New Substack series Over on my Substack, I have just started a new series that I have called Ballet History Series where I will post ballet history essays and articles, extra information that will not be published on The Marius Petipa Society. The first of these entries is about the ballet ...
Within the following months, Petipa received an invitation from the Ballet Master Antoine Titus, who at the time was based in Saint Petersburg, to come to the Russian Imperial capital and join the Imperial Ballet asPremier Danseur,for the company’s currentdanseur,the Frenchman Emile Gredelue was...
Petipa staged some of his most memorable choreography for the principal ballerina roles of Columbine and Pierrette, with both roles popular with the great ballerinas of the Imperial stage, including Anna Pavlova, Olga Preobrazhenskaya, Vera Trefilova and Julia Sedova. Petipa arranged challenging vir...
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...
Ludwig Fyodorovich Minkus (also known as Léon Minkus) was one of the greatest ballet composers who co-created with Petipa some of the greatest and most famous of classical ballets. He was born as Aloysius Bernhard Philipp Minkus on the 23rd March 1826 i
This is a revived edition of the original libretto of The Awakening of Flora, in which the mythological errors have been corrected Synopsis Tableau 1 — It is night. In a quiet grotto, a group of nymphs are deeply asleep. Selene, the Goddess of the Moon,
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