Misplaced Pages

#786213

23-699: Paquita is the creation of French composer Édouard Deldevez and Paris Opéra Ballet Master Joseph Mazilier. It was first presented at the Salle Le Peletier by the Paris Opera Ballet on 1 April 1846 and was retained in the repertory of the Opéra until 1851. In 1847, Paquita was staged for the first time in Russia for the Imperial Ballet of St. Petersburg by Marius Petipa and Pierre-Frédéric Malavergne , being

46-516: A Roma chief. By way of a medallion, she discovers that she is of noble birth, being in fact the cousin of Lucien. As such, she and the Officer are able to get married. In Marius Petipa and Ludwig Minkus's original staging of the Paquita grand pas classique in 1881, only one variation was included for the leading ballerina Ekaterina Vazem, being a polonaise arranged for solo violin. Anna Pavlova included

69-642: A second theatre at a more prominent location for the Parisian Opera and Ballet based on the design of architect Charles Garnier . In 1875, the new theatre, today known as the Palais Garnier , was inaugurated. Operas Ballets 48°52′23″N 02°20′20″E  /  48.87306°N 2.33889°E  / 48.87306; 2.33889 Nikita Dolgushin Nikita Aleksandrovich Dolgushin (November 8, 1938 – June 10, 2012)

92-534: The Bayerisches Staatsballett . The story takes place in Spain during the presence of Napoleon 's army. The heroine is the young Romani girl, Paquita. Unbeknownst to Paquita, she is really of noble birth, having been abducted by Romani people when she was an infant. She saves the life of a young French officer, Lucien d'Hervilly, who is the target of a Spanish governor who desires to have him killed by Iñigo,

115-578: The Grand Pas classique in her company's repertory. Rudolf Nureyev staged the piece in 1964 for the Royal Academy of Dancing , and at La Scala in 1970. Nureyev also staged it for the Vienna State Opera Ballet and American Ballet Theatre in 1971. For all of his productions of the work Nureyev used John Lanchbery 's adaptation of the music. In 1984 Natalia Makarova staged a new version of

138-579: The Paquita grand pas classique for American Ballet Theatre with music again arranged by Lanchbery. To date the company still retains Makarova's staging in their repertory, and many companies throughout the world have staged her version of the piece. In 1974 the Ballet Master Nikita Dolgushin produced a staging of the Paquita grand pas classique for the Maly Theatre Ballet of St. Petersburg. For his production Dolgushin called upon

161-402: The romantic ballet , with such Balletmasters as Jules Perrot , Arthur Saint-Léon , Filippo Taglioni , Joseph Mazilier , Jean Coralli , and Paul Taglioni staging many masterworks for the Paris Opera Ballet . Among these works: La Sylphide (1832), Giselle (1841), Paquita (1846), Le corsaire (1856), Le papillon (1860), La source (1866), and Coppélia (1870). Among

184-431: The Opéra for more than fifty years. Many of the great grand operas of the 19th century were presented for the first time on its stage, among them: Rossini's Guillaume Tell (1829), Meyerbeer's Robert le Diable (1831), Halévy's La Juive (1835), and Verdi's Don Carlos (1867). The theatre, which was 14,000 square metres in area with a 104 ft. stage, was quite advanced for its time. On 6 February 1822 gas

207-592: The Paris Opera Ballet. Although Lacotte re-choreographed all of the ballet himself, he restored Joseph Mazilier's original mime sequences and mise-en-scène , as well as Petipa's 1881 additions. Paquita was performed again by the Paris Opera in 2007. In 2014, the Stepanov notation expert Doug Fullington and Russian choreographer Alexei Ratmansky mounted a reconstruction of Petipa's final revival of Paquita for

230-577: The Théâtre Favart and the Salle Louvois . The Salle Le Peletier was inaugurated on 16 August 1821 with a mixed-bill that opened with the anthem "Vive Henry VIII", and included the composer Catel's opera Les bayadères and the Ballet Master Gardel's ballet Le Retour de Zéphire . Although the theatre was meant to be temporary and was built of wood and plaster, it continued to be used by

253-577: The first work ever staged by Petipa in Russia. In 1881, Petipa produced a revival of the ballet for which he added new pieces specially composed by Ludwig Minkus . This included the Paquita pas de trois for the first act and the Paquita grand pas classique and the Mazurka des enfants for the last act. Petipa's version of Paquita was retained in the repertory of the Mariinsky Theatre until 1926. Petipa's 1881 additions for Paquita survived long after

SECTION 10

#1733085945787

276-542: The former ballerina Elizaveta Gerdt —who performed in Marius Petipa's original version of the piece— to assist in restoring the Paquita grand pas classique to its form as performed during the early 20th century. In 1978 the Kirov/Mariinsky Ballet 's newly appointed artistic director Oleg Vinogradov staged a new version of the Paquita grand pas classique for the company, a staging largely based on

299-605: The full-length ballet left the stage. Today these pieces, particularly the Grand pas classique , are major cornerstones of the traditional classical ballet repertory and have been staged by ballet companies throughout the world. Petipa's choreography for the Imperial Ballet's production of Paquita was notated in the Stepanov method of choreographic notation around 1902. The notations were made while Petipa himself taught and rehearsed

322-528: The great Anna Pavlova for her début in the title rôle. Today, this notation is part of the Sergeyev Collection , a cache of notations and other materials that document many of the works in the Imperial Ballet's repertory during the twilight of the Russian Empire. In 2001, director Brigitte Lefèvre asked French choreographer Pierre Lacotte to produce a revival of the full-length two act Paquita for

345-648: The great ballerinas to grace the stage of the Opéra during this time were Marie Taglioni , Carlotta Grisi , Carolina Rosati , Fanny Elssler , Lucile Grahn , and Fanny Cerrito . In 1858 the Salle Le Peletier was the setting for one of the most famous games in the history of Chess , the Opera Game between the American master Paul Morphy (White) and two French aristocrats, the Duke of Brunswick and Count Isouard. The game

368-524: The spot where the chapel would have been built. The Salle de la rue de Richelieu had been the principal venue of the Paris Opera since 1794. Very soon after the death of his nephew in February 1820, the king commissioned the architect François Debret to design a new theatre for the Opéra on the Rue Le Peletier , which was completed one year later. During the construction the opera and ballet companies occupied

391-628: The version Pyotr Gusev staged for the Maly Theatre Ballet in 1952. The Kirov/Mariinsky Ballet still retain Vinogradov's version in their repertory, and many companies throughout the world include his version of the piece in their repertories. Salle Le Peletier The Salle Le Peletier or Lepeletier (sometimes referred to as the Salle de la rue Le Peletier or the Opéra Le Peletier )

414-593: Was a Russian Soviet ballet dancer, choreographer, teacher. He was named People's Artist of the USSR in 1988. In 1959 he graduated from the Leningrad Choreographic School ( Alexander Pushkin 's course). Following graduation, Dolgushin joined Kirov Ballet and then moved to Novosibirsk . In 1961–1966, he was the leading dancer of the Novosibirsk Opera and Ballet Theatre . From 1968 to 1983 Dolgushin

437-679: Was a ballet dancer with the Mikhailovsky Theatre and Ballet and in 2007 returned to Saint Petersburg as a pedagogue. From 2009 to 2011 he was a chairman of the Mikhailovsky Theatre's Art Council. Throughout 15 remaining years of his life, Dolgushin served on a choreography faculty of the Saint Petersburg Conservatory . This article about someone associated with the art of dance is a stub . You can help Misplaced Pages by expanding it . This Russian biographical article

460-514: Was fatally stabbed on the night of 13 February 1820 in front of the former theatre of the Paris Opera, the Salle de la rue de Richelieu , the king decided that the theatre would be demolished in order to build a commemorative chapel in its place. However, the project to build a chapel was never carried out due to the 1830 revolution . Today the Fontaine Louvois in the Square Louvois occupies

483-428: Was played in the Duke's private box during a performance of Bellini's Norma . On the night of 29 October 1873, the Salle Le Peletier met the same fate as many of its predecessors: it was destroyed by a fire which raged for 27 hours, believed to have been started by the theatre's innovative gas lighting. Fortunately, in 1858 Emperor Napoleon III had hired the civic planner Baron Haussmann to begin construction on

SECTION 20

#1733085945787

506-872: Was the home of the Paris Opera from 1821 until the building was destroyed by fire in 1873. The theatre was designed and constructed by the architect François Debret on the site of the garden of the Hôtel de Choiseul on the rue Lepeletier. Due to the many changes in government and management during the theatre's existence, it had a number of different official names, the most important of which were: Théâtre de l'Académie Royale de Musique (1821–1848), Opéra-Théâtre de la Nation (1848–1850), Théâtre de l'Académie Nationale de Musique (1850–1852), Théâtre de l'Académie Impériale de Musique (1852–1854), Théâtre Impérial de l'Opéra (1854–1870), and Théâtre National de l'Opéra (1870–1873). When King Louis XVIII's nephew, Charles Ferdinand, duc de Berry ,

529-564: Was used for the first time in order to light the stage effects in Nicolas Isouard 's opera Aladin ou La Lampe merveilleuse . The stage and orchestra pit were able to be removed in order to transform the auditorium into a massive hall which could accommodate large balls and other festivities. Along with the Ballet of Her Majesty's Theatre in London , the Salle Le Peletier played host to the heyday of

#786213