though it is highly likely that Petipa’s choreography is lost. Only one passage of his choreography seems to have survived, as there is one variation that was notated in the Stepanov notation
Whether or not he retained any of Mazilier’s choreography is still to be confirmed. What is certain is that it was here that Petipa, together with Ludwig Minkus, made his most significant touches as the duo expanded the ballet with the creation and introduction of its most famous passages...
Choreography : Natalia Makarova , Sir Frederick Ashton , Marius Petipa Conductor : Graham Bond Orchestra : The London Festival Ballet , The Danish Radio Symphony Orchestra Elena Garcia Benitez , Nikolai Chevichelov , Marina Rzhannikova , Maxim Gerasimov , Artem Khoroshilov...
Petipa’s final revival ofGisellewas notated in the Stepanov notation method; the second act was notated in 1899 and the first act was notated in 1903 during the rehearsals in which Petipa was coaching Pavlova in the title role. The notation scores are part of the Sergeyev Collection. The Pa...
Petipa produced very many dances for this ballet, and in general they were interesting. Here, incidentally, in the ‘Dances of the Butterflies’, I had a variation to the music of a waltz by Venzano, which at the time enjoyed great popularity. The celebrated Adelina Patti sang it at the...