theatre on <a href="/wiki/Broadway_(Manhattan)" title="Broadway (Manhattan)">Broadway</a>, 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. By 1840, Petipa had made his début with the ballet company of the <a href="/wiki/Com%C3%A9die_Fran%C3%A7aise" class="mw-redirect" title="Comédie Française">Comédie Française</a> in Paris. His first performance with this troupe was given as a <a href="/wiki/Benefit_performance" title="Benefit performance">benefit performance</a> for the actress <a href="/wiki/Rachel_(actress)" class="mw-redirect" title="Rachel (actress)">Rachel</a> where he partnered the legendary ballerina <a href="/wiki/Carlotta_Grisi" title="Carlotta Grisi">Carlotta Grisi</a>. Petipa also took part in performances at the <a href="/wiki/Salle_Le_Peletier" title="Salle Le Peletier">Paris Opéra</a> where his brother <a href="/wiki/Lucien_Petipa" title="Lucien Petipa">Lucien Petipa</a> was engaged as Premier danseur. <div class="mw-heading mw-heading3"><h3 id="Bordeaux">Bordeaux</h3> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=2" title="Edit section: Bordeaux" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> Petipa was offered the position of Premier danseur to the Grand Théâtre in Bordeaux in 1841. There, he studied further with the great Vestris, all the while dancing the leads in such ballets as <a href="/wiki/La_Fille_Mal_Gard%C3%A9e" class="mw-redirect" title="La Fille Mal Gardée">La Fille Mal Gardée</a>, <a href="/wiki/La_P%C3%A9ri_(Coralli)" class="mw-redirect" title="La Péri (Coralli)">La Péri</a> and <a href="/wiki/Giselle" title="Giselle">Giselle</a>. 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 La Péri 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 <a href="/w/index.php?title=La_Jolie_Bordelaise&action=edit&redlink=1" class="new" title="La Jolie Bordelaise (page does not exist)">La Jolie Bordelaise</a> (The Beauty of Bordeaux), <a href="/w/index.php?title=La_Vendange&action=edit&redlink=1" class="new" title="La Vendange (page does not exist)">La Vendange</a> (The Grape Picker), <a href="/w/index.php?title=L%27Intrigue_Amoureuse&action=edit&redlink=1" class="new" title="L'Intrigue Amoureuse (page does not exist)">L'Intrigue Amoureuse</a> (The Intrigues of Love) and <a href="/w/index.php?title=Le_Langage_des_Fleurs&action=edit&redlink=1" class="new" title="Le Langage des Fleurs (page does not exist)">Le Langage des Fleurs</a> (The Voice of the Flowers). <div class="mw-heading mw-heading3"><h3 id="Madrid">Madrid</h3> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=3" title="Edit section: Madrid" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> In 1843, Petipa was offered the position premier danseur at the Teatro del Circo in Madrid, Spain.<a href="#cite_note-2">[2]</a> For the next three years he would acquire an acute knowledge of traditional <a href="/w/index.php?title=Spanish_Dancing&action=edit&redlink=1" class="new" title="Spanish Dancing (page does not exist)">Spanish Dancing</a> while producing new works based on Spanish themes – Carmen et son toréro (Carmen and the Bullfighter), La Perle de Séville (The Pearl of Seville), L’Aventure d’une fille de Madrid (The Adventures of a Madrileña), La Fleur de Grenade (The Flower of Granada) and Départ pour la course des taureaux (Leaving for the Bull Fights). 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 <a href="/wiki/Duel" title="Duel">duel</a>. 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 Théâtre de l’Académie Royale de Musique where he partnered the ballerina <a href="/wiki/Therese_Elssler" title="Therese Elssler">Thérèse Elssler</a>, sister of <a href="/wiki/Fanny_Elssler" title="Fanny Elssler">Fanny Elssler</a>. </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(2)"><h2 id="St._Petersburg,_Russia">St. Petersburg, Russia</h2> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=4" title="Edit section: St. Petersburg, Russia" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-2 collapsible-block" id="mf-section-2"> 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, <a href="/wiki/Lucien_Petipa" title="Lucien Petipa">Lucien Petipa</a>, was familiar with working in Russia and sent an inquiry to Antoine Titus in St. Petersburg. This coincided with a need to find a strong male lead for the Russian ballet prima ballerina <a href="/wiki/Yelena_Andreyanova" class="mw-redirect" title="Yelena Andreyanova">Yelena Andreyanova</a>, (who was the mistress of the Director of the Imperial Theaters, <a href="/w/index.php?title=Alexandr_Gedeonov&action=edit&redlink=1" class="new" title="Alexandr Gedeonov (page does not exist)">Alexandr Gedeonov</a>). Antoine Titus resolved dilemmas for both parties and introduced the two sides, after which Petipa and his father were invited to Russia. 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.<a href="#cite_note-3">[3]</a> <div class="mw-heading mw-heading3"><h3 id="Early_career">Early career</h3> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=5" title="Edit section: Early career" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> In 1847, Petipa accepted the position of premier danseur to the Imperial Theatres of St. Petersburg, at that time the capital of the <a href="/wiki/Russian_Empire" title="Russian Empire">Russian Empire</a>. The position of premier danseur had become vacant upon the departure of the French danseur <a href="/w/index.php?title=Emile_Gredlu&action=edit&redlink=1" class="new" title="Emile Gredlu (page does not exist)">Emile Gredlu</a>, and Petipa soon relocated to Russia. On 5 June [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 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 Classe de perfection at the <a href="/wiki/Imperial_Ballet_School" class="mw-redirect" title="Imperial Ballet School">Imperial Ballet School</a> until his death in 1855. For his début, the director of the Imperial Theatres <a href="/w/index.php?title=Alexander_Gedeonov&action=edit&redlink=1" class="new" title="Alexander Gedeonov (page does not exist)">Alexander Gedeonov</a> commissioned Petipa and the Ballet Master <a href="/wiki/Pierre-Fr%C3%A9d%C3%A9ric_Malevergne" class="mw-redirect" title="Pierre-Frédéric Malevergne">Pierre-Frédéric Malevergne</a> to create the first Russian production of <a href="/wiki/Joseph_Mazilier" title="Joseph Mazilier">Joseph Mazilier</a>'s celebrated ballet <a href="/wiki/Paquita" title="Paquita">Paquita</a>, first staged at the Paris Opéra in 1846. The ballet premiered in St. Petersburg on 8 October [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 26 September] 1847 with the Prima ballerina <a href="/wiki/Yelena_Andreyanova" class="mw-redirect" title="Yelena Andreyanova">Yelena Andreyanova</a> in the title rôle and Petipa himself in the largely mimed rôle of Lucien d’Hervilly. <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Marius_Petipa_-1870.JPG" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7b/Marius_Petipa_-1870.JPG/220px-Marius_Petipa_-1870.JPG" decoding="async" width="220" height="337" class="mw-file-element" data-file-width="772" data-file-height="1184"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 337px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7b/Marius_Petipa_-1870.JPG/220px-Marius_Petipa_-1870.JPG" data-width="220" data-height="337" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/7b/Marius_Petipa_-1870.JPG/330px-Marius_Petipa_-1870.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/7b/Marius_Petipa_-1870.JPG/440px-Marius_Petipa_-1870.JPG 2x" data-class="mw-file-element"> </a><figcaption>Portrait of Marius Petipa around the time of his arrival in Russia. <a href="/wiki/St._Petersburg" class="mw-redirect" title="St. Petersburg">St. Petersburg</a>, c. 1855.</figcaption></figure> The following season Petipa and his father staged a revival of Mazilier's 1840 ballet <a href="/wiki/Le_Diable_amoureux_(ballet)" title="Le Diable amoureux (ballet)">Le Diable amoureux</a> (The Devil in Love), which premiered under the title Satanella on 22 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 10 February] 1848. The prima ballerina Andreyonova performed the title rôle, with Petipa in the rôle of Fabio. 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 <a href="/wiki/Marie_Taglioni" title="Marie Taglioni">Marie Taglioni</a>, who had been engaged in the Imperial capital as guest ballerina. The productions of Paquita and Satanella 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 Paquita and Satanella, and its superlative performances placed the company again at its former level of glory and universal affection."[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] In the winter of 1849, the French Ballet Master <a href="/wiki/Jules_Perrot" title="Jules Perrot">Jules Perrot</a> arrived in St. Petersburg, having accepted the position of premier maître de ballet of the St. Petersburg Imperial Theatres. He was accompanied by his chief collaborator, the prolific Italian composer <a href="/wiki/Cesare_Pugni" title="Cesare Pugni">Cesare Pugni</a>, who was appointed Ballet Composer of the Imperial Theatres, a position created especially for him. Aside from dancing the principal rôles in many of Perrot's productions, Petipa rehearsed older works with the company and assisted Perrot in staging revivals (such as <a href="/wiki/Giselle" title="Giselle">Giselle</a> in 1850, and <a href="/wiki/Le_Corsaire" title="Le Corsaire">Le Corsaire</a> 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 many revivals of older works. By 1850 Petipa's first child, a son named Marius Mariusovich Petipa (1850–1919) was born.<a href="#cite_note-Garafola,_Lynn_p.35-38-4">[4]</a> His mother, Marie Thérèse Bourdin— with whom Petipa had a brief liaison—died five years after the birth of their child.<a href="#cite_note-Garafola,_Lynn_p.35-38-4">[4]</a> In 1854 Petipa married the Prima ballerina <a href="/wiki/Mariia_Surovshchikova-Petipa" title="Mariia Surovshchikova-Petipa">Mariia Surovshchikova-Petipa</a>.<a href="#cite_note-Garafola,_Lynn_p.35-38-4">[4]</a> Together they had two children: <a href="/wiki/Marie_Petipa" title="Marie Petipa">Marie Mariusovna Petipa</a> (1857–1930), who would go on to become a celebrated dancer in her own right, and Jean Mariusovich Petipa (1859–1871).<a href="#cite_note-Garafola,_Lynn_p.35-38-4">[4]</a> On 21 January [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 9 January] 1855 Petipa presented his first original ballet in over six years, a ballet-divertissement titled <a href="/wiki/L%E2%80%99%C3%89toile_de_Grenade" class="mw-redirect" title="L’Étoile de Grenade">L’Étoile de Grenade</a> (The Star of Granada), for which he collaborated for the first time with the composer Cesare Pugni. The work was presented for the first time at the <a href="/wiki/Palace_of_the_Grand_Duchess_Elena_Pavlovna" class="mw-redirect" title="Palace of the Grand Duchess Elena Pavlovna">Palace of the Grand Duchess Elena Pavlovna</a>, a fanatic balletomane and patron of the arts. L’Étoile de Grenade was followed by <a href="/wiki/La_Rose,_la_violette_et_le_papillon" title="La Rose, la violette et le papillon">La Rose, la violette et le papillon</a> (The Rose, the Violet and the Butterfly) in 1857, <a href="/wiki/Un_Mariage_sous_la_R%C3%A9gence" class="mw-redirect" title="Un Mariage sous la Régence">Un Mariage sous la Régence</a> (A Marriage Under the Regency) in 1858, <a href="/wiki/Le_March%C3%A9_des_parisien" class="mw-redirect" title="Le Marché des parisien">Le Marché des parisien</a> (The Parisian Market) in 1859, <a href="/wiki/Le_Dahlia_Bleu" class="mw-redirect" title="Le Dahlia Bleu">Le Dahlia Bleu</a> (The Blue Dahlia) in 1860 and <a href="/wiki/Terpsichore_(Petipa/Pugni)" class="mw-redirect" title="Terpsichore (Petipa/Pugni)">Terpsichore</a> in 1861. All of Petipa's works during this period were tailored especially for the talents of his wife Maria, who performed the principal rôles to considerable acclaim, and soon was named Prima ballerina to the St. Petersburg Imperial Theatres. On 29 May 1861 Petipa presented his 1859 ballet Le Marché des parisiens at the <a href="/wiki/Th%C3%A9%C3%A2tre_Imp%C3%A9rial_de_l%E2%80%99Op%C3%A9ra" class="mw-redirect" title="Théâtre Impérial de l’Opéra">Théâtre Impérial de l’Opéra</a> in Paris as Le Marché des Innocents. Petipa's wife Maria reprised the principal rôle of Lizetta (renamed Gloriette) to great success. In 1858 Jules Perrot retired to his native France, never to return to Russia again. Petipa anticipated succeeding Perrot as premier maître de ballet. 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 <a href="/wiki/Arthur_Saint-L%C3%A9on" title="Arthur Saint-Léon">Arthur Saint-Léon</a> was given the coveted position by the director of the Imperial Theatres <a href="/w/index.php?title=Andrei_Saburov&action=edit&redlink=1" class="new" title="Andrei Saburov (page does not exist)">Andrei Saburov</a>, and soon a healthy and productive rivalry between him and Petipa ensued, bringing the Imperial Ballet to new heights throughout the 1860s. <div class="mw-heading mw-heading3"><h3 id="Second_maître_de_ballet_of_the_Imperial_Theatres">Second maître de ballet of the Imperial Theatres</h3> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=6" title="Edit section: Second maître de ballet of the Imperial Theatres" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> The great Italian Ballerina <a href="/wiki/Carolina_Rosati" title="Carolina Rosati">Carolina Rosati</a> 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 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 grand ballet for Rosati in only six weeks. Confidently, Petipa answered "Yes, I shall try, and probably succeed." Saburov immediately put all other rehearsals on hold so that the company could concentrate on the production of the new ballet. During Petipa's sojourn in Paris for the staging of Le Marché des Innocents, he acquired a scenario from the dramatist <a href="/wiki/Jules-Henri_Vernoy_de_Saint-Georges" title="Jules-Henri Vernoy de Saint-Georges">Jules-Henri Vernoy de Saint-Georges</a> for a ballet titled <a href="/wiki/The_Pharaoh%27s_Daughter" title="The Pharaoh's Daughter">La Fille du Pharaon</a> (The Pharaoh's Daughter), inspired by <a href="/wiki/Th%C3%A9ophile_Gautier" title="Théophile Gautier">Théophile Gautier</a>'s <a href="/w/index.php?title=Le_Roman_de_la_Momie&action=edit&redlink=1" class="new" title="Le Roman de la Momie (page does not exist)">Le Roman de la Momie</a>. Throughout the <a href="/wiki/Victorian_era" title="Victorian era">Victorian era</a> 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.<a href="#cite_note-%D0%91%D0%98%D0%9E-1">[1]</a> <figure typeof="mw:File/Thumb"><a href="/wiki/File:The-pharaohs-daughter-grand-pas-des-chasseresses-1898.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/47/The-pharaohs-daughter-grand-pas-des-chasseresses-1898.jpg/350px-The-pharaohs-daughter-grand-pas-des-chasseresses-1898.jpg" decoding="async" width="350" height="173" class="mw-file-element" data-file-width="1618" data-file-height="800"></noscript><span class="lazy-image-placeholder" style="width: 350px;height: 173px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/4/47/The-pharaohs-daughter-grand-pas-des-chasseresses-1898.jpg/350px-The-pharaohs-daughter-grand-pas-des-chasseresses-1898.jpg" data-width="350" data-height="173" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/47/The-pharaohs-daughter-grand-pas-des-chasseresses-1898.jpg/525px-The-pharaohs-daughter-grand-pas-des-chasseresses-1898.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/47/The-pharaohs-daughter-grand-pas-des-chasseresses-1898.jpg/700px-The-pharaohs-daughter-grand-pas-des-chasseresses-1898.jpg 2x" data-class="mw-file-element"> </a><figcaption>The stage of the Mariinsky Theatre with cast in act I of Petipa's final revival of The Pharaoh's Daughter, St. Petersburg, 1898. In the center is Mathilde Kschessinskaya as the Princess Aspicia (right), and Anna Johannson as the slave Ramzé (left).</figcaption></figure> Petipa began work by collaborating with the composer Pugni, who wrote his melodious and apt score with Petipa while in rehearsals. The Pharaoh's Daughter premiered on 30 January [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 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 Theatres—by 1903 it had been performed 203 times. The great success of The Pharaoh's Daughter earned for Petipa the position of second Maître de ballet to the Imperial Theatres. Saint-Léon answered the success of Petipa's The Pharaoh's Daughter with the fantastical ballet <a href="/wiki/The_Little_Humpbacked_Horse_(ballet)" title="The Little Humpbacked Horse (ballet)">Le Petit Cheval bossu, Ou La Tsar-Demoiselle</a> (The Little Humpbacked Horse, or The Tsar Maiden), a ballet adaptation of <a href="/wiki/Pyotr_Pavlovich_Yershov" title="Pyotr Pavlovich Yershov">Pyotr Yershov</a>'s famous Russian poem. The work proved to be a success equal to that of The Pharaoh's Daughter, with its series of fantastical tableaux set under-water and on an enchanted isle, as well as the ballet's final Grand divertissement celebrating the many peoples of the Russian Empire. Though Arthur Saint-Léon 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-Léon and Petipa have their own respective audiences and critics, but also their own ballerinas—Petipa mounted the majority of his works at that time for his wife, the Prima ballerina Mariia Surovshchikova-Petipa, while Saint-Léon mounted the majority of his works for the Prima ballerina <a href="/w/index.php?title=Marfa_Muravieva&action=edit&redlink=1" class="new" title="Marfa Muravieva (page does not exist)">Marfa Muravieva</a>. Despite their rivalry, nearly every ballet staged by Petipa and Saint-Léon during the 1860s was set to the music of Cesare Pugni. On 6 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 25 January] 1868 Petipa presented a lavish revival of the ballet <a href="/wiki/Le_Corsaire" title="Le Corsaire">Le Corsaire</a> for the visiting ballerina <a href="/w/index.php?title=Ad%C3%A8le_Grantzow&action=edit&redlink=1" class="new" title="Adèle Grantzow (page does not exist)">Adèle Grantzow</a>, for which he included the celebrated scene Le jardin animé to the music of <a href="/wiki/L%C3%A9o_Delibes" title="Léo Delibes">Léo Delibes</a>. Petipa presented his next new grand ballet on 29 October [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 17 October] 1868. This was the colossal ballet <a href="/wiki/Tsar_Kandavl_or_Le_Roi_Candaule" title="Tsar Kandavl or Le Roi Candaule">Le Roi Candaule</a> (known in Russian as Tsar Candavl), which was staged especially for the visiting ballerina <a href="/w/index.php?title=Henrietta_D%27or&action=edit&redlink=1" class="new" title="Henrietta D'or (page does not exist)">Henrietta D'or</a>. The ballet featured the Pas de Vénus, 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 pas known as Les amours de Diane, or simply as the Pas de Diane, which would later be transformed by <a href="/wiki/Agrippina_Vaganova" title="Agrippina Vaganova">Agrippina Vaganova</a> into the so-called <a href="/wiki/Diane_and_Act%C3%A9on_Pas_de_Deux" class="mw-redirect" title="Diane and Actéon Pas de Deux">Diane and Actéon Pas de Deux</a> for her 1935 revival of <a href="/wiki/La_Esmeralda_(ballet)" title="La Esmeralda (ballet)">La Esmeralda</a>. Le Roi Candaule 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 Le Roi Candaule was " ... the indulgence of my youth." Petipa's final work of the 1860s remains a cornerstone of the classical ballet repertory. <a href="/wiki/Don_Quixote_(ballet)" title="Don Quixote (ballet)">Don Quixote</a> was mounted for <a href="/wiki/Bolshoi_Ballet" title="Bolshoi Ballet">Moscow's Bolshoi Theatre</a>, with the famous ballerina <a href="/w/index.php?title=Anna_Sobeshchanskaya&action=edit&redlink=1" class="new" title="Anna Sobeshchanskaya (page does not exist)">Anna Sobeshchanskaya</a> in the role of Kitri. The composer <a href="/wiki/Ludwig_Minkus" title="Ludwig Minkus">Ludwig Minkus</a> was commissioned to write the ballet's score, marking the beginning of a long and fruitful collaboration between him and Petipa. <div class="mw-heading mw-heading3"><h3 id="Premier_maître_de_ballet_of_the_Imperial_Theatres">Premier maître de ballet of the Imperial Theatres</h3> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=7" title="Edit section: Premier maître de ballet of the Imperial Theatres" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> In 1869 Saint-Léon's contract was set to expire. His last works for the St. Petersburg stage, <a href="/wiki/Le_Poisson_dor%C3%A9" title="Le Poisson doré">Le Poisson doré</a> (1866) and <a href="/wiki/Le_Lys_(Saint-L%C3%A9on/Minkus)" class="mw-redirect" title="Le Lys (Saint-Léon/Minkus)">Le Lys</a> (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 <a href="/wiki/Avenue_de_l%27Op%C3%A9ra" title="Avenue de l'Opéra">Avenue de l'Opéra</a> in Paris, Saint-Léon died of a heart attack on 2 September 1870. Not long before his death the composer Cesare Pugni—Petipa's chief collaborator for many years—died on 2 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 26 January] 1870. Petipa was officially named premier maître de ballet on 12 March [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 29 February] 1871. On 21 November [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 9 November] 1871 Petipa presented Don Quixote 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 Ballet Composer of the St. Petersburg Imperial Theatres. Petipa and Minkus created a successful series of original works and revivals throughout the 1870s: <a href="/wiki/Camargo_(ballet)" title="Camargo (ballet)">La Camargo</a> in 1872, <a href="/wiki/Le_Papillon_(ballet)" class="mw-redirect" title="Le Papillon (ballet)">Le Papillon</a> in 1874, <a href="/wiki/The_Bandits_(ballet)" title="The Bandits (ballet)">Les Brigands</a> (The Bandits) in 1875, <a href="/wiki/The_Adventures_of_Peleus_or_Thetis_and_Peleus" class="mw-redirect" title="The Adventures of Peleus or Thetis and Peleus">Les Aventures de Pélée</a> (The Adventures of Peleus) in 1876, <a href="/wiki/Roxana,_the_Beauty_of_Montenegro" title="Roxana, the Beauty of Montenegro">Roxana</a> in 1878, <a href="/wiki/The_Daughter_of_the_Snows" title="The Daughter of the Snows">La Fille des Neiges</a> (The Daughter of the Snows) in 1879, and <a href="/wiki/Mlada_(ballet)" title="Mlada (ballet)">Mlada</a>, also in 1879. <figure typeof="mw:File/Thumb"><a href="/wiki/File:Raymonda-act-1-1898.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/1a/Raymonda-act-1-1898.jpg/350px-Raymonda-act-1-1898.jpg" decoding="async" width="350" height="187" class="mw-file-element" data-file-width="768" data-file-height="410"></noscript><span class="lazy-image-placeholder" style="width: 350px;height: 187px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/1/1a/Raymonda-act-1-1898.jpg/350px-Raymonda-act-1-1898.jpg" data-width="350" data-height="187" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/1a/Raymonda-act-1-1898.jpg/525px-Raymonda-act-1-1898.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/1a/Raymonda-act-1-1898.jpg/700px-Raymonda-act-1-1898.jpg 2x" data-class="mw-file-element"> </a><figcaption>The stage of the Mariinsky Theatre with the cast of act I/scene 1 of the original production of Petipa's Raymonda. 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.</figcaption></figure> <figure typeof="mw:File/Thumb"><a href="/wiki/File:La_Esmeralda_act_I_1899.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c9/La_Esmeralda_act_I_1899.jpg/350px-La_Esmeralda_act_I_1899.jpg" decoding="async" width="350" height="190" class="mw-file-element" data-file-width="920" data-file-height="500"></noscript><span class="lazy-image-placeholder" style="width: 350px;height: 190px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c9/La_Esmeralda_act_I_1899.jpg/350px-La_Esmeralda_act_I_1899.jpg" data-width="350" data-height="190" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c9/La_Esmeralda_act_I_1899.jpg/525px-La_Esmeralda_act_I_1899.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c9/La_Esmeralda_act_I_1899.jpg/700px-La_Esmeralda_act_I_1899.jpg 2x" data-class="mw-file-element"> </a><figcaption>The stage of the Mariinsky Theatre with the cast of act I of Petipa's final revival of Jules Perrot's La Esmeralda. St. Petersburg, 1899. In the center is Mathilde Kschessinskaya in the title role with Pavel Gerdt as Pierre Gringoire kneeling next to her.</figcaption></figure> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Corsaire_(act_2),_1899.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/79/Corsaire_%28act_2%29%2C_1899.jpg/350px-Corsaire_%28act_2%29%2C_1899.jpg" decoding="async" width="350" height="209" class="mw-file-element" data-file-width="873" data-file-height="522"></noscript><span class="lazy-image-placeholder" style="width: 350px;height: 209px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/7/79/Corsaire_%28act_2%29%2C_1899.jpg/350px-Corsaire_%28act_2%29%2C_1899.jpg" data-width="350" data-height="209" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/79/Corsaire_%28act_2%29%2C_1899.jpg/525px-Corsaire_%28act_2%29%2C_1899.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/79/Corsaire_%28act_2%29%2C_1899.jpg/700px-Corsaire_%28act_2%29%2C_1899.jpg 2x" data-class="mw-file-element"> </a><figcaption>The stage of the Mariinsky Theatre with the cast of the scene Le Jardin animé from Act II in Petipa's final revival of Le Corsaire. St. Petersburg, 1899.</figcaption></figure> <figure typeof="mw:File/Thumb"><a href="/wiki/File:La-bayadere-kingdom-of-the-shades-1900.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f5/La-bayadere-kingdom-of-the-shades-1900.jpg/350px-La-bayadere-kingdom-of-the-shades-1900.jpg" decoding="async" width="350" height="214" class="mw-file-element" data-file-width="920" data-file-height="562"></noscript><span class="lazy-image-placeholder" style="width: 350px;height: 214px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f5/La-bayadere-kingdom-of-the-shades-1900.jpg/350px-La-bayadere-kingdom-of-the-shades-1900.jpg" data-width="350" data-height="214" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f5/La-bayadere-kingdom-of-the-shades-1900.jpg/525px-La-bayadere-kingdom-of-the-shades-1900.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f5/La-bayadere-kingdom-of-the-shades-1900.jpg/700px-La-bayadere-kingdom-of-the-shades-1900.jpg 2x" data-class="mw-file-element"> </a><figcaption>The stage of the Mariinsky Theatre with the cast of the scene The Kingdom of the Shades in Petipa's final revival of La Bayadère. 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.</figcaption></figure> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Mariinsky_camargo-1901.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/79/Mariinsky_camargo-1901.jpg/350px-Mariinsky_camargo-1901.jpg" decoding="async" width="350" height="169" class="mw-file-element" data-file-width="1261" data-file-height="610"></noscript><span class="lazy-image-placeholder" style="width: 350px;height: 169px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/7/79/Mariinsky_camargo-1901.jpg/350px-Mariinsky_camargo-1901.jpg" data-width="350" data-height="169" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/79/Mariinsky_camargo-1901.jpg/525px-Mariinsky_camargo-1901.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/79/Mariinsky_camargo-1901.jpg/700px-Mariinsky_camargo-1901.jpg 2x" data-class="mw-file-element"> </a><figcaption>The stage of the Mariinsky Theatre with the cast of act III in Lev Ivanov's revival of Petipa's La Camargo. St. Petersburg, 1901. In the center is Pierina Legnani in the title role with Nikolai Legat as Vestris.</figcaption></figure> Petipa's next ballet would be one of the most celebrated and enduring of all his works—<a href="/wiki/La_Bayad%C3%A8re" title="La Bayadère">La Bayadère</a> was staged for the <a href="/wiki/Benefit_performance" title="Benefit performance">benefit performance</a> of the Prima ballerina <a href="/wiki/Ekaterina_Vazem" class="mw-redirect" title="Ekaterina Vazem">Ekaterina Vazem</a> on 4 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 23 January] 1877. The libretto by Petipa and the dramatist <a href="/w/index.php?title=Sergei_Khudekov&action=edit&redlink=1" class="new" title="Sergei Khudekov (page does not exist)">Sergei Khudekov</a> was much admired, while the score of Ludwig Minkus was considered a chef d'œuvre of its genre. <div class="mw-heading mw-heading3"><h3 id="The_golden_age_of_Russian_ballet">The golden age of Russian ballet</h3> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=8" title="Edit section: The golden age of Russian ballet" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> 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 Emperor—who was at that time the wealthiest person on Earth—lavished millions of <a href="/wiki/Russian_ruble" title="Russian ruble">rubles</a> a year on the Imperial Ballet, opera, and the Imperial Ballet School (today known as the <a href="/wiki/Vaganova_Academy_of_Russian_Ballet" title="Vaganova Academy of Russian Ballet">Vaganova Academy of Russian Ballet</a>). Each new season required that Petipa create a new multi-act Grand ballet, that he choreograph the dance sections for various operas, and that he prepare galas and divertissements 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 <a href="/wiki/Golden_age" class="mw-redirect" title="Golden age">golden age</a> of Russian ballet. <figure typeof="mw:File/Thumb"><a href="/wiki/File:GSB022.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/en/thumb/a/a6/GSB022.jpg/350px-GSB022.jpg" decoding="async" width="350" height="225" class="mw-file-element" data-file-width="394" data-file-height="253"></noscript><span class="lazy-image-placeholder" style="width: 350px;height: 225px;" data-src="//upload.wikimedia.org/wikipedia/en/thumb/a/a6/GSB022.jpg/350px-GSB022.jpg" data-width="350" data-height="225" data-srcset="//upload.wikimedia.org/wikipedia/en/a/a6/GSB022.jpg 1.5x" data-class="mw-file-element"> </a><figcaption>The scene Aurora's Bedchamber from the Kirov/Mariinsky Ballet's reconstruction of Petipa's original production of The Sleeping Beauty, St. Petersburg, 1999. The company restored the lavish production designed for the ballet's original inception.</figcaption></figure> This era coincided with an important change: upon the retirement of Ludwig Minkus in 1886, the director Ivan Vsevolozhsky abolished the official post of Ballet Composer in an effort to diversify the music supplied for new works. Petipa presented his colossal grand ballet set in ancient Rome <a href="/wiki/The_Vestal_(ballet)" class="mw-redirect" title="The Vestal (ballet)">La Vestale</a> in 1888, which was staged for the benefit performance of the visiting Italian ballerina <a href="/w/index.php?title=Elena_Cornalba&action=edit&redlink=1" class="new" title="Elena Cornalba (page does not exist)">Elena Cornalba</a>. The ballet was set to the music of the composer <a href="/wiki/Mikhail_Ivanov_(composer)" title="Mikhail Ivanov (composer)">Mikhail Ivanov</a>, a noted music critic. The next year, Ivan Vsevolozhsky commissioned the Italian <a href="/wiki/Riccardo_Drigo" title="Riccardo Drigo">Riccardo Drigo</a>—principal conductor of the Imperial Ballet & Italian Opera—to compose the score for Petipa's <a href="/wiki/The_Talisman_(ballet)" title="The Talisman (ballet)">Le Talisman</a>, also staged for Cornalba. Although the ballet was not a success Drigo's score was much praised by contemporary critics. <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Marius_Petipa_-1.JPG" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e6/Marius_Petipa_-1.JPG/220px-Marius_Petipa_-1.JPG" decoding="async" width="220" height="284" class="mw-file-element" data-file-width="1000" data-file-height="1293"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 284px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e6/Marius_Petipa_-1.JPG/220px-Marius_Petipa_-1.JPG" data-width="220" data-height="284" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e6/Marius_Petipa_-1.JPG/330px-Marius_Petipa_-1.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e6/Marius_Petipa_-1.JPG/440px-Marius_Petipa_-1.JPG 2x" data-class="mw-file-element"> </a><figcaption>Caricature of Marius Petipa by the brothers Nikolai and Sergei Legat from their celebrated book "The Russian Ballet in Caricatures". Petipa is shown holding a banner that reads Петербургскій Балетъ, meaning St. Petersburg Ballet.</figcaption></figure> The director Vsevolozhsky commissioned the great composer Pyotr Illyich Tchaikovsky to compose the score for Petipa's <a href="/wiki/The_Sleeping_Beauty_Ballet" class="mw-redirect" title="The Sleeping Beauty Ballet">The Sleeping Beauty</a>, which premiered on 15 January [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 3 January] 1890. The ballet proved to be one of Petipa's masterpieces of choreography. The Sleeping Beauty 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 The Pharaoh's Daughter. Petipa was diagnosed with a severe case of the skin disease <a href="/wiki/Pemphigus" title="Pemphigus">pemphigus</a> in 1892. The constant pain and itching brought on by this disease caused Petipa to refrain from choreography for the Imperial Ballet's entire 1892–1893 theatrical season. It has been widely accepted by history that the responsibility of staging Tchaikovsky's second work for the Imperial Ballet <a href="/wiki/The_Nutcracker" title="The Nutcracker">The Nutcracker</a>, fell to the Imperial Theatre's second Ballet Master <a href="/wiki/Lev_Ivanov" title="Lev Ivanov">Lev Ivanov</a>. With regard to who was ultimately responsible for the choreography for The Nutcracker, 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. The Nutcracker premiered 18 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 6 December] 1892 on a double bill with Tchaikovsky's opera <a href="/wiki/Iolanta" title="Iolanta">Iolanta</a> at the Mariinsky Theatre. Many critics of the day[<a href="/wiki/Wikipedia:Avoid_weasel_words" class="mw-redirect" title="Wikipedia:Avoid weasel words">like whom?</a>] 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 Grand Pas de deux 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 Valse des flocons de neige (Waltz of the Snowflakes), which was said to be almost identical to a waltz from Petipa's 1879 ballet <a href="/wiki/La_Fille_des_Neiges" class="mw-redirect" title="La Fille des Neiges">La Fille des Neiges</a> (The Daughter of the Snows). Petipa's illness kept him from working for nearly all of the 1892-1893 season. It was during this time that <a href="/wiki/Enrico_Cecchetti" title="Enrico Cecchetti">Enrico Cecchetti</a>, 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 <a href="/wiki/Cinderella_(Fitinhof-Schell)" title="Cinderella (Fitinhof-Schell)">Cinderella</a>, set to the music of <a href="/wiki/Baron_Boris_Fitinhof-Schell" class="mw-redirect" title="Baron Boris Fitinhof-Schell">Baron Boris Fitinhof-Schell</a>. The Italian ballerina <a href="/wiki/Pierina_Legnani" title="Pierina Legnani">Pierina Legnani</a> made her début in the title role, and on the evening of the premiere, 15 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 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 <a href="/wiki/Turn_(dance_and_gymnastics)#Fouett%C3%A9" title="Turn (dance and gymnastics)">fouettés en tournant</a>. Petipa was so enamored with the stellar ballerina that he bestowed upon her the rarely held title of Prima ballerina assoluta, and over the course of the next eight years, Petipa staged many new ballets especially for her talents. Petipa returned to choreography from his long infirmity with the one-act <a href="/wiki/The_Awakening_of_Flora" class="mw-redirect" title="The Awakening of Flora">Le Réveil de Flore</a> (The Awakening of Flora), set to the music of Riccardo Drigo. The ballet had its premiere on 9 August [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 28 July] 1894 at <a href="/wiki/Peterhof_Palace" title="Peterhof Palace">Peterhof Palace</a>. Petipa staged Le Réveil de Flore in honor of the wedding of Tsar Alexander III's daughter, the <a href="/wiki/Grand_Duchess_Xenia_Alexandrovna_of_Russia" title="Grand Duchess Xenia Alexandrovna of Russia">Grand Duchess Xenia</a> to the <a href="/wiki/Grand_Duke_Alexander_Mikhailovich_of_Russia" title="Grand Duke Alexander Mikhailovich of Russia">Grand Duke Alexander Mikhailovich</a>. The ballet was soon transferred to the Mariinsky Theatre. 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 <a href="/wiki/Swan_Lake" title="Swan Lake">Swan Lake</a>, first produced in Moscow in 1877. The gala was a success, with the excerpt from Swan Lake being the biggest success on the program. It was soon decided that a revival of the full-length work would be staged for the 1894–1895 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 accordance with Petipa's instructions, and Tchaikovsky's brother Modeste would revise the ballet's scenario. The premiere on 27 January [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 15 January] 1895 with Legnani in the dual rôle of Odette/Odile was a triumph, and in Petipa and Ivanov's version Swan Lake would go on to become one of the greatest of all ballets, remaining one of the ultimate tests for the classical ballerina and the corps de ballet. <div class="mw-heading mw-heading3"><h3 id="The_turn_of_the_20th_century">The turn of the 20th century</h3> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=9" title="Edit section: The turn of the 20th century" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> 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 <a href="/wiki/The_Talisman_(ballet)" title="The Talisman (ballet)">Le Talisman</a>, and Saint-Léon's 1864 <a href="/wiki/The_Little_Humpbacked_Horse_(ballet)" title="The Little Humpbacked Horse (ballet)">The Little Humpbacked Horse</a> (as La Tsar-Demoiselle), both with Legnani in the principal rôles. The turn of the 20th century saw Petipa present more revivals: <a href="/wiki/The_Pharaoh%27s_Daughter" title="The Pharaoh's Daughter">The Pharaoh's Daughter</a> in 1898; <a href="/wiki/La_Esmeralda_(ballet)" title="La Esmeralda (ballet)">La Esmeralda</a>, <a href="/wiki/Giselle" title="Giselle">Giselle</a> and <a href="/wiki/Le_Corsaire" title="Le Corsaire">Le Corsaire</a> in 1899; <a href="/wiki/La_Bayad%C3%A8re" title="La Bayadère">La Bayadère</a> in 1900 and <a href="/wiki/Le_Roi_Candaule" class="mw-redirect" title="Le Roi Candaule">Le Roi Candaule</a> in 1903. These revivals would prove to be Petipa's "finishing touch" on these works. Petipa also mounted new works. For the celebrations held at the <a href="/wiki/Bolshoi_Theatre" title="Bolshoi Theatre">Moscow Imperial Bolshoi Theatre</a> in honor of the coronation of <a href="/wiki/Nicholas_II_of_Russia" class="mw-redirect" title="Nicholas II of Russia">Emperor Nicholas II</a>, Petipa presented the one-act ballet to Drigo's music, <a href="/wiki/The_Pearl_(ballet)" class="mw-redirect" title="The Pearl (ballet)">Le Perle</a>, which proved to be the greatest success during the gala of 29 May [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 17 May] 1896. Le Perle was truly a ballet à grand spectacle: based on the un-staged danced scene La Pérégrina from <a href="/wiki/Giuseppe_Verdi" title="Giuseppe Verdi">Verdi's</a> opera <a href="/wiki/Don_Carlos" title="Don Carlos">Don Carlos</a>, which was to have been choreographed by Petipa's brother <a href="/wiki/Lucien_Petipa" title="Lucien Petipa">Lucien</a>. The ballet featured some of Petipa's most grand choreography for a 200-member cast, all set to Drigo's <a href="/wiki/Wagnerian" class="mw-redirect" title="Wagnerian">Wagnerian</a> score that boasted an off-stage choir. 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: <a href="/wiki/Barbe-Bleue_(ballet)" class="mw-redirect" title="Barbe-Bleue (ballet)">Bluebeard</a>, based on the Perrault fairytale to the music of <a href="/w/index.php?title=Pyotr_Schenk&action=edit&redlink=1" class="new" title="Pyotr Schenk (page does not exist)">Pyotr Schenk</a>, was given its premiere on 20 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 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 consisted of a three-part astrological divertissement titled The Temple of the Past, Present & Future. The Temple of the Future completed the scene with the Pas de deux éléctrique performed by Legnani and <a href="/wiki/Nikolai_Legat" title="Nikolai Legat">Nikolai Legat</a> to a tremendous ovation from the audience. In spite of the criticisms of Bluebeard, 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. On 19 January [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 7 January] 1898 the nearly eighty-year-old Petipa presented one of his greatest ballets, <a href="/wiki/Raymonda" title="Raymonda">Raymonda</a>, set in <a href="/wiki/Hungary" title="Hungary">Hungary</a> during the <a href="/wiki/Middle_Ages" title="Middle Ages">Middle Ages</a> to the music of <a href="/wiki/Alexander_Glazunov" title="Alexander Glazunov">Alexander Glazunov</a>, which premiered to great success. Petipa's Pas classique hongrois 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 rôle) becoming one of the ultimate tests of the classical ballerina. Petipa presented what would prove to be his final masterpiece on 23 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 10 February] 1900 at the <a href="/wiki/Hermitage_Theatre" title="Hermitage Theatre">Hermitage Theatre</a>, <a href="/wiki/Harlequinade" title="Harlequinade">Les Millions d'Arlequin</a> (or Harlequinade), a balletic Harlequinade set to Drigo's music. Harlequinade was dedicated by both Drigo and Petipa to the new Empress, <a href="/wiki/Alexandra_Fyodorovna_of_Hesse" class="mw-redirect" title="Alexandra Fyodorovna of Hesse">Alexandra Feodorovna</a>, a work which would prove to be the last enduring flash of Petipa's choreographic oeuvre. <div class="mw-heading mw-heading3"><h3 id="Final_years_with_the_Imperial_Ballet">Final years with the Imperial Ballet</h3> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=10" title="Edit section: Final years with the Imperial Ballet" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> 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, <a href="/w/index.php?title=Vladimir_Telyakovsky&action=edit&redlink=1" class="new" title="Vladimir Telyakovsky (page does not exist)">Vladimir Telyakovsky</a>, 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 <a href="/wiki/Pemphigus" title="Pemphigus">pemphigus</a>, the old Maestro showed no signs of slowing down, much to Telyakovsky's chagrin. One example of Telyakovsky's efforts in his attempt to "de-throne" Petipa came in 1902 when he invited <a href="/wiki/Alexander_Gorsky" class="mw-redirect" title="Alexander Gorsky">Alexander Gorsky</a>, former premier danseur to the Imperial Ballet, to stage his own version of Petipa's 1869 ballet Don Quixote. Gorsky had been engaged as Ballet Master to the <a href="/wiki/Bolshoi_Ballet" title="Bolshoi Ballet">Ballet of the Moscow Imperial Bolshoi Theatre</a>, and in 1900 he mounted a complete revision of Don Quixote 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 production at the Mariinsky Theatre, Petipa was heard yelling out "Will someone tell that young man that I am not yet dead?!". Petipa was further frustrated by the fact that the Imperial Theatre's newly appointed régisseur <a href="/wiki/Sergeyev_Collection" title="Sergeyev Collection">Nicholas Sergeyev</a> was being paid large sums to travel throughout the <a href="/wiki/Russian_Empire" title="Russian Empire">Russian Empire</a> and stage many of the ageing Ballet Master's works. <figure typeof="mw:File/Thumb"><a href="/wiki/File:Marie_Petipa_-funeral_-1910.JPG" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/0f/Marie_Petipa_-funeral_-1910.JPG/350px-Marie_Petipa_-funeral_-1910.JPG" decoding="async" width="350" height="226" class="mw-file-element" data-file-width="862" data-file-height="556"></noscript><span class="lazy-image-placeholder" style="width: 350px;height: 226px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/0/0f/Marie_Petipa_-funeral_-1910.JPG/350px-Marie_Petipa_-funeral_-1910.JPG" data-width="350" data-height="226" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/0f/Marie_Petipa_-funeral_-1910.JPG/525px-Marie_Petipa_-funeral_-1910.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/0f/Marie_Petipa_-funeral_-1910.JPG/700px-Marie_Petipa_-funeral_-1910.JPG 2x" data-class="mw-file-element"> </a><figcaption>Funeral cortège for Marius Petipa, 17 July 1910, St. Petersburg, Russia</figcaption></figure> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:GrafmonumentPetipa.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/5/5f/GrafmonumentPetipa.jpg" decoding="async" width="161" height="399" class="mw-file-element" data-file-width="161" data-file-height="399"></noscript><span class="lazy-image-placeholder" style="width: 161px;height: 399px;" data-src="//upload.wikimedia.org/wikipedia/commons/5/5f/GrafmonumentPetipa.jpg" data-width="161" data-height="399" data-class="mw-file-element"> </a><figcaption>Petipa's grave in the Alexander Nevsky Monastery, St. Petersburg, Russia</figcaption></figure> In late 1902 Petipa began work on a ballet adaptation of the tale Snow White and the Seven Dwarfs titled <a href="/wiki/The_Magic_Mirror_(ballet)" title="The Magic Mirror (ballet)">The Magic Mirror</a>. 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 <a href="/wiki/Arsenii_Koreshchenko" class="mw-redirect" title="Arsenii Koreshchenko">Arsenii Koreshchenko</a>, was given on 22 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 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[<a href="/wiki/Wikipedia:Manual_of_Style/Words_to_watch#Unsupported_attributions" title="Wikipedia:Manual of Style/Words to watch">by whom?</a>] to be unsuited for a classical ballet. In spite of this Petipa received a roaring ovation from the audience at the end of the performance. Le Miroir magique was given scathing reviews in the press[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>], 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 Stock Trade Bulletin, a St. Petersburg newspaper, that "...the ballet company will have to get used to a new Balletmaster – 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." In the end Gorsky never succeeded Petipa as premier maître de ballet. The coveted post would later go to <a href="/wiki/Mikhail_Fokine" class="mw-redirect" title="Mikhail Fokine">Mikhail Fokine</a>. Telyakovsky knew that he could not legally end Petipa's employment, as he was still contracted as premier maître de ballet, 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 <a href="/wiki/The_Pharaoh%27s_Daughter" title="The Pharaoh's Daughter">The Pharaoh's Daughter</a> at the Paris Opéra (the <a href="/wiki/Palais_Garnier" title="Palais Garnier">Palais Garnier</a>) by relatives of <a href="/wiki/Jules-Henri_Vernoy_de_Saint-Georges" title="Jules-Henri Vernoy de Saint-Georges">Jules-Henri Vernoy de Saint-Georges</a>, who wrote the ballet's libretto, but his health prevented him from it. 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 <a href="/wiki/Anna_Pavlova" title="Anna Pavlova">Anna Pavlova</a> for her performances in Giselle and her début in Paquita. 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 completely new choreography for many of the pas in his 1868 ballet <a href="/wiki/Le_Roi_Candaule" class="mw-redirect" title="Le Roi Candaule">Le Roi Candaule</a>. For this revival Petipa created a new version of the celebrated Pas de Diane that would later be transformed by <a href="/wiki/Agrippina_Vaganova" title="Agrippina Vaganova">Agrippina Vaganova</a> into the famous <a href="/wiki/Diane_and_Act%C3%A9on_Pas_de_Deux" class="mw-redirect" title="Diane and Actéon Pas de Deux">Diane and Actéon Pas de Deux</a>. Such work prompted the Ballet Master to write in his diaries "I am amazing." Petipa then set to work on what would prove to be his final ballet. <a href="/w/index.php?title=La_Romance_d%27un_Bouton_de_rose_et_d%27un_Papillon&action=edit&redlink=1" class="new" title="La Romance d'un Bouton de rose et d'un Papillon (page does not exist)">La Romance d'un Bouton de rose et d'un Papillon</a> to the music of Drigo was, according to Olga Preobrajenska, " ... a little masterpiece." The work was scheduled to be presented on 5 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 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 <a href="/wiki/Russo-Japanese_War" title="Russo-Japanese War">Russo-Japanese War</a>. 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. </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(3)"><h2 id="Remaining_years_and_death">Remaining years and death</h2> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=11" title="Edit section: Remaining years and death" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-3 collapsible-block" id="mf-section-3"> Petipa noted his final composition on 17 January 1905 in his diaries: a variation to the music of Cesare Pugni for the Prima ballerina Olga Preobrajenska from the old ballet <a href="/wiki/La_Prima_Ballerina" class="mw-redirect" title="La Prima Ballerina">La Danseuse en voyage</a>. Petipa wrote next to this entry " ... it's finished!". Petipa remained in St. Petersburg until 1907. At the suggestion of his physicians he left with his family to <a href="/wiki/Yalta" title="Yalta">Yalta</a> in southern Russia where the air was more agreeable with his health, and soon the Petipa family relocated to the resort <a href="/wiki/Gurzuf" title="Gurzuf">Gurzuf</a> in the <a href="/wiki/Crimea" title="Crimea">Crimea</a>, where the Ballet Master spent his remaining years. In 1907 Petipa wrote in his diary "I can state that I created a ballet company of which everyone said: St. Petersburg has the greatest ballet in all Europe." Petipa died on 14 July [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 1 July] 1910 at the age of ninety-two, and was interred three days later in the <a href="/wiki/Alexander_Nevsky_Monastery" class="mw-redirect" title="Alexander Nevsky Monastery">Alexander Nevsky Monastery</a> in St. Petersburg. </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(4)"><h2 id="Notation_of_works">Notation of works</h2> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=12" title="Edit section: Notation of works" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-4 collapsible-block" id="mf-section-4"> It was in 1891 that many of Petipa's original ballets, revivals, and dances from operas began to be notated in the method of <a href="/wiki/Vladimir_Ivanovich_Stepanov" class="mw-redirect" title="Vladimir Ivanovich Stepanov">dance notation created by Vladimir Stepanov</a>. <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Bayadere_-Stepanov_Choreographic_Notation_-circa_1900.JPG" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Bayadere_-Stepanov_Choreographic_Notation_-circa_1900.JPG/220px-Bayadere_-Stepanov_Choreographic_Notation_-circa_1900.JPG" decoding="async" width="220" height="131" class="mw-file-element" data-file-width="1008" data-file-height="602"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 131px;" data-src="//upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Bayadere_-Stepanov_Choreographic_Notation_-circa_1900.JPG/220px-Bayadere_-Stepanov_Choreographic_Notation_-circa_1900.JPG" data-width="220" data-height="131" data-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Bayadere_-Stepanov_Choreographic_Notation_-circa_1900.JPG/330px-Bayadere_-Stepanov_Choreographic_Notation_-circa_1900.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Bayadere_-Stepanov_Choreographic_Notation_-circa_1900.JPG/440px-Bayadere_-Stepanov_Choreographic_Notation_-circa_1900.JPG 2x" data-class="mw-file-element"> </a><figcaption>A Page of the Stepanov choreographic notation from the Sergeyev Collection for the Petipa/Minkus <a href="/wiki/La_Bayad%C3%A8re" title="La Bayadère">La Bayadère</a>, c. 1900</figcaption></figure> After the <a href="/wiki/Russian_Revolution_of_1917" class="mw-redirect" title="Russian Revolution of 1917">Russian Revolution of 1917</a> 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 <a href="/wiki/The_Sleeping_Beauty_Ballet" class="mw-redirect" title="The Sleeping Beauty Ballet">The Sleeping Beauty</a>, his definitive version of <a href="/wiki/Giselle" title="Giselle">Giselle</a>, <a href="/wiki/Copp%C3%A9lia" title="Coppélia">Coppélia</a> (as danced by the Imperial Ballet), and <a href="/wiki/The_Nutcracker" title="The Nutcracker">The Nutcracker</a> for the <a href="/wiki/Vic-Wells_Ballet" class="mw-redirect" title="Vic-Wells Ballet">Vic-Wells Ballet</a> of London (later the <a href="/wiki/Royal_Ballet" class="mw-redirect" title="Royal Ballet">Royal Ballet</a>). </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(5)"><h2 id="Ballets">Ballets</h2> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=13" title="Edit section: Ballets" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-5 collapsible-block" id="mf-section-5"> <div class="mw-heading mw-heading3"><h3 id="Nantes,_France">Nantes, France</h3> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=14" title="Edit section: Nantes, France" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <ul><li>Le Droit du seigneur (1838)</li> <li>La Petite Bohémienne (1838)</li> <li>La Noce à Nantes (1838)</li></ul> <div class="mw-heading mw-heading3"><h3 id="Bordeaux,_France">Bordeaux, France</h3> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=15" title="Edit section: Bordeaux, France" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <ul><li>La Jolie Bordelaise (1840)</li> <li>L’Intrigue amoureuse (1841)</li> <li>La Vendange (1842)</li> <li>Le Langage des fleurs (1844)</li></ul> <div class="mw-heading mw-heading3"><h3 id="Madrid,_Spain">Madrid, Spain</h3> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=16" title="Edit section: Madrid, Spain" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <ul><li>Carmen et son toréro (1845)</li> <li>La Perle de Séville (1845)</li> <li>L’Aventure d’une fille de Madrid (1845)</li> <li>Départ pour la course des taureaux (1845)</li> <li>La Fleur de Grenade (1846)</li> <li>Forfasella ó la hija del infierno (1846)</li> <li>Alba-Flor la pesarosa (1847)</li></ul> <div class="mw-heading mw-heading3"><h3 id="Russia">Russia</h3> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=17" title="Edit section: Russia" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div> <a href="/wiki/Imperial_Bolshoi_Kammeny_Theatre" class="mw-redirect" title="Imperial Bolshoi Kammeny Theatre">Imperial Bolshoi Kammeny Theatre</a>, St. Petersburg <ul><li><a href="/wiki/Paquita" title="Paquita">Paquita</a> (revival, after J. Mazilier). Staged with Frédéric Malevergne. Music by <a href="/wiki/Edouard_Deldevez" class="mw-redirect" title="Edouard Deldevez">Edouard Deldevez</a> and <a href="/wiki/Ludvig_Minkus" class="mw-redirect" title="Ludvig Minkus">Ludvig Minkus</a>. 8 October [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 26 September] 1847.</li> <li><a href="/wiki/Satanella_(ballet)" class="mw-redirect" title="Satanella (ballet)">Le Diable amoureux (as Satanella)</a> (revival, after J. Mazilier). Staged with <a href="/w/index.php?title=Jean_Petipa&action=edit&redlink=1" class="new" title="Jean Petipa (page does not exist)">Jean Petipa</a>. Music by <a href="/wiki/Napol%C3%A9on_Henri_Reber" title="Napoléon Henri Reber">Napoléon Henri Reber</a>, <a href="/wiki/Fran%C3%A7ois_Benoist" title="François Benoist">François Benoist</a> and Konstantin Liadov. 22 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 10 February] 1848.</li> <li><a href="/wiki/L%C3%A9da,_ou_la_Laiti%C3%A8re_Suisse" class="mw-redirect" title="Léda, ou la Laitière Suisse">Léda, ou la Laitière Suisse</a> (revival, after F. Taglioni). Staged with <a href="/wiki/Jules_Perrot" title="Jules Perrot">Jules Perrot</a> and Jean Petipa. Music by <a href="/wiki/Adalbert_Gyrowetz" title="Adalbert Gyrowetz">Adalbert Gyrowetz</a>, <a href="/wiki/Michele_Carafa" title="Michele Carafa">Michele Carafa</a> and <a href="/wiki/Cesare_Pugni" title="Cesare Pugni">Cesare Pugni</a>. 16 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 4 December] 1849.</li> <li><a href="/wiki/Giselle" title="Giselle">Giselle</a> (revival, after Jean Coralli and J. Perrot). Staged with Jules Perrot. Music by <a href="/wiki/Adolphe_Adam" title="Adolphe Adam">Adolphe Adam</a> and Cesare Pugni. 7 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 26 January] 1850.</li> <li><a href="/wiki/Le_Corsaire" title="Le Corsaire">Le Corsaire</a> (revival, after J. Mazilier). Staged with Jules Perrot. Music by <a href="/wiki/Adolphe_Adam" title="Adolphe Adam">Adolphe Adam</a> and Cesare Pugni. 24 January [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 12 January] 1858.</li> <li><a href="/wiki/Un_Mariage_sous_la_R%C3%A9gence" class="mw-redirect" title="Un Mariage sous la Régence">Un Mariage sous la Régence</a>. Music by Cesare Pugni. 30 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 18 December] 1858.</li> <li><a href="/wiki/La_Carnaval_de_Venise" class="mw-redirect" title="La Carnaval de Venise">La Carnaval de Venise</a> (pas de deux for Amalia Ferraris). Music by Cesare Pugni on a theme by <a href="/wiki/Niccol%C3%B2_Paganini" title="Niccolò Paganini">Niccolò Paganini</a>. 24 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 12 February] 1859.</li> <li><a href="/wiki/The_Parisian_Market_or_Le_March%C3%A9_des_Innocents" title="The Parisian Market or Le Marché des Innocents">Le Marché des parisien</a>. Music by Cesare Pugni. 30 April [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 23 April] 1859.</li> <li><a href="/w/index.php?title=La_Somnambule_(ballet)&action=edit&redlink=1" class="new" title="La Somnambule (ballet) (page does not exist)">La Somnambule</a> (revival, after <a href="/wiki/Jean-Pierre_Aumer" class="mw-redirect" title="Jean-Pierre Aumer">Jean-Pierre Aumer</a>). Music by <a href="/wiki/Ferdinand_H%C3%A9rold" title="Ferdinand Hérold">Ferdinand Hérold</a> and Cesare Pugni. 21 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 19 December] 1859.</li> <li><a href="/wiki/The_Blue_Dahlia_(Petipa/Pugni)" class="mw-redirect" title="The Blue Dahlia (Petipa/Pugni)">Le Dahlia Bleu</a>. Music by Cesare Pugni. 24 April [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 12 April] 1860.</li> <li><a href="/wiki/The_Pharaoh%27s_Daughter" title="The Pharaoh's Daughter">The Pharaoh's Daughter</a>. Music by Cesare Pugni. 30 January [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 18 January] 1862.</li> <li><a href="/wiki/The_Beauty_of_Lebanon_or_The_Mountain_Spirit" title="The Beauty of Lebanon or The Mountain Spirit">La Beauté du Liban, ou l’Esprit des montagnes</a>. Music by Cesare Pugni. 24 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 12 December] 1863.</li> <li><a href="/wiki/La_Prima_Ballerina" class="mw-redirect" title="La Prima Ballerina">La Danseuse en voyage</a> (revival, after J. Perrot). Music by Cesare Pugni. 16 November [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 4 November] 1865.</li> <li><a href="/wiki/Florida_(Petipa/Pugni)" class="mw-redirect" title="Florida (Petipa/Pugni)">Florida</a>. Music by Cesare Pugni. 22 January [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 10 January] 1866.</li> <li><a href="/wiki/Faust_(Perrot/Pugni)" class="mw-redirect" title="Faust (Perrot/Pugni)">Faust</a> (revival, after J. Perrot). Music by <a href="/wiki/Giacomo_Panizza" title="Giacomo Panizza">Giacomo Panizza</a>, <a href="/wiki/Michael_Costa_(conductor)" title="Michael Costa (conductor)">Sir Michael Andrew Costa</a>, <a href="/wiki/Niccol%C3%B2_Bajetti" class="mw-redirect" title="Niccolò Bajetti">Niccolò Bajetti</a> and Cesare Pugni. 19 November [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 7 November] 1867.</li> <li><a href="/wiki/Tsar_Kandavl_or_Le_Roi_Candaule" title="Tsar Kandavl or Le Roi Candaule">Le Roi Candaule</a>. Music by Cesare Pugni. 31 October [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 17 October] 1868.</li> <li><a href="/wiki/Catarina_or_La_Fille_du_Bandit_(Perrot/Pugni)" class="mw-redirect" title="Catarina or La Fille du Bandit (Perrot/Pugni)">Catarina</a> (revival, after Jules Perrot). Music by Cesare Pugni. 13 November [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 1 November] 1870.</li> <li><a href="/wiki/The_Two_Stars_(ballet)" class="mw-redirect" title="The Two Stars (ballet)">Les Deux étoiles</a>. Music by Cesare Pugni. 12 January [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 31 January 1871] 1872.</li> <li><a href="/wiki/Camargo_(Petipa/Minkus)" class="mw-redirect" title="Camargo (Petipa/Minkus)">La Camargo</a>. Music by Ludwig Minkus. 29 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 17 December] 1872.</li> <li><a href="/wiki/Le_Papillon_(Taglioni)" class="mw-redirect" title="Le Papillon (Taglioni)">Le Papillon</a> (revival, after M. Taglioni). Music by <a href="/wiki/Jacques_Offenbach" title="Jacques Offenbach">Jacques Offenbach</a> and Ludwig Minkus. 19 January [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 7 January] 1874.</li> <li><a href="/wiki/Ondine_(ballet)" title="Ondine (ballet)">La Naïade et le Pêcheur</a> (revival, after J. Perrot). Music by Cesare Pugni. 7 November [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 27 October] 1874.</li> <li><a href="/wiki/The_Bandits_or_La_Gitanilla_(Petipa/Minkus)" class="mw-redirect" title="The Bandits or La Gitanilla (Petipa/Minkus)">Les Brigands</a>. Music by Ludwig Minkus. 6 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 26 January] 1875.</li> <li><a href="/wiki/The_Adventures_of_Peleus_or_Thetis_and_Peleus" class="mw-redirect" title="The Adventures of Peleus or Thetis and Peleus">Les Aventures de Pélée</a>. Music by Ludwig Minkus and <a href="/wiki/L%C3%A9o_Delibes" title="Léo Delibes">Léo Delibes</a>. 30 January [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 18 January] 1876.</li> <li><a href="/wiki/A_Midsummer_Night%27s_Dream_(Mendelssohn)" title="A Midsummer Night's Dream (Mendelssohn)">Le Songe d’une nuit d’été</a>. Music by Ludwig Minkus and <a href="/wiki/Felix_Mendelssohn" title="Felix Mendelssohn">Felix Mendelssohn</a>. 26 July [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 14 July] 1876.</li> <li><a href="/wiki/La_Bayad%C3%A8re" title="La Bayadère">La Bayadère</a>. Music by Ludwig Minkus. 4 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 23 January] 1877.</li> <li><a href="/wiki/Roxana,_the_Beauty_of_Montenegro" title="Roxana, the Beauty of Montenegro">Roxana, la beauté du Monténégro</a>. Music by Ludwig Minkus. 10 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 29 January] 1878.</li> <li><a href="/wiki/The_Daughter_of_the_Snows" title="The Daughter of the Snows">La Fille des Neiges</a>. Music by Ludwig Minkus. 19 January [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 7 January] 1879.</li> <li><a href="/wiki/Frizak_the_Barber_or_The_Double_Wedding" class="mw-redirect" title="Frizak the Barber or The Double Wedding">Frisac, ou la Double Noce</a>. Music arranged by Ludwig Minkus from the airs of <a href="/wiki/Giacomo_Meyerbeer" title="Giacomo Meyerbeer">Giacomo Meyerbeer</a>, <a href="/wiki/Giuseppe_Verdi" title="Giuseppe Verdi">Giuseppe Verdi</a>, <a href="/wiki/Vincenzo_Bellini" title="Vincenzo Bellini">Vincenzo Bellini</a> and <a href="/wiki/Gioacchino_Rossini" class="mw-redirect" title="Gioacchino Rossini">Gioacchino Rossini</a>. 23 March [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 11 March] 1879.</li> <li><a href="/wiki/Mlada_(ballet)" title="Mlada (ballet)">Mlada</a>. Music by Ludwig Minkus. 14 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 2 December] 1879.</li> <li><a href="/wiki/La_Fille_du_Danube" class="mw-redirect" title="La Fille du Danube">La Fille du Danube</a> (revival, after F. Taglioni). Music by <a href="/wiki/Adolphe_Adam" title="Adolphe Adam">Adolphe Adam</a> and Ludwig Minkus. 8 March [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 24 February] 1880.</li> <li><a href="/wiki/Zoraiya,_the_Moorish_Girl_in_Spain" class="mw-redirect" title="Zoraiya, the Moorish Girl in Spain">Zoraïa, ou la Maure en Espagne</a>. Music by Ludwig Minkus. 13 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 1 February] 1881.</li> <li><a href="/wiki/La_Vivandi%C3%A8re_or_Markitenka" title="La Vivandière or Markitenka">La Vivandière (as Markitenka)</a> (revival, after A. Saint-Léon). Music by Cesare Pugni. 20 October [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 8 October] 1881.</li> <li><a href="/wiki/P%C3%A2querette" title="Pâquerette">Pâquerette</a> (revival, after A. Saint-Léon). Music by François Benoist and Ludwig Minkus. 22 January [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 10 January] 1882.</li> <li><a href="/wiki/Pygmalion_or_The_Cyprus_Statue" class="mw-redirect" title="Pygmalion or The Cyprus Statue">Pygmalion, ou La statue de Chypre</a>. Music by <a href="/w/index.php?title=Prince_Nikita_Trubestkoi&action=edit&redlink=1" class="new" title="Prince Nikita Trubestkoi (page does not exist)">Prince Nikita Trubestkoi</a>. 23 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 11 December] 1883.</li> <li><a href="/wiki/Copp%C3%A9lia" title="Coppélia">Coppélia</a> (revival, after A. Saint-Léon). Music by <a href="/wiki/L%C3%A9o_Delibes" title="Léo Delibes">Léo Delibes</a>. 7 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 25 November] 1884.</li> <li><a href="/wiki/Le_Diable_%C3%A0_Quatre_(ballet)" class="mw-redirect" title="Le Diable à Quatre (ballet)">Le Diable à Quatre (as La Femme capricieuse)</a> (revival, J. Mazilier). Music by Adolphe Adam, Cesare Pugni and Ludwig Minkus. 5 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 23 January] 1885.</li> <li><a href="/wiki/La_Fille_Mal_Gard%C3%A9e" class="mw-redirect" title="La Fille Mal Gardée">La Fille Mal Gardée (as La Précaution inutile)</a> (revival, after <a href="/wiki/Paul_Taglioni" class="mw-redirect" title="Paul Taglioni">Paul Taglioni</a>). Staged with <a href="/wiki/Lev_Ivanov" title="Lev Ivanov">Lev Ivanov</a> and <a href="/wiki/Virginia_Zucchi" title="Virginia Zucchi">Virginia Zucchi</a>. Music by <a href="/wiki/Peter_Ludwig_Hertel" title="Peter Ludwig Hertel">Peter Ludwig Hertel</a>, <a href="/wiki/Ferdinand_H%C3%A9rold" title="Ferdinand Hérold">Ferdinand Hérold</a> and Cesare Pugni. 27 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 15 December] 1885.</li></ul> <a href="/wiki/Imperial_Mariinsky_Theatre" class="mw-redirect" title="Imperial Mariinsky Theatre">Imperial Mariinsky Theatre</a>, St. Petersburg <ul><li><a href="/wiki/The_Magic_Pills" title="The Magic Pills">Les Pilules magiques</a>. Music by Ludwig Minkus. 21 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 9 February] 1886.</li> <li><a href="/wiki/The_King%27s_Command_or_The_Pupils_of_Dupr%C3%A9" title="The King's Command or The Pupils of Dupré">L’Ordre du Roi</a>. Music arranged by <a href="/wiki/Albert_Vizentini" title="Albert Vizentini">Albert Vizentini</a> from the airs of <a href="/wiki/Johann_Strauss_II" title="Johann Strauss II">Johann Strauss II</a>, <a href="/wiki/L%C3%A9o_Delibes" title="Léo Delibes">Léo Delibes</a>, <a href="/wiki/Daniel_Auber" title="Daniel Auber">Daniel Auber</a>, <a href="/wiki/Jules_Massenet" title="Jules Massenet">Jules Massenet</a> and <a href="/wiki/Anton_Rubinstein" title="Anton Rubinstein">Anton Rubinstein</a>. 26 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 14 February] 1886.</li> <li><a href="/wiki/La_Esmeralda_(ballet)" title="La Esmeralda (ballet)">La Esmeralda</a> (revival, after J. Perrot). Music by Cesare Pugni. 29 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 17 December] 1886.</li> <li><a href="/wiki/Fiametta" title="Fiametta">Fiametta</a> (revival, after A. Saint-Léon). Music by Ludwig Minkus. 18 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 6 December] 1887.</li> <li><a href="/wiki/The_Vestal" title="The Vestal">La Vestale</a>. Music by <a href="/wiki/Mikhail_Ivanov_(composer)" title="Mikhail Ivanov (composer)">Mikhail Ivanov</a>. 1 March [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 17 February] 1888.</li> <li><a href="/wiki/The_Talisman_(ballet)" title="The Talisman (ballet)">Le Talisman</a>. Music by Riccardo Drigo. 6 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 25 January] 1889.</li> <li><a href="/wiki/The_Sleeping_Beauty_Ballet" class="mw-redirect" title="The Sleeping Beauty Ballet">The Sleeping Beauty</a>. Music by <a href="/wiki/Pyotr_Ilyich_Tchaikovsky" title="Pyotr Ilyich Tchaikovsky">Pyotr Ilyich Tchaikovsky</a>. 15 January [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 3 January] 1890.</li> <li><a href="/wiki/The_Water_Lily" class="mw-redirect" title="The Water Lily">Nénuphar</a>. Music by Nikolai Krotkov. 23 November [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 11 November] 1890.</li> <li><a href="/wiki/Kalkabrino" title="Kalkabrino">Kalkabrino</a>. Music by <a href="/wiki/Ludwig_Minkus" title="Ludwig Minkus">Ludwig Minkus</a>. 25 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 13 February] 1891.</li> <li><a href="/wiki/La_Sylphide" title="La Sylphide">La Sylphide</a> (revival, after F. Taglioni). Music by <a href="/wiki/Jean_Madeleine_Schneitzhoeffer" class="mw-redirect" title="Jean Madeleine Schneitzhoeffer">Jean Madeleine Schneitzhoeffer</a> and Riccardo Drigo. 31 January [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 19 January] 1892.</li> <li><a href="/wiki/The_Nutcracker" title="The Nutcracker">The Nutcracker</a>. Staged by Petipa and <a href="/wiki/Lev_Ivanov" title="Lev Ivanov">Lev Ivanov</a>. Music by Pyotr Ilyich Tchaikovsky. 18 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 6 December] 1892.</li> <li><a href="/wiki/Cinderella_(Fitinhof-Schell)" title="Cinderella (Fitinhof-Schell)">Cendrillon (as Zolushka)</a>. Staged by <a href="/wiki/Lev_Ivanov" title="Lev Ivanov">Lev Ivanov</a> and <a href="/wiki/Enrico_Cecchetti" title="Enrico Cecchetti">Enrico Cecchetti</a> under the supervision of Petipa. Music by Baron Boris Fitinhof-Schell. 17 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 5 December] 1893.</li> <li><a href="/wiki/Swan_Lake_1895" class="mw-redirect" title="Swan Lake 1895">Swan Lake</a> (revival, after J. Reisinger). Staged with Lev Ivanov. Music by Pyotr Ilyich Tchaikovsky in a revision by Riccardo Drigo. 27 January [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 15 January] 1895.</li> <li><a href="/wiki/The_Little_Humpbacked_Horse_(ballet)" title="The Little Humpbacked Horse (ballet)">The Little Humpbacked Horse (as La Tsar-Demoiselle)</a> (revival, after A. Saint-Léon). Music by Cesare Pugni and Riccardo Drigo. 18 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 6 December] 1895.</li> <li><a href="/w/index.php?title=The_Cavalry_Halt&action=edit&redlink=1" class="new" title="The Cavalry Halt (page does not exist)">La Halte de la cavalerie</a>. Music by <a href="/w/index.php?title=Johann_Armsheimer&action=edit&redlink=1" class="new" title="Johann Armsheimer (page does not exist)">Johann Armsheimer</a>. 2 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 21 January] 1896.</li> <li><a href="/wiki/Barbe-Bleue_(ballet)" class="mw-redirect" title="Barbe-Bleue (ballet)">Barbe-bleue</a>. Music by <a href="/w/index.php?title=Pyotr_Schenck&action=edit&redlink=1" class="new" title="Pyotr Schenck (page does not exist)">Pyotr Schenck</a>. 20 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 8 December] 1896.</li> <li><a href="/wiki/Raymonda" title="Raymonda">Raymonda</a>. Music by <a href="/wiki/Alexander_Glazunov" title="Alexander Glazunov">Alexander Glazunov</a>. 19 January [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 7 January] 1898.</li> <li><a href="/wiki/The_Magic_Mirror_(ballet)" title="The Magic Mirror (ballet)">The Magic Mirror</a>. Music by <a href="/wiki/Arseny_Koreshchenko" title="Arseny Koreshchenko">Arseny Koreshchenko</a>. 22 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 9 February] 1903.</li></ul> Other venues in Russia <ul><li><a href="/wiki/L%27%C3%89toile_de_Grenade" class="mw-redirect" title="L'Étoile de Grenade">L’Étoile de Grenade</a>. Music by Cesare Pugni. 21 January [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 9 January] 1855. <a href="/wiki/Palace_of_the_Grand_Duchess_Elena_Pavlovna" class="mw-redirect" title="Palace of the Grand Duchess Elena Pavlovna">Palace of the Grand Duchess Elena Pavlovna</a>, St. Petersburg.</li> <li><a href="/wiki/La_Rose,_la_Violette_et_le_Papillon" class="mw-redirect" title="La Rose, la Violette et le Papillon">La Rose, la Violette et le Papillon</a>. Music by <a href="/wiki/Peter_of_Oldenburg_(1812-1881)" class="mw-redirect" title="Peter of Oldenburg (1812-1881)">Prince Pyotr Georgievich of Oldenburg</a>. 20 October [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 8 October] 1857. Estate of Prince Pyotr Georgievich of Oldenburg, <a href="/wiki/Tsarskoye_Selo" title="Tsarskoye Selo">Tsarskoye Selo</a>.</li> <li><a href="/wiki/Terpsichore_(Petipa/Pugni)" class="mw-redirect" title="Terpsichore (Petipa/Pugni)">Terpsichore</a>. Music by Cesare Pugni. 28 November [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 16 November] 1861. Imperial Theatre, Tsarskoye Selo.</li> <li><a href="/wiki/Titania_(Petipa/Pugni)" class="mw-redirect" title="Titania (Petipa/Pugni)">Titania</a>. Music by Cesare Pugni. 30 November [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 18 November] 1866. Palace of the Grand Duchess Elena Pavlovna, St. Petersburg.</li> <li><a href="/wiki/The_Benevolent_Cupid" title="The Benevolent Cupid">L’Amour bienfaiteur</a>. Music by Cesare Pugni. 18 March [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 6 March] 1868. For students of the <a href="/wiki/Vaganova_Academy_of_Russian_Ballet" title="Vaganova Academy of Russian Ballet">Imperial Ballet School</a>, St. Petersburg.</li> <li><a href="/wiki/The_Slave_(Petipa/Pugni)" class="mw-redirect" title="The Slave (Petipa/Pugni)">L’Esclave</a>. Music by Cesare Pugni. 11 May [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 29 April] 1869. Imperial Theatre, Tsarskoye Selo.</li> <li><a href="/wiki/Don_Quixote_(ballet)" title="Don Quixote (ballet)">Don Quixote</a>. Music by <a href="/wiki/Ludwig_Minkus" title="Ludwig Minkus">Ludwig Minkus</a>. 26 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 14 December] 1869. <a href="/wiki/Bolshoi_Theatre" title="Bolshoi Theatre">Imperial Bolshoi Theatre</a>, Moscow.</li> <li><a href="/wiki/Trilby_(Petipa/Gerber)" class="mw-redirect" title="Trilby (Petipa/Gerber)">Trilby</a>. Music by <a href="/w/index.php?title=Yuli_Gerber&action=edit&redlink=1" class="new" title="Yuli Gerber (page does not exist)">Yuli Gerber</a>. 6 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 25 January] 1870. Imperial Bolshoi Theatre, Moscow.</li> <li><a href="/wiki/Ariadne_(ballet)" class="mw-redirect" title="Ariadne (ballet)">Ariadne</a> (revival, after J. Reisinger). Music by Yuli Gerber. 26 December [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 14 December] 1878. Imperial Bolshoi Theatre, Moscow.</li> <li><a href="/wiki/Night_and_Day_(ballet)" title="Night and Day (ballet)">La Nuit et le Jour</a>. Music by Ludwig Minkus. 30 May [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 18 May] 1883. Imperial Bolshoi Theatre, Moscow. For the coronation gala of <a href="/wiki/Alexander_III_of_Russia" title="Alexander III of Russia">Emperor Alexander III</a> and <a href="/wiki/Maria_Feodorovna_(Dagmar_of_Denmark)" title="Maria Feodorovna (Dagmar of Denmark)">Empress Maria Fyodorvna</a>.</li> <li><a href="/wiki/The_Sacrifices_to_Cupid" title="The Sacrifices to Cupid">L’Offrande à l’Amour</a>. Music by Ludwig Minkus. 3 August [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 22 July] 1886. In honor of Empress Maria Fyodorovna. Imperial Theatre, <a href="/wiki/Peterhof_Palace" title="Peterhof Palace">Peterhof</a>.</li> <li><a href="/wiki/The_Whims_of_the_Butterfly" title="The Whims of the Butterfly">Les Caprices du papillon</a>. Music by <a href="/w/index.php?title=Nikolai_Krotkov&action=edit&redlink=1" class="new" title="Nikolai Krotkov (page does not exist)">Nikolai Krotkov</a>. 17 June [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 5 June] 1889. Imperial Theatre, Peterhof. For the wedding of <a href="/wiki/Alexandra_Georgievna_of_Greece_and_Denmark" class="mw-redirect" title="Alexandra Georgievna of Greece and Denmark">Princess Alexandra of Greece</a> to the <a href="/wiki/Grand_Duke_Paul_Alexandrovich_of_Russia" title="Grand Duke Paul Alexandrovich of Russia">Grand Duke Pavel Alexandrovich</a>.</li> <li><a href="/wiki/The_Enchanted_Forest_(ballet)" title="The Enchanted Forest (ballet)">La Forêt enchantée</a> (revival, after Lev Ivanov). Music by Riccardo Drigo. 25 July [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 13 July] 1889. Olga Island, Peterhof.</li> <li><a href="/wiki/A_Fairy_Tale_(Petipa/Richter)" class="mw-redirect" title="A Fairy Tale (Petipa/Richter)">Un conte de fées</a>. Music by (?) Richter. 16 April [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 4 April] 1891. For students of the Imperial Ballet School, St. Petersburg.</li> <li><a href="/wiki/The_Awakening_of_Flora" class="mw-redirect" title="The Awakening of Flora">Le Réveil de Flore</a>. Music by <a href="/wiki/Riccardo_Drigo" title="Riccardo Drigo">Riccardo Drigo</a>. 9 August [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 28 July] 1894. Imperial Theatre, Peterhof. For the wedding of the <a href="/wiki/Grand_Duchess_Xenia_Alexandrovna_of_Russia" title="Grand Duchess Xenia Alexandrovna of Russia">Grand Duchess Xenia Alexandrovna</a> to the <a href="/wiki/Grand_Duke_Alexander_Mikhailovich_of_Russia" title="Grand Duke Alexander Mikhailovich of Russia">Grand Duke Alexander Mikhailovich</a>.</li> <li><a href="/wiki/La_Perle_(ballet)" title="La Perle (ballet)">La Perle</a>. Music by Riccardo Drigo. 29 May [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 17 May] 1896, Imperial Bolshoi Theatre, Moscow. For the coronation gala of <a href="/wiki/Nicholas_II_of_Russia" class="mw-redirect" title="Nicholas II of Russia">Emperor Nicholas II</a> and <a href="/wiki/Alix_of_Hesse" class="mw-redirect" title="Alix of Hesse">Empress Alexandra Fydorovna</a>.</li> <li>Les Noces de Thétis et Pélée (one-act version of Les Aventures de Pélée). Music by Ludwig Minkus and Riccardo Drigo. 9 August [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 28 July] 1897, Olga Island, Peterhof.</li> <li><a href="/wiki/Les_Ruses_d%27Amour" class="mw-redirect" title="Les Ruses d'Amour">Les Ruses d'Amour</a> (or The Trial of Damis). Music by Alexander Glazunov. 30 January [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 17 January] 1900. <a href="/wiki/Imperial_Theatre_of_the_Hermitage" class="mw-redirect" title="Imperial Theatre of the Hermitage">Imperial Theatre of the Hermitage</a>, <a href="/wiki/Winter_Palace" title="Winter Palace">Winter Palace</a>, St. Petersburg.</li> <li><a href="/wiki/The_Seasons_(Glazunov)" class="mw-redirect" title="The Seasons (Glazunov)">Les Saisons</a>. Music by Alexander Glazunov. 20 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 7 February] 1900. Imperial Theatre of the Hermitage, Winter Palace, St. Petersburg.</li> <li><a href="/wiki/Les_Millions_d%27Arlequin" class="mw-redirect" title="Les Millions d'Arlequin">Les Millions d'Arlequin</a>. Music by Riccardo Drigo. 23 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 10 February] 1900. Imperial Theatre of the Hermitage, Winter Palace, St. Petersburg.</li> <li>Les Elèves de Dupré (1 act version of L’Ordre du roi). Music by Riccardo Drigo, based on the pastiche arranged by <a href="/w/index.php?title=Albert_Vinzentini&action=edit&redlink=1" class="new" title="Albert Vinzentini (page does not exist)">Albert Vinzentini</a>. 27 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 14 February] 1900. Imperial Theatre of the Hermitage, Winter Palace, St. Petersburg.</li> <li><a href="/wiki/The_Heart_of_the_Marquis" class="mw-redirect" title="The Heart of the Marquis">Le Cœur de la marquise</a>. Music by <a href="/wiki/Ernest_Guiraud" title="Ernest Guiraud">Ernest Guiraud</a>, with spoken verse by <a href="/wiki/Fr%C3%A9d%C3%A9ric_Febvre" title="Frédéric Febvre">Frédéric Febvre</a>. 7 March [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 22 February] 1902. Imperial Theatre of the Hermitage, Winter Palace, St. Petersburg.</li> <li><a href="/w/index.php?title=La_Romance_d%27un_Bouton_de_rose_et_d%27un_Papillon&action=edit&redlink=1" class="new" title="La Romance d'un Bouton de rose et d'un Papillon (page does not exist)">La Romance d'un Bouton de rose et d'un Papillon</a>. Music by Riccardo Drigo. Never premiered (scheduled to have premiered 5 February [<a href="/wiki/Old_Style_and_New_Style_dates" title="Old Style and New Style dates">O.S.</a> 23 January] 1904 at the Imperial Theatre of the Hermitage, Winter Palace, St. Petersburg).</li></ul> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(6)"><h2 id="Cultural_depictions">Cultural depictions</h2> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=18" title="Edit section: Cultural depictions" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-6 collapsible-block" id="mf-section-6"> <ul><li><a href="/wiki/Anna_Pavlova_(film)" title="Anna Pavlova (film)">Anna Pavlova</a>, film by <a href="/wiki/Emil_Loteanu" title="Emil Loteanu">Emil Loteanu</a>; portrayed by <a href="/wiki/Pyotr_Gusev" title="Pyotr Gusev">Pyotr Gusev</a> (1983).</li></ul> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(7)"><h2 id="See_also">See also</h2> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=19" title="Edit section: See also" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-7 collapsible-block" id="mf-section-7"> <ul><li><a href="/wiki/List_of_dancers" title="List of dancers">List of dancers</a></li> <li><a href="/wiki/List_of_Russian_ballet_dancers" title="List of Russian ballet dancers">List of Russian ballet dancers</a></li></ul> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(8)"><h2 id="References">References</h2> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=20" title="Edit section: References" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-8 collapsible-block" id="mf-section-8"> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output 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center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20160303234928/http://funeral-spb.ru/necropols/tihvinskoe/petipa/">"Биография"</a>. Archived from <a rel="nofollow" class="external text" href="http://funeral-spb.ru/necropols/tihvinskoe/petipa/">the original</a> on 3 March 2016. Retrieved 2 March 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=%D0%91%D0%B8%D0%BE%D0%B3%D1%80%D0%B0%D1%84%D0%B8%D1%8F&rft_id=http%3A%2F%2Ffuneral-spb.ru%2Fnecropols%2Ftihvinskoe%2Fpetipa%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMarius+Petipa" class="Z3988"> </li> <li id="cite_note-2"><a href="#cite_ref-2">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHormigón_Vicente" class="citation web cs1">Hormigón Vicente, Laura. <a rel="nofollow" class="external text" href="https://docta.ucm.es/entities/publication/674d53d4-d0fd-4702-a659-07bdaac0e66a">"El ballet romántico en el Teatro del Circo de Madrid (1842-50). Actividad y recepción"</a>. Complutense University of Madrid. Retrieved 10 July 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=El+ballet+rom%C3%A1ntico+en+el+Teatro+del+Circo+de+Madrid+%281842-50%29.+Actividad+y+recepci%C3%B3n&rft.pub=Complutense+University+of+Madrid&rft.aulast=Hormig%C3%B3n+Vicente&rft.aufirst=Laura&rft_id=https%3A%2F%2Fdocta.ucm.es%2Fentities%2Fpublication%2F674d53d4-d0fd-4702-a659-07bdaac0e66a&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMarius+Petipa" class="Z3988"> </li> <li id="cite_note-3"><a href="#cite_ref-3">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFVolkov1995" class="citation book cs1">Volkov, Solomon (1995). <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/243825848">St. Petersburg: A Cultural History</a>. New York: Free Press. p. 256. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-02-874052-1" title="Special:BookSources/0-02-874052-1"><bdi>0-02-874052-1</bdi></a>. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/243825848">243825848</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=St.+Petersburg%3A+A+Cultural+History&rft.place=New+York&rft.pages=256&rft.pub=Free+Press&rft.date=1995&rft_id=info%3Aoclcnum%2F243825848&rft.isbn=0-02-874052-1&rft.aulast=Volkov&rft.aufirst=Solomon&rft_id=https%3A%2F%2Fwww.worldcat.org%2Foclc%2F243825848&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMarius+Petipa" class="Z3988"> </li> <li id="cite_note-Garafola,_Lynn_p.35-38-4">^ <a href="#cite_ref-Garafola,_Lynn_p.35-38_4-0">a</a> <a href="#cite_ref-Garafola,_Lynn_p.35-38_4-1">b</a> <a href="#cite_ref-Garafola,_Lynn_p.35-38_4-2">c</a> <a href="#cite_ref-Garafola,_Lynn_p.35-38_4-3">d</a> Garafola, Lynn. Legacies of Twentieth-Century Dance. Wesleyan University Press: Middletown, CT, 2005 p.35-38 </li> </ol></div></div> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(9)"><h2 id="Sources">Sources</h2> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=21" title="Edit section: Sources" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-9 collapsible-block" id="mf-section-9"> <ul><li>Beaumont, Cyrl W. Complete Book of Ballets.</li> <li>Garafola, Lynn / Petipa, Marius. The Diaries of Marius Petipa. Trans, Ed., and introduction by Lynn Garafola. Published in Studies in Dance History. 3.1 (Spring 1992).</li> <li><a href="/wiki/Ivor_Forbes_Guest" title="Ivor Forbes Guest">Guest, Ivor Forbes</a>. Jules Perrot – Master of the Romantic Ballet.</li> <li>Guest, Ivor Forbes. Letters from a Ballet Master – The Correspondence of Arthur Saint-Léon. Introduction by, and Edited by Ivor Guest.</li> <li>Nekhendzi, A. (comp.) "Marius Petipa, Materials, recollections, articles" (Marius Petipa, Materialy, vospominaniya, stat'i) Ed. Yuri Slonimsky et al. (Leningrad State Theater Museum 1971).</li> <li>Petipa, Marius. Memuary Mariusa Petipa solista ego imperatorskogo velichestva i baletmeistera imperatorskikh teatrov (The Memoirs of Marius Petipa, Soloist of His Imperial Majesty and Ballet Master of the Imperial Theatres).</li> <li>Wiley, Roland John. Dances from Russia: An Introduction to the Sergeyev Collection Published in The Harvard Library Bulletin, 24.1 January 1976.</li> <li>Wiley, Roland John, ed. and translator. A Century of Russian Ballet: Documents and Eyewitness Accounts 1810–1910.</li> <li>Wiley, Roland John. The Life and Ballets of Lev Ivanov.</li> <li>Wiley, Roland John. Tchaikovsky's Ballets.</li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20070224011836/http://www.articlemyriad.com/24.htm">Biographical/analytical article on Petipa</a></li></ul> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(10)"><h2 id="External_links">External links</h2> <a role="button" href="/w/index.php?title=Marius_Petipa&action=edit&section=22" title="Edit section: External links" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> edit </a> </div><section class="mf-section-10 collapsible-block" id="mf-section-10"> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output 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</section></div> <noscript><img src="https://login.m.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1&mobile=1" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Marius_Petipa&oldid=1255057927">https://en.wikipedia.org/w/index.php?title=Marius_Petipa&oldid=1255057927</a>"</div></div> </div> <div class="post-content" id="page-secondary-actions"> </div> </main> <footer class="mw-footer minerva-footer" role="contentinfo"> <a class="last-modified-bar" href="/w/index.php?title=Marius_Petipa&action=history"> <div class="post-content last-modified-bar__content"> Last edited on 2 November 2024, at 22:43 </div> </a> <div class="post-content footer-content"> <div id='mw-data-after-content'> <div class="read-more-container"></div> </div> <div id="p-lang"> <h4>Languages</h4> <section> <ul id="p-variants" class="minerva-languages"></ul> <ul class="minerva-languages"><li class="interlanguage-link interwiki-af mw-list-item"><a href="https://af.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Afrikaans" lang="af" hreflang="af" data-title="Marius Petipa" data-language-autonym="Afrikaans" data-language-local-name="Afrikaans" class="interlanguage-link-target">Afrikaans</a></li><li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D9%85%D8%A7%D8%B1%D9%8A%D9%88%D8%B3_%D8%A8%D8%AA%D9%8A%D8%A8%D8%A7" title="ماريوس بتيبا – Arabic" lang="ar" hreflang="ar" data-title="ماريوس بتيبا" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target">العربية</a></li><li class="interlanguage-link interwiki-ast mw-list-item"><a href="https://ast.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Asturian" lang="ast" hreflang="ast" data-title="Marius Petipa" data-language-autonym="Asturianu" data-language-local-name="Asturian" class="interlanguage-link-target">Asturianu</a></li><li class="interlanguage-link interwiki-ba mw-list-item"><a href="https://ba.wikipedia.org/wiki/%D0%9F%D0%B5%D1%82%D0%B8%D0%BF%D0%B0_%D0%9C%D0%B0%D1%80%D0%B8%D1%83%D1%81_%D0%98%D0%B2%D0%B0%D0%BD%D0%BE%D0%B2%D0%B8%D1%87" title="Петипа Мариус Иванович – Bashkir" lang="ba" hreflang="ba" data-title="Петипа Мариус Иванович" data-language-autonym="Башҡортса" data-language-local-name="Bashkir" class="interlanguage-link-target">Башҡортса</a></li><li class="interlanguage-link interwiki-be mw-list-item"><a href="https://be.wikipedia.org/wiki/%D0%9C%D0%B0%D1%80%D1%8B%D1%83%D1%81_%D0%86%D0%B2%D0%B0%D0%BD%D0%B0%D0%B2%D1%96%D1%87_%D0%9F%D0%B5%D1%82%D1%8B%D0%BF%D0%B0" title="Марыус Іванавіч Петыпа – Belarusian" lang="be" hreflang="be" data-title="Марыус Іванавіч Петыпа" data-language-autonym="Беларуская" data-language-local-name="Belarusian" class="interlanguage-link-target">Беларуская</a></li><li class="interlanguage-link interwiki-bg mw-list-item"><a href="https://bg.wikipedia.org/wiki/%D0%9C%D0%B0%D1%80%D0%B8%D1%83%D1%81_%D0%9F%D0%B5%D1%82%D0%B8%D0%BF%D0%B0" title="Мариус Петипа – Bulgarian" lang="bg" hreflang="bg" data-title="Мариус Петипа" data-language-autonym="Български" data-language-local-name="Bulgarian" class="interlanguage-link-target">Български</a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Catalan" lang="ca" hreflang="ca" data-title="Marius Petipa" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target">Català</a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Czech" lang="cs" hreflang="cs" data-title="Marius Petipa" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target">Čeština</a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – German" lang="de" hreflang="de" data-title="Marius Petipa" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target">Deutsch</a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Estonian" lang="et" hreflang="et" data-title="Marius Petipa" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target">Eesti</a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Spanish" lang="es" hreflang="es" data-title="Marius Petipa" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target">Español</a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Basque" lang="eu" hreflang="eu" data-title="Marius Petipa" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target">Euskara</a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D9%85%D8%A7%D8%B1%DB%8C%D9%88%D8%B3_%D9%BE%D8%AA%DB%8C%D9%BE%D8%A7" title="ماریوس پتیپا – Persian" lang="fa" hreflang="fa" data-title="ماریوس پتیپا" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target">فارسی</a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – French" lang="fr" hreflang="fr" data-title="Marius Petipa" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target">Français</a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Galician" lang="gl" hreflang="gl" data-title="Marius Petipa" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target">Galego</a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EB%A7%88%EB%A6%AC%EC%9A%B0%EC%8A%A4_%ED%94%84%ED%8B%B0%ED%8C%8C" title="마리우스 프티파 – Korean" lang="ko" hreflang="ko" data-title="마리우스 프티파" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target">한국어</a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D5%84%D5%A1%D6%80%D5%AB%D5%B8%D6%82%D5%BD_%D5%8A%D5%A5%D5%BF%D5%AB%D5%BA%D5%A1" title="Մարիուս Պետիպա – Armenian" lang="hy" hreflang="hy" data-title="Մարիուս Պետիպա" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target">Հայերեն</a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Croatian" lang="hr" hreflang="hr" data-title="Marius Petipa" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target">Hrvatski</a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Italian" lang="it" hreflang="it" data-title="Marius Petipa" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target">Italiano</a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%9E%D7%A8%D7%99%D7%95%D7%A1_%D7%A4%D7%98%D7%99%D7%A4%D7%94" title="מריוס פטיפה – Hebrew" lang="he" hreflang="he" data-title="מריוס פטיפה" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target">עברית</a></li><li class="interlanguage-link interwiki-kk mw-list-item"><a href="https://kk.wikipedia.org/wiki/%D0%9C%D0%B0%D1%80%D0%B8%D1%83%D1%81_%D0%98%D0%B2%D0%B0%D0%BD%D0%BE%D0%B2%D0%B8%D1%87_%D0%9F%D0%B5%D1%82%D0%B8%D0%BF%D0%B0" title="Мариус Иванович Петипа – Kazakh" lang="kk" hreflang="kk" data-title="Мариус Иванович Петипа" data-language-autonym="Қазақша" data-language-local-name="Kazakh" class="interlanguage-link-target">Қазақша</a></li><li class="interlanguage-link interwiki-la mw-list-item"><a href="https://la.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Latin" lang="la" hreflang="la" data-title="Marius Petipa" data-language-autonym="Latina" data-language-local-name="Latin" class="interlanguage-link-target">Latina</a></li><li class="interlanguage-link interwiki-lt mw-list-item"><a href="https://lt.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Lithuanian" lang="lt" hreflang="lt" data-title="Marius Petipa" data-language-autonym="Lietuvių" data-language-local-name="Lithuanian" class="interlanguage-link-target">Lietuvių</a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Hungarian" lang="hu" hreflang="hu" data-title="Marius Petipa" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target">Magyar</a></li><li class="interlanguage-link interwiki-mg mw-list-item"><a href="https://mg.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Malagasy" lang="mg" hreflang="mg" data-title="Marius Petipa" data-language-autonym="Malagasy" data-language-local-name="Malagasy" class="interlanguage-link-target">Malagasy</a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Dutch" lang="nl" hreflang="nl" data-title="Marius Petipa" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target">Nederlands</a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%83%9E%E3%83%AA%E3%82%A6%E3%82%B9%E3%83%BB%E3%83%97%E3%83%86%E3%82%A3%E3%83%91" title="マリウス・プティパ – Japanese" lang="ja" hreflang="ja" data-title="マリウス・プティパ" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target">日本語</a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Marius Petipa" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target">Norsk nynorsk</a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Polish" lang="pl" hreflang="pl" data-title="Marius Petipa" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target">Polski</a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Portuguese" lang="pt" hreflang="pt" data-title="Marius Petipa" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target">Português</a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Romanian" lang="ro" hreflang="ro" data-title="Marius Petipa" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target">Română</a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%9F%D0%B5%D1%82%D0%B8%D0%BF%D0%B0,_%D0%9C%D0%B0%D1%80%D0%B8%D1%83%D1%81_%D0%98%D0%B2%D0%B0%D0%BD%D0%BE%D0%B2%D0%B8%D1%87" title="Петипа, Мариус Иванович – Russian" lang="ru" hreflang="ru" data-title="Петипа, Мариус Иванович" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target">Русский</a></li><li class="interlanguage-link interwiki-scn mw-list-item"><a href="https://scn.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Sicilian" lang="scn" hreflang="scn" data-title="Marius Petipa" data-language-autonym="Sicilianu" data-language-local-name="Sicilian" class="interlanguage-link-target">Sicilianu</a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Simple English" lang="en-simple" hreflang="en-simple" data-title="Marius Petipa" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target">Simple English</a></li><li class="interlanguage-link interwiki-sl mw-list-item"><a href="https://sl.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Slovenian" lang="sl" hreflang="sl" data-title="Marius Petipa" data-language-autonym="Slovenščina" data-language-local-name="Slovenian" class="interlanguage-link-target">Slovenščina</a></li><li class="interlanguage-link interwiki-sr mw-list-item"><a href="https://sr.wikipedia.org/wiki/%D0%9C%D0%B0%D1%80%D0%B8%D1%98%D1%83%D1%81_%D0%9F%D0%B5%D1%82%D0%B8%D0%BF%D0%B0" title="Маријус Петипа – Serbian" lang="sr" hreflang="sr" data-title="Маријус Петипа" data-language-autonym="Српски / srpski" data-language-local-name="Serbian" class="interlanguage-link-target">Српски / srpski</a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Finnish" lang="fi" hreflang="fi" data-title="Marius Petipa" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target">Suomi</a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Swedish" lang="sv" hreflang="sv" data-title="Marius Petipa" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target">Svenska</a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Turkish" lang="tr" hreflang="tr" data-title="Marius Petipa" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target">Türkçe</a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%9C%D0%B0%D1%80%D1%96%D1%83%D1%81_%D0%9F%D0%B5%D1%82%D1%96%D0%BF%D0%B0" title="Маріус Петіпа – Ukrainian" lang="uk" hreflang="uk" data-title="Маріус Петіпа" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target">Українська</a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Vietnamese" lang="vi" hreflang="vi" data-title="Marius Petipa" data-language-autonym="Tiếng Việt" data-language-local-name="Vietnamese" class="interlanguage-link-target">Tiếng Việt</a></li><li class="interlanguage-link interwiki-war mw-list-item"><a href="https://war.wikipedia.org/wiki/Marius_Petipa" title="Marius Petipa – Waray" lang="war" hreflang="war" data-title="Marius Petipa" data-language-autonym="Winaray" data-language-local-name="Waray" class="interlanguage-link-target">Winaray</a></li><li class="interlanguage-link interwiki-wuu mw-list-item"><a href="https://wuu.wikipedia.org/wiki/%E9%A9%AC%E9%87%8C%E4%BA%8E%E6%96%AF%C2%B7%E7%8F%80%E8%92%82%E5%B8%95" title="马里于斯·珀蒂帕 – Wu" lang="wuu" hreflang="wuu" data-title="马里于斯·珀蒂帕" data-language-autonym="吴语" data-language-local-name="Wu" class="interlanguage-link-target">吴语</a></li><li class="interlanguage-link interwiki-zh-yue mw-list-item"><a href="https://zh-yue.wikipedia.org/wiki/%E8%8E%AB%E9%87%8C%E6%96%AF%C2%B7%E7%8F%80%E8%92%82%E5%B8%95" title="莫里斯·珀蒂帕 – Cantonese" lang="yue" hreflang="yue" data-title="莫里斯·珀蒂帕" data-language-autonym="粵語" data-language-local-name="Cantonese" class="interlanguage-link-target">粵語</a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E9%A9%AC%E9%87%8C%E4%BA%8E%E6%96%AF%C2%B7%E7%8F%80%E8%92%82%E5%B8%95" title="马里于斯·珀蒂帕 – Chinese" lang="zh" hreflang="zh" data-title="马里于斯·珀蒂帕" data-language-autonym="中文" data-language-local-name="Chinese" class="interlanguage-link-target">中文</a></li></ul> </section> </div> <div class="minerva-footer-logo"><img src="/static/images/mobile/copyright/wikipedia-wordmark-en.svg" alt="Wikipedia" width="120" height="18" style="width: 7.5em; height: 1.125em;"/> </div> <ul id="footer-info" class="footer-info hlist hlist-separated"> <li id="footer-info-lastmod"> This page was last edited on 2 November 2024, at 22:43 (UTC).</li> <li id="footer-info-copyright">Content is available under <a class="external" rel="nofollow" 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