"This book offers something entirely new: detailed scene-by-scene descriptions of the action and dancing of five classic ballets, bringing the reader far closer to what the audience saw when the curtain went up on Giselle, Paquita, Le Corsaire, La Bayadère, and Raymonda than has heretofore been possible. Drawing on archival documents, the authors show that (among other things) the classic story ballets could be more like today's pop entertainment: funnier, more violent, more spectacular, and with female characters far stronger than one might expect. This rigorously researched book fills huge gaps in dance history and is bound to be of interest to practitioners, scholars, and devotees of ballet and the arts"--

This book offers something entirely new: detailed scene-by-scene descriptions of the action and dancing of Giselle, Paquita, Le Corsaire, La Bayadère, and Raymonda, bringing the reader far closer to what the audience saw when the curtain went up on these five classic story ballets than has heretofore been possible. Drawing on archival documents, the authors show that these ballets were like today's pop entertainment: funnier, more violent, more spectacular, and with female characters far stronger than one might expect. This rigorously researched book fills huge gaps in dance history and is bound to be of interest to practitioners, scholars, and devotees of ballet and the arts.

Following the American Revolution, French observers often viewed the United States as a laboratory for the forging of new practices of liberté and égalité, in affinity with and divergence from France's own Revolutionary ideals and experiences. The volume examines French views through musical/theatrical portrayals of the American Revolution and Republic, soundscapes of the Statue of Liberty, and homages to the glorified figures of Washington, Franklin and Lafayette. Essays investigate paradoxical depictions of slavery in the United States and French Caribbean colonies of 'Amérique'. French critiques of American music and musicians, including the reception of Americanized or Creolized adaptations of European art traditions as well as American popular music and dance, are also presented. The subject of race features prominently in French interpretations of American music and identity. These interpretations see French constructions of the Indigenous American and African American "exotic" that intersect with tropes of noble, pastoral savagery, menacing barbarism, and the "civilizing" potency of French culture. The French reinterpretation of African American music and dance reveals both a revulsion of Black alterity and an attraction to the expressive freedom, and even subversiveness, of these "foreign" forms of music and dance. Contributions include essays by music, dance, theatre and opera scholars, and the volume will be essential reading for students and scholars of these disciplines.

A collection of essays by international writers on the evolution of ballet.

Cesare Pugni (1802–70) made his debut as a composer at La Scala in 1826 with the opera Elerz e Zulmida. In the 1840s he worked closely with the choreographer Jules Perrot (1810–92) in Paris and in London, creating some of the most renowned ballets of the 19th century, a number of which still find their place in some modern repertories. Pugni later followed Perrot to St Petersburg, and became official composer of the Imperial Russian theatres. Some of his earlier ballets were transferred to St Petersburg, and he also composed many new works for that city. Along with Perrot, Pugni also worked with Arthur Saint-Léon (1821–70), Paolo Taglioni (1808–84), Marius Petipa (1818–1910), and some of the greatest dancers of the century. His most famous collaboration, with Marius Petipa, lasted until the composer’s death on 26 January 1870. Pugni was extremely prolific, composing more than 300 ballets, a dozen operas, over 40 masses, other polyphonic works and a few symphonies. He was very popular with the public, who were delighted by his direct uncomplicated style, with its attractive melodies and infectious rhythms. Ondine, choreographed and danced by Perrot and Fanny Cerrito, was premiered at Her Majesty’s Theatre in 1845. It is a variant on the famous water nymph story Undine by Friedrich de la Motte Fouqué. The ballet became famous for the conception of the generic scene type of the Pas de l’Ombre, where the nymph sees her own shadow in the moonlight for the first time and tries to catch it. The ballet was praised for its magnificent décor and for Pugni’s score: “. . . the musical accompaniment which describes the rise and fall of the waves is eminently characteristic and beautiful: the very ripple of the flow, and the rushing sound of the ebb over the pebbly strand, are heard and fully satisfy the ear”. Esmeralda, choreographed by Perrot and premiered with Perrot, Carlotta Grisi and Saint-Léon in the principal roles, was first performed at Her Majesty’s Theatre in London in 1844. The ballet is based on the story of Victor Hugo’s Notre-Dame de Paris. It was reasonably successful, and Grisi was pronounced the perfect personification of the gypsy girl Esmeralda. The ballet later became immensely popular in Russia; Fanny Elssler enjoyed one of her biggest triumphs in the title role. Pugni’s music successfully evokes an atmosphere of Medieval Paris, the changing moods of the story, and the delicate vulnerability of the heroine. For Petipa’s production of 1888, Riccardo Drigo was asked to compose several new numbers, including the Esmeralda Pas de Deux and the Diana and Acteon Pas de Deux, which became very popular in their own right. The Pas de quatre was a divertissement choreographed by Perrot for four of the leading ballerinas of the time, and premiered at Her Majesty’s Theatre in 1845. Created by Marie Taglioni, Carlotta Grisi, Fanny Cerrito and Lucile Grahn, this plotless ballet epitomizes the Romantic cult of the ballerina. Pugni’s variations were exquisitely tailored to the character and particular skills of each of the illustrious protagonists. There were four performances of the Pas de quatre with the original dancers, and there have been many revivals, starting in 1847 (when the part created by Grahn was given to Carolina Rosati), and continuing through to later reconstructions in the 20th century. Catarina, ou La Fille du bandit was choreographed by Perrot, with the principal roles created by Lucile Grahn, Perrot and Louis Gosselin. It was first performed at Her Majesty’s Theatre in 1846. The plot revolves around the love of the painter Salvator Rosa for Catarina, a bandit chief. The ballet grew in popularity due to the fascination and humanity of the unconventional characters from an original story based on the artist’s life, and the incomparable elegance of its mass movements. Founded on the contrast between feminine grace and military precision, this work was one of the greatest triumphs of both Lucile Grahn and Fanny Elssler. Théolinda, ou Le Lutin de la vallée, an opera-ballet in 2 acts and 3 scenes, with choreography by Arthur Saint-Léon, and music by Eugène Gautier, was first performed in Paris at the Théâtre Lyrique in 1853. Later Saint-Léon reworked the piece as Théolinda l’Orpheline for the Bolshoi Theatre of Moscow in 1862, with the score arranged by Pugni. Saint-Léon chose the new young star Marfa Muravieva to create the title role. The work was revived in 1865 with Praskovia Lebedeva, again with Lebedeva in 1866, and once more, in 1870, this time with Ekaterina Vazem. Pugni’s adaptation of the music became popular in Russia, and was published in Saint-Petersburg by Stellowsky.