The Bavarian State Ballet in the scene Le Jardin Animé from the company's partial reconstruction of Marius Petipa's 1899 revival of Le Corsaire, Munich, 2007

Le Corsaire (The Pirate) is a ballet in three acts, with a libretto based on the poem The Corsair by Lord Byron. Originally choreographed by the Balletmaster Joseph Mazilier to the music of Adolphe Adam. First presented by the Ballet of the Académie Royale de Musique, Paris, France on 23 January 1856. The ballet has many celebrated passages which are often extracted and performed independently - the Grand Ballabile known as Le Jardin Animé, Pas d'Esclave, and the Grand Pas de Trois des Odalisques. The most celebrated is the so-called Le Corsaire Pas de Deux, which is among classical ballet's most iconic and performed excerpts. Image File history File links No higher resolution available. ... Image File history File links No higher resolution available. ... Painting of ballet dancers by Edgar Degas, 1872. ... The Corsair was a semi-autobiographical tale about a pirate written by Lord Byron, which was extremely popular and influential in its day (it sold ten thousand copies on its first day of sale. ... Lord Byron, English poet Lord Byron (1803), as painted by Elisabeth Vigee-Lebrun George Gordon Byron, 6th Baron Byron, (January 22, 1788 – April 19, 1824) was the most widely read English language poet of his day. ... Joseph Mazilier (1808-1868) Famous 19th century Balletmaster and choreographer, most noted for his ballets Paquita (1844) and Le Corsaire (1856) Category: ... Adolphe Adam Adolphe Charles Adam (July 24, 1803 – May 3, 1856) was a French composer and music critic. ... Théâtre de lAcadémie Royale de Musique, Paris, circa 1865 Théâtre de lAcadémie Royale de Musique (was also known as the Théâtre Impérial de l´Opéra, Le Rue Peletier, or simply, Le Peletier, but more familiarly as the Paris Opéra) was... The Eiffel Tower has become the symbol of Paris throughout the world. ... January 23 is the 23rd day of the year in the Gregorian calendar. ... 1856 was a leap year starting on Tuesday (see link for calendar). ...

The ballet was been much revised throughout its long and complex performance history by way of later stagings in Russia, most notably by Jules Perrot (1858), Marius Petipa (1858, 1863, 1868, 1885, and 1899), Alexander Gorsky (1912), Agrippina Vaganova (1931), Pyotr Gusev (1955), Konstantin Sergeyev (1972, 1992), and Yuri Grigorovich (1994). Jules-Joseph Perrot (born August 18, 1810 in Lyon, France; died August 18, 1892 in Paramé) was a dancer and choreographer who created some of the most famous ballets of the 19th century. ... Marius Petipa, Circa 1890 Marius Petipa (11 March 1818 – 14 July 1910) - Unrivaled ballet master of the Tsars Imperial Ballet of St. ... Vaganova as Odette-Odile, 1900es Agrippina Yakovlevna Vaganova (July 6, 1879 - November 5, 1951) was an outstanding Russian ballet teacher who developed the Vaganova method. ... Konstantin Mikhailovich Sergeyev (1910 - April 1, 1992) was a Russian ballet danseur, artistic director and choreographer for the Kirov Theatre. ... Yury Grigorovich Yury Nikolayevich Grigorovich (born January 2, 1927 in Leningrad) is a Russian dancer and choreographer who dominated the Russian ballet for 30 years. ...

During the mid to late 19th century Adolphe Adam's score acquired a substantial amount of additional music by way of revivals staged by Petipa in St. Petersburg, and by the turn of the 20th century Adam's score credited additions from ten composers: Cesare Pugni, Grand Duke Peter II of Oldenburg (AKA Prince Oldenburg or Prince Peter Von Oldenburg), Léo Delibes, Léon Minkus, Prince Nikita Trubetskoi, Riccardo Drigo, Baron Boris Fitinhof-Schell, Yuli Gerber, Albert Zabel, and Mikhail Ivanov (these composers are rarely credited in modern productions). Many Soviet-era revivals added new music as well, though the majority of such additions were extracted from ballets from the Imperial-era that were no longer being performed. Adolphe Adam Adolphe Charles Adam (July 24, 1803 – May 3, 1856) was a French composer and music critic. ... Maestro Cesare Pugni, London, circa 1843 Cesare Pugni (31 May 1802?, Genoa?, Italy — 26 January 1870, St. ... The House of Oldenburg is a North German noble family and one of Europes most influential Royal Houses. ... Maestro Clément Philibert Léo Delibes, Paris, circa 1885 (Clément Philibert) Léo Delibes (February 21, 1836 – January 16, 1891) was a French composer of Romantic music. ... Léon Minkus Léon Fedorovich Minkus (born Ludwig Aloisius Minkus March 23, 1826, Grossmeseritsch (Czech Velké Meziříčí), near Brünn (Czech Brno), Austria-Hungary - 1917, Vienna) was the most popular and performed Ballet Composer of the 19th century. ... Riccardo Drigo, Circa 1900 Riccardo Eugenio Drigo (June 30, 1846 - October 1, 1930) was an Italian composer and conductor who spent many years working with the Saint Petersburg Imperial Ballet and Imperial Opera. ... Piano reduction of the Wedding March written especially by Fitinhof-Schell for the wedding of Tsar Nicholas II and Empress Alexandra Fyodorovna in 1895 Baron Boris Alexandrovich Fitinhof-Schell (AKA Boris Schell) (born 1829 in St. ...

Today Le Corsaire is performed chiefly in two different versions - in Russia and parts of Europe companies have mounted productions derived from Pyotr Gusev's 1955 revival, initially staged for the Ballet of the Maly Theatre of St. Petersburg, and later for the Kirov/Mariinsky Ballet in 1987 by Oleg Vinogradov. The Kirov/Mariinsky ballet still retain the Gusev staging in their repertory, and the production is often referred to as the "Kirov or Mariinsky version". Musically, the Mariinsky/Gusev version is not based on Adam's original 1856 score, but rather it is a pastiche based in part on Adam's score for the 1842 ballet La Jolie Fille du Gand, with additional music fashioned from various ballets from the old Imperial Russian repertory. Outside of Russia and Europe - primarily in North America, many companies have mounted productions derived from Konstantin Sergeyev's revival, initially staged for the Kirov/Mariinsky Ballet in 1973, and later for the Bolshoi Ballet in 1992. The most famous production derived from Sergeyev's version is American Ballet Theatre's 1999 production. Musically, Sergeyev's version is based loosely on Adam's original 1856 score, with all of the traditional additional numbers, in an orchestration by the Bolshoi Ballet's principal conductor Alexander Sotnikov. Carlotta Brianza and Paul Gerdt of the Imperial Ballet as Princess Aurora and Prince Desire in the 1890 premiere of the Sleeping Beauty. ... Konstantin Mikhailovich Sergeyev (1910 - April 1, 1992) was a Russian ballet danseur, artistic director and choreographer for the Kirov Theatre. ... Carlotta Brianza and Paul Gerdt of the Imperial Ballet as Princess Aurora and Prince Desire in the 1890 premiere of the Sleeping Beauty. ... The Bolshoi Theatre in Moscow houses the world renowned Bolshoi Ballet, which has been home to some of the worlds greatest ballet dancers, including Anna Pavlova, Vaslav Nijinsky, Rudolf Nureyev, Mikhail Baryshnikov and Natalia Makarova. ... The American Ballet Theatre , based in New York City, is one of the foremost ballet companies of the 20th century, and a leading company in America. ...

The Birth of Le Corsaire

The first ballet adaptation of Lord Byron's 1814 poem The Corsair was mounted by the Balletmaster Ferdinand/Francois Albert Decombè to the music of the French harpist and composer Nicolas Bochsa for the ballet of the Drury Lane/King's Theatre in 1837, a production which was revived in 1844 quite successfully. Painting of ballet dancers by Edgar Degas, 1872. ... Lord Byron, English poet Lord Byron (1803), as painted by Elisabeth Vigee-Lebrun George Gordon Byron, 6th Baron Byron, (January 22, 1788 – April 19, 1824) was the most widely read English language poet of his day. ... The Corsair was a semi-autobiographical tale about a pirate written by Lord Byron, which was extremely popular and influential in its day (it sold ten thousand copies on its first day of sale. ... Nicolas BOCHSA (Montmédy France 1789 - Sydney Australia 1856) was an extremely famous composer and harpist. ... The interior of the third and largest theatre to stand at Drury Lane, c. ...

Carolina Rosati as Medora in Mazilier's original production of Le Corsaire, Paris, 1856

A second ballet adaptation of The Corsair proved to be among the most celebrated and enduring ballets ever created, first presented on January 23, 1856 at the Théâtre de l'Académie Royale de Musique (AKA the Paris Opéra) by the Ballet of the Académie Royale de Musique (today known as the Paris Opera Ballet). The work was the brainchild of the Minister of State, then director of the Opèra, and of the Empress Eugénie of France, who wanted to create a ballet adaptation of Lord Byron's poem superior to the one mounted in London by Decombè. Image File history File links Download high resolution version (1145x1585, 568 KB) Summary Lithography by an unknown artist of the Ballerina Carolina Rosati as Medora in the ballet Le Corsaire Paris, 1856. ... Image File history File links Download high resolution version (1145x1585, 568 KB) Summary Lithography by an unknown artist of the Ballerina Carolina Rosati as Medora in the ballet Le Corsaire Paris, 1856. ... Théâtre de lAcadémie Royale de Musique, Paris, circa 1865 Théâtre de lAcadémie Royale de Musique (also been known as the Théâtre Imperial de l´Opéra , Le Rue Peletier, or simply, Le Peletier, but more familiarly, as the Paris Opéra) was the... Théâtre de lAcadémie Royale de Musique, Paris, circa 1865 Théâtre de lAcadémie Royale de Musique (was also known as the Théâtre Impérial de l´Opéra, Le Rue Peletier, or simply, Le Peletier, but more familiarly as the Paris Opéra) was... The Paris Opera Ballet is the ballet company of the Paris Opera. ... Empress Eugénie Doña María Eugenia Ignacia Agustina de Palafox y Kirkpatrick, Countess de Teba, who became Empress Eugénie [1] [2] [3] (May 5, 1826 – July 11, 1920) was Empress Consort of France (1853-1871), the wife of Napoleon III, emperor of the French. ... Lord Byron, English poet Lord Byron (1803), as painted by Elisabeth Vigee-Lebrun George Gordon Byron, 6th Baron Byron, (January 22, 1788 – April 19, 1824) was the most widely read English language poet of his day. ... This article is about the capital of England and the United Kingdom. ...

The choreographer for this production was the Paris Opéra's chief Balletmaster Joseph Mazilier, one of the most celebrated choreographers of his time, who was highly skilled in producing the full-length narrative ballets then in vogue, with many successes to his credit (including Le Diable à Quatre in 1845, and Paquita in 1846). As was standard practice in 19th century ballet, a literary man was commissioned to write the libretto, and here Mazilier looked to the most celebrated dramatist available, Jules-Henri Vernoy de Saint-Georges, who fashioned the scenario loosely based on Byron's poem (Vernoy crafted the scenarios for many ballets throughout his life, most notably Giselle in collaboration with Théophile Gautier in 1841, and later for Petipa's The Pharaoh's Daughter in 1862). Joseph Mazilier (1808-1868) Famous 19th century Balletmaster and choreographer, most noted for his ballets Paquita (1844) and Le Corsaire (1856) Category: ... Poster advertising the premiere of the Mazilier/Adam Le Diable à Quatre, Paris, 1845 Le Diable à Quatre (AKA The Willful Wife) is a Grand ballet in 2 Acts/3 Scenes, with choreography by Joseph Mazilier and music by Adolphe Adam. ... Paquita is a ballet in two acts and three scenes. ... Jules-Henri Vernoy de Saint-Georges (November 7, 1799 - December 23, 1875), French dramatist, was born in Paris. ... Anna Pavlova as Giselle in Act I (ca. ... Pierre Jules Théophile Gautier (August 30, 1811 – October 23, 1872) was a French poet, dramatist, novelist, journalist, and literary critic. ... Marius Petipa, Circa 1890 Marius Petipa (11 March 1818 – 14 July 1910) - Unrivaled ballet master of the Tsars Imperial Ballet of St. ... The Pharaohs Daughter is a ballet by Marius Petipa, first performed in 1862. ...

Le Corsaire was created primarily for the talents of the famous Italian ballerina Carolina Rosati, who was then the Paris Opéra's reigning Prima, celebrated for her great beauty, strong pointes, clean batterie, precision of execution, and easily intelligible mime. The score was commissioned, for a phenomenal fee of 6,000 francs in addition to royalties, from Adolphe Adam, who at that time was the most distinguished composer writing for both the ballet and the opera in France (Adam is most noted for his score for the opera Les Toréadors -1849, his score for the ballet Giselle -1841, and as his famous Christmas carol O Holy Night -1847). The libretto for Le Corsaire went through many changes during the long months of the ballet's preparation, requiring Vernoy to be paid an additional 3,000 francs for the work. This article is about Mime as an art form. ... Adolphe Adam Adolphe Charles Adam (July 24, 1803 – May 3, 1856) was a French composer and music critic. ... The New Opera in Oslo, Norway The Teatro alla Scala in Milan, Italy. ... Anna Pavlova as Giselle in Act I (ca. ... This page is about carols in general; for the short story by Charles Dickens, see A Christmas Carol. ... O Holy Night (Cantique de Noël) is a well-known Christmas carol composed by Adolphe Adam in 1847 to the French poem Minuit, chrétiens by Placide Cappeau (1808-1877), an accomplished amateur. ...

Le Corsaire premiered to a resounding success, with Rosati's powerful interpretation of the heroine Medora becoming the rage of Paris. The stage effects were hailed as the best yet seen on the stage of the Paris Opéra. Designed and executed by the master machinist Victor Sacré, they became immortalized by Gustave Doré's drawing of the ship-wreck from the third act. In attendance for the first three performances were Emperor Napoleon III and his wife, the Empress Eugénie, who had played a large part in the work's gestation. So moved by Le Corsaire was the Empress that she exclaimed "In all my life I have never seen, and probably never shall see again, anything so beautiful or so moving.". Doré photographed by Felix Nadar. ... Napoléon III of France, born Charles Louis Napoléon Bonaparte (20 April 1808 – 9 January 1873) was President of the French Republic from 1848 to 1851, then from 2 December 1851 to 2 December 1852 the ruler of a dictatorial government, then Emperor of the French under the name...

Gustave Doré's drawing inspired by the celebrated shipwreck designed by the machinist Victor Sacré from the original 1856 production of Le Corsaire

Adam's score was highly praised for its melodiousness, orchestration, and dramatic intensity. It was to be the composer's last work; - he died of a heart attack on May 3, 1856, nearly four months after the ballet's premiere. On the evening of the day of his death, Le Corsaire was given at the Paris Opéra as a memoriam to him, and in attendance was the royal family with their guest of honor, King William I of Württemberg. As equally moved by the ballet as was the Empress Eugénie, the Emperor Napoleon III gave orders that all of the evening's box office receipts be given to the composer's widow. Image File history File links Size of this preview: 800 × 562 pixelsFull resolution (1304 × 916 pixel, file size: 645 KB, MIME type: image/jpeg) Sketch by Gustav Dore of a scene from the ballet Le Corsaire, circa 1856. ... Image File history File links Size of this preview: 800 × 562 pixelsFull resolution (1304 × 916 pixel, file size: 645 KB, MIME type: image/jpeg) Sketch by Gustav Dore of a scene from the ballet Le Corsaire, circa 1856. ... Doré photographed by Felix Nadar. ... May 3 is the 123rd day of the year in the Gregorian calendar (124th in leap years). ... 1856 was a leap year starting on Tuesday (see link for calendar). ... King William I of Württemberg William I of Württemberg (27 September 1781-25 June 1864) was King of Württemberg. ...

Le Corsaire was given 43 performances in 1856 alone at the Paris Opéra with only Rosati as Medora. Her interpretation of Medora was considered by all to be incomparable, and after her departure from Paris in 1859 the ballet was taken out of the repertory. Not long afterwards Mazilier retired.

'Le Corsaire' in Russia

Petipa and Perrot's revival of 1858

Le Corsaire was first staged in Russia by the great Ballet Master Jules Perrot for the Imperial Ballet (today known as the Kirov/Mariinsky Ballet), premiering January 12/24 (Julian/Gregorian calendar dates), 1858 at the Imperial Bolshoi Kamenny Theatre (it is important to note that until 1886 the Imperial Bolshoi Kamenny Theatre was the principal venue of both the Imperial Ballet and Opera). The production was mounted especially for the Ballerina Ekaterina Friedbürg with the young Marius Petipa as Conrad. For this production the young Petipa assisted in mounting the work, while also refashioning some of the original dances, among them, the Pas des Éventails of Act I, scene 2 (in which Medora and 6 coryphèes create a "peacock effect" with large fans), and Gulnare's Scéne de Seduction. The great balletmaster Jules Perrot as depicted by French painter, Edgar Degas (1875) Ballet Master (also Balletmaster, Ballet Mistress, or Maître de ballet ) is the term used for an employee of a ballet company who is responsible for the level of competence of the dancers in their company. ... Jules-Joseph Perrot (born August 18, 1810 in Lyon, France; died August 18, 1892 in Paramé) was a dancer and choreographer who created some of the most famous ballets of the 19th century. ... Carlotta Brianza and Paul Gerdt of the Imperial Ballet as Princess Aurora and Prince Desire in the 1890 premiere of the Sleeping Beauty. ... Carlotta Brianza and Paul Gerdt of the Imperial Ballet as Princess Aurora and Prince Desire in the 1890 premiere of the Sleeping Beauty. ... The Julian calendar was introduced in 46 BC by Julius Caesar and came into force in 45 BC (709 ab urbe condita). ... The Gregorian calendar is the most widely used calendar in the world. ... 1858 (MDCCCLVIII) is a common year starting on Friday of the Gregorian calendar (or a common year starting on Sunday of the 12-day-slower Julian calendar). ... The St. ... Marius Petipa, Circa 1890 Marius Petipa (11 March 1818 – 14 July 1910) - Unrivaled ballet master of the Tsars Imperial Ballet of St. ...

The Pas d'esclave -

For the 1858 production of Le Corsaire Petipa interpolated a pas de deux taken from his 1857 ballet The Rose, the Violet, and the Butterfly, a work set to the music of Grand Duke Peter II of Oldenburg (AKA Prince Oldenburg or Prince Peter Von Oldenburg). This Pas was interpolated especially for the Ballerina Lyubov Radina, who danced the role of Gulnare, and it came to be known as the Pas d'Esclave - a dramatic Pas d'action in which the slave trader Lankendem (known as Isaac Lanquedem in the original production) attempts to "show off" his beautiful slave Gulnare, in order to sell her. Pas de deux is also a dressage preformance using two horses. ... The Rose, the Violet, and the Butterfly is a ballet divertissement in one Act, with choreography by Marius Petipa, and music by Grand Duke Peter II of Oldenburg (AKA Prince Oldenburg). ... The House of Oldenburg is a North German noble family and one of Europes most influential Royal Houses. ...

Pierina Legnani as Medora and Olga Preobrajenskaya as Gulnare in the scene Le Jardin Animé from Le Corsaire, St. Petersburg, 1899

Image File history File links Corsaire_-Le_Jardin_Anime_-Mathilde_Kschessinska_&_Olga_Preobrajenska_-1899. ... Image File history File links Corsaire_-Le_Jardin_Anime_-Mathilde_Kschessinska_&_Olga_Preobrajenska_-1899. ...

Petipa's revival of 1863

It is significant to address that by 1863, Jules Perrot had left Russia, and Petipa was serving as the Imperial Ballet's second Balletmaster. The great choreographer Arthur Saint-Léon held the position of Maître de Ballet en Chef (first Balletmaster) until his death in 1870. Upon the death of Saint-Léon Petipa was named Maître de Ballet, a position he would hold until 1903. Arthur Saint-Léon (1821-1870) was the Maître de Ballet (see Ballet Master) of the Imperial Ballet from 1859 until 1869. ... Edgar Degas painting of the great balletmaster Jules Perrot conducting rehearsal in the Foyer de la Danse of the Palais Garnier. ...

Petipa presented his own completely new revision of Le Corsaire on January 24/February 5, 1863, which was produced especially for his wife, the Prima Ballerina Mariia Surovshchikova-Petipa. For this new production Petipa commissioned the composer Cesare Pugni (who was at that time the First Imperial Ballet Composer to the St. Petersburg Imperial Theatres) to make additions and modify the ballet's score. Among Pugni's additions was the Corsaire's Mazurka for the second act, which is still retained in modern productions. Year 1863 (MDCCCLXIII) was a common year starting on Thursday (link will display the full calendar) of the Gregorian calendar (or a common year starting on Saturday of the 12-day slower Julian calendar). ... A ballerina is a female ballet dancer. ... Maestro Cesare Pugni, London, circa 1843 Cesare Pugni (31 May 1802?, Genoa?, Italy — 26 January 1870, St. ...

The Trio des Odalisques -

For his 1863 revival Petipa also expanded the Pas des Odalisques of Act II. Originally this Pas consisted only of Adolphe Adam's waltz from the original score. Petipa revised this Pas into a standard Classical Pas de Trois, consisting of an Entrée (being Adam's original waltz), 3 variations, and a coda. The first two variations and the coda were set to new music by Pugni, while the third variation was transferred into the Pas from a dance which originally occured later in the ballet. The Pas was transformed into what is now known as the Grand Pas de Trois des Odalisques (AKA the Classical Trio of the Odalisques), and is still danced today. A waltz (German: , Italian: , French: , Catalan: ) is a ballroom and folk dance in   time, done primarily in closed position. ... For more on the equestrian movement, see pirouette (dressage). ...

Mazilier's revival of 1867 and Petipa's revival of 1868

Four years later in Paris, Joseph Mazilier came out of retirement to mount a revival of Le Corsaire especially for the famous German Ballerina Adèle Grantzow, and in celebration of the Universal Exposition (World's Fair). Joseph Mazilier (1808-1868) Famous 19th century Balletmaster and choreographer, most noted for his ballets Paquita (1844) and Le Corsaire (1856) Category: ... Worlds Fair is the generic name for various large expositions held since the mid 19th century. ...

Le Jardin Animé -

For this 1867 revival Mazilier rechoreographed the entire ballet, and staged a new Grand Ballabile to new music by Léo Delibes especially for Grantzow, known at the time as the Grand Pas des Fleurs. This revival premiered on October 21, 1867 at the Paris Opéra to great success. This was to be Mazilier's last work; he died shortly after the ballet's premiere on April 18, 1868. His revival was given a total of 81 performances with Grantzow as Medora, and after her departure from Paris the work was again taken out of the repertory, never to be performed by the Parisian ballet again. Maestro Clément Philibert Léo Delibes, Paris, circa 1885 (Clément Philibert) Léo Delibes (February 21, 1836 – January 16, 1891) was a French composer of Romantic music. ... October 21 is the 294th day of the year (295th in leap years) in the Gregorian calendar, with 71 days remaining. ... Cunt BAg Twat Fuk suck my penis ring 0778851865!!!!!!Year 1867 (MDCCCLXVII) was a common year starting on Tuesday (link will display the full calendar) of the Gregorian calendar (or a common year starting on Thursday of the of the 12-day slower Julian calendar). ... April 18 is the 108th day of the year in the Gregorian calendar (109th in leap years). ... 1868 (MDCCCLXVIII) was a leap year starting on Wednesday (see link for calendar) of the Gregorian calendar or a leap year starting on Friday of the 12-day-slower Julian calendar. ...

Tamara Karsavina as Medora in the scene Le Jardin Animé from Le Corsaire, St. Petersburg, circa 1910

While performing Le Corsaire in Paris, Adèle Granztow was invited to perform with the Imperial Ballet in St. Petersburg, and for the occasion, Petipa mounted a complete revival of Le Corsaire. Grantzow made certain that she could perform the Grand Pas de Fleurs in this staging, and so the ballerina assisted Petipa in mounting Mazilier's choreography, though she was rather surprised at how much the Balletmaster revised it. Not only did Petipa do this, but he also changed the scene's title to Le Jardin Animé (The Animated Garden), as it is still known today. The revival premiered on January 25/February 6, 1868, and was so successful that performances of other works had to be cancelled due to the public demand. Image File history File links Corsaire_-Medora_-Tamara_Karsavina_-circa_1910. ... Image File history File links Corsaire_-Medora_-Tamara_Karsavina_-circa_1910. ... 1868 (MDCCCLXVIII) was a leap year starting on Wednesday (see link for calendar) of the Gregorian calendar or a leap year starting on Friday of the 12-day-slower Julian calendar. ...

Petipa's revivals of 1885, and 1899

Petipa then presented his third complete revision of Le Corsaire on November 10/22, 1885, created especially for the ballerina Eugeniia Sokolova. The Balletmaster completely rechoreographed the entire ballet for the occasion, and added new variations to the scene Le Jardin Animé to the music of Léon Minkus (First Imperial Ballet Composer to the St. Petersburg Imperial Theatres from 1871-1886) which were used in substitution for Delibes's original variations. 1885 (MDCCCLXXXV) is a common year starting on Thursday of the Gregorian calendar (or a common year starting on Saturday of the 12-day slower Julian calendar). ... Léon Minkus Léon Fedorovich Minkus (born Ludwig Aloisius Minkus March 23, 1826, Grossmeseritsch (Czech Velké Meziříčí), near Brünn (Czech Brno), Austria-Hungary - 1917, Vienna) was the most popular and performed Ballet Composer of the 19th century. ...

Petipa then presented his last, and indeed most important revival of Le Corsaire on January 13/25, 1899 at the Imperial Mariinsky Theatre, rechoreographing the majority of the ballet. This production was mounted especially for the Prima Ballerina Assoluta Pierina Legnani who danced Medora, with Olga Preobrajenskaya as Gulnare, and Pavel Gerdt as Conrad. Year 1899 (MDCCCXCIX) was a common year starting on Sunday (link will display the full calendar). ... The Mariinsky Theatre of St. ... Pierina Legnani (1863-1923) was an Italian ballerina responsible for the inclusion of 32 consecutive fouettés en tournant en pointe to the ballet Swan Lake. ... Olga Preobrajenska Olga Preobrajenska (1871 – 1962) was probably the best loved ballerina of the Russian Imperial Ballet. ... Pavel Gerdt Pavel Andreyevich Gerdt, better known as Paul Gerdt (1844-1917), was the foremost male dancer of the Mariinsky Theatre for 50 years. ...

In 19th century ballet it was standard practice for a ballerina or danseur to interpolate a variation from another work into a ballet, particularly at the end of the 19th century, as by then the Imperial Ballet's archives contained an enourmous catalogue of ballet music. Often the old "specialist ballet composers" of the Imperial Theatres would literally "custom score" a variation at the request of a dancer. Alternate variations had found their way into Le Corsaire throughout the work's performance history in Russia, but for Petipa's 1899 revival, new variations for Medora and Gulnare were used in substitution of Delibes' original solos in the scene Le Jardin Animé. The first, danced by Olga Preobrajenskaya as Gulnare, was originally the Variation of Amour taken from the 1876 Petipa/Minkus ballet The Adventures of Peleus, while the second variation, danced by Pierina Legnani as Medora, was taken from Petipa's 1883 ballet Pygmalion (AKA The Cyprus Statue) to the music of Prince Nikita Trubetskoi. Maya Plisetskaya, prima ballerina of the Bolshoi Ballet from 1943 to 1960 and prima ballerina assoluta from 1960 to 1990. ... Maya Plisetskaya, prima ballerina of the Bolshoi Ballet from 1943 to 1960 and prima ballerina assoluta from 1960 to 1990. ... The Adventures of Peleus (AKA Thetis and Peleus or The Wedding of Thetis or Peleus or Les Noces de Thétis et Pélée) is a mythological ballet in 3 acts/5 scenes, with choreography by Marius Petipa and music by Léon Minkus, with additional music adapted by... Pygmalion (AKA The Cyprus Statue) - ballet in 4 Acts-6 Scenes, with choreography by Marius Petipa and music by Prince Nikita Trubestkoi. ...

The variation danced in 1899 by Olga Preobrajenskaya as Gulnare is no longer performed in Le Jardin Animé anywhere in the world, and has been replaced over time by a variation that is by Albert Zabel (principal harpist in the orchestra of the St. Petersburg Imperial Mariinsky Theatre), and is still danced by the character Gulnare in almost all productions of Le Corsaire in the scene Le Jardin Animé (this variation is danced by the Ballerina Paloma Herrera in the popular 1999 film of American Ballet Theatre's production of Le Corsaire). The Mariinsky Theatre of St. ... Paloma Herrera (born December 21, 1975 in Buenos Aires, Argentina) is a principal dancer with the American Ballet Theatre in New York City. ... The American Ballet Theatre , based in New York City, is one of the foremost ballet companies of the 20th century, and a leading company in America. ...

The variation danced in 1899 by Pierina Legnani as Medora is still retained in the scene Le Jardin Animé in the Kirov/Mariinsky Ballet's production of Le Corsaire (this variation is danced by the Ballerina Altynai Asylmoratova in the popualar 1989 film of the Kirov/Mariinsky Ballet's production of Le Corsaire). The Mariinsky Ballet is one of the most famous ballet schools in history (formerly the Kirov Ballet, and also the Academic State Theatre), located in St. ... The Mariinsky Ballet is one of the most famous ballet schools in history (formerly the Kirov Ballet, and also the Academic State Theatre), located in St. ...

In later times the variation for Medora in the scene Le Jardin Animé has been occasionally replaced as well. During Le Jardin Animé, the Mariinsky Prima Ballerina Natalia Dudinskaya preferred to dance the rarely heard Variation of the Flower Girl taken from Léon Minkus' original score for Petipa's Don Quixote (this variation is danced by Medora during Le Jardin Animé in most western productions of Le Corsaire, notably by Julie Kent in the popular 1999 film of American Ballet Theatre's production of Le Corsaire). Natalia M. Dudinskaya as Söyembikä in the Jakobson/Yarullin Shuraleh, Leningrad, circa 1935 Natalia Mikhailovna Dudinskaya (21 August 1912, Kharkov — 29 January 2003, Saint Petersburg) was a Russian prima ballerina who dominated the Kirov Ballet in the 1930s and 1940s. ... The ballet Don Quixote is based on the famous Miguel Cervantes novel Don Quixote de la Mancha. ... Julie Kent(born July 11, 1969 in Bethesda, Maryland), birth name Julie Cox, is an American ballerina. ... The American Ballet Theatre , based in New York City, is one of the foremost ballet companies of the 20th century, and a leading company in America. ...

The Le Corsaire Pas de Deux

For his revival of Le Corsaire in 1899, Marius Petipa commissioned the composer/conductor Riccardo Drigo to arrange a Classical Pas de Deux for the Ballerina Pierina Legnani, to be danced in the second scene of Act I. This was to become the famous Le Corsaire Pas de Deux, as it is known in modern times. In 19th century ballet it was custom for the composer to only score an opening adagio and a coda for a Classical Pas de Deux, allowing the dancers to choose their own variations from the tremendous catalogue of ballet music that was in the archives of the Imperial Theatres. Riccardo Drigo, Circa 1900 Riccardo Eugenio Drigo (June 30, 1846 - October 1, 1930) was an Italian composer and conductor who spent many years working with the Saint Petersburg Imperial Ballet and Imperial Opera. ... For more on the equestrian movement, see pirouette (dressage). ...

Nikolai Zubkovsky as the Rhab (the character later known as Ali) in the Kirov Ballet's production of Le Corsaire, Leningrad, circa 1935. He is wearing the costume that was at that time tradition for the character

The opening adagio was fashioned by Drigo from his nocturne titled The Dreams of Spring, while the coda was his own original composition. For the male solo, which was danced by the Premiere Danseur Alexander Chekrygin, a variation from the composer Yuli Gerber's score for Petipa's 1870 ballet Trilby was chosen. This is the famous variation performed by all male dancers today in the Le Corsaire Pas de Deux. Image File history File links No higher resolution available. ... Image File history File links No higher resolution available. ... A nocturne (from the French for nocturnal) is usually a musical composition that is inspired by, or evocative of, the night. ... Eugeniia Sokolova in the title role of the Petipa/Gerber Trilby, St. ...

Pierina Legnani had made her début with the Imperial Ballet in the 1893 Petipa/Ivanov/Cecchetti ballet Cinderella, set to the music of the composer Baron Boris Fitinhof-Schell. By 1899, this was among Legnani's signature roles, and for her variation in the Le Corsaire Pas de Deux, she chose Fitinhof-Schell's variation in polka rhythm from Grand Pas d'action from Act II of Cinderella. Since that time, Legnani's variation has been substituted out quite often, though in Russia, particularly at the Mariinsky Theatre, Legnani's variation is still danced in the Le Corsaire Pas de Deux (this variation is performed by Altynai Asylmuratova in the 1989 film of the Kirov/Mariinsky Ballet's production of Le Corsaire, as well as by Julie Kent in the 1999 film of American Ballet Theatre's production). Lev Ivanov (1834 – 1901) was a Russian ballet dancer and choreographer. ... Enrico Cecchetti (born: 21 June 1850, Rome - died: 13 November 1928, Milan) was an Italian ballet dancer, founder of the Cecchetti method. ... Mariia Anderson as the Fairy Godmother in the Petipa/Ivanov/Cecchetti/Fitinhof-Schell Cinderella, St. ... Piano reduction of the Wedding March written especially by Fitinhof-Schell for the wedding of Tsar Nicholas II and Empress Alexandra Fyodorovna in 1895 Baron Boris Alexandrovich Fitinhof-Schell (AKA Boris Schell) (born 1829 in St. ... Altynai Asylmuratova (born 1961) was a leading ballerina with the Kirov Ballet/Mariinsky Theatre and a guest artist all over the world. ... Julie Kent(born July 11, 1969 in Bethesda, Maryland), birth name Julie Cox, is an American ballerina. ...

It is not known for certain who was responsible for the choreography of Chekrygin's dancing in his variation and in the coda. There were occasions where Petipa either allowed the male dancers to choreograph their own solos, or the Balletmaster would send the Dansuer to Christian Johansson, the influential teacher of the male dancers at the Imperial Ballet School, to arrange the variation. The Imperial Ballets great teacher Christian Johansson Christian Johansson (1817-1903) was a teacher, choreographer and coaching balletmaster for the Russian Imperial Ballet. ...

Today, the Le Corsaire Pas de Deux is performed as a Pas de Trois in nearly every production of the full-length work, with the character of Conrad participating in the central Adagio. It is a common misconception that the Le Corsaire Pas de Deux was originally created by Petipa as a Pas de Trois in 1899. To add to this misconception, Kevin McKenzie, director of American Ballet Theatre, stated in a documentary about the company's production of Le Corsaire, that the Le Corsaire Pas de Deux was originally danced as a Pas de Trois. In actuality this revision did not come about until 1915 at the Mariinsky Theatre, five years after Petipa's death, and was staged by the Balletmaster Samuil Andrianov (teacher of George Balanchine). According to the program of Petipa's 1899 revival and contemporary accounts, Legnani and Chekrygin performed the original staging of the Le Corsaire Pas de Deux as a duet. Kevin Alexander McKenzie (born July 16, 1948 in Pretoria) was a South African cricketer from 1966/67 to 1986/87. ... The American Ballet Theatre , based in New York City, is one of the foremost ballet companies of the 20th century, and a leading company in America. ... George Balanchine (January 9 (O.S.) = January 22 (N.S.), 1904–April 30, 1983) was one of the 20th centurys foremost choreographers, and one of the founders of American ballet. ...

In 1931, Agrippina Vaganova revised the choreography of the Le Corsaire Pas de Deux especially for the graduation performance of her star pupil Natalia Dudinskaya, who was partnered by Konstantin Sergeyev. Through Vaganova's revision, the Le Corsaire Pas de Deux took on the basic shape it has today. In 1939 Vaganova's revision of the Pas de Deux was interpolated into her own 1931 staging of the full-length Le Corsaire, danced by Galina Ulanova and Nikolai Zubkovsky. Natalia M. Dudinskaya as Söyembikä in the Jakobson/Yarullin Shuraleh, Leningrad, circa 1935 Natalia Mikhailovna Dudinskaya (21 August 1912, Kharkov — 29 January 2003, Saint Petersburg) was a Russian prima ballerina who dominated the Kirov Ballet in the 1930s and 1940s. ... Konstantin Mikhailovich Sergeyev (1910 - April 1, 1992) was a Russian ballet danseur, artistic director and choreographer for the Kirov Theatre. ... Galina Sergeyevna Ulanova (Russian: ; 8 January 1910 (O.S. 26 December 1909} - 21 March 1998) has the reputation of the greatest Soviet ballerina. ...

It was the noted Premiere Danseur of the Kirov/Mariinksy Ballet Vakhtang Chabukiani who had the most influential hand in refashioning the male dancing of the Le Corsaire Pas de Deux. During his performances in the Pas during the 1930s and 1940s he gave the male role more athletic and virtuoso choreographic elements. His interpretaion of the male role became in essence the standard, and it has remained so to the present day.

Vakhtang Chabukiani as the slave Ali in the Kirov/Mariinsky Ballet's production of Le Corsaire, 1941. Chabukiani was the first to wear a shirt-less costume consisting of baggy pants for the character, which is today the standard

In 1960, Rudolf Nureyev staged the Le Corsaire Pas de Deux for himself and Margot Fonteyn in London. All that was available of Drigo's music in the west at the time was a piano reduction, and so Nureyev called upon John Lanchbery to create the orchestrations. Today, Lanchbery's arrangements are still in use by many ballet companies in the west. Image File history File linksMetadata No higher resolution available. ... Image File history File linksMetadata No higher resolution available. ... Rudolf Nureyev Rudolf Nureyev (Tatar form Rudolf Xämät ulı Nuriev, Russian Рудольф Хаметович Нуриев) (17 March 1938 – 6 January 1993), Tatar-born dancer, is regarded as one of the greatest male dancers of the 20th century, alongside Vaslav Nijinsky and Mikhail Baryshnikov. ... Dame Margot Fonteyn, DBE, (18 May 1919 - 21 February 1991), the British assoluta was considered the worlds greatest ballerina of her time. ... John Lanchbery (May 15, 1923–February 27, 2003) was an English composer, famous for his ballet arrangements. ...

The Slave Ali

Alexander Chekrygin, the male dancer who was the first to dance in Petipa's original staging of the Le Corsaire Pas de Deux in 1899, was simply a suitor for the Ballerina and had no other function in the rest of the ballet. By the 1930s when the Danseur Nikolai Zubkovsky performed the role, this suitor evolved into a character known as the Rhab (Russian for Slave), and was identified as Conrad's slave who swears loyalty to Medora as her servant. Through the revivals of Vaganova and Gusev at the Mariinsky Theatre the character was named Ali, and was given a more prevalent part in the ballet's action. By the time Kirov/Mariinsky Ballet's Premiere Danseur Vakhtang Chabukiani danced the role in the late 1930s/early 1940s the character wore a costume which consisted of baggy pants, chains around a shirt-less torso, and over time the costume came to consist of a head-band with a feather protruding from the forehead, as is the standard today. This change in the character from a mere suitor to an exotic slave also gave rise to revisions in the choreography of the Le Corsaire Pas de Deux, with many of the dancers who performed in the role adding in more passionate and exotic elements of choreography, suggesting the slave's devotion to his master's beloved.

Alternate Variations for the Ballerina

Fitinhof-Schell's variation from Cinderella danced by Pierina Legnani in the original 1899 staging of the Le Corsaire Pas de Deux - a quick solo in polka time - has been substituted out many times throughout the work's performance's history. In 1958 Rudolf Nureyev danced the Le Corsaire Pas de Deux with Alla Sizova for their graduation performance from the Vaganova Choreographic Institutution (school of the Kirov/Mariinsky Ballet). For the occasion Sizova substituted the original Ballerina's variation for the Variation of the Dryad Queen from Alexander Gorsky's 1900 revival of Petipa's ballet Don Quixote (for this revival, Gorsky added new music by Anton Simon, which included a variation for the Dryad Queen in the scene of Don Quixote's dream. Today this music is almost always incorrectly credited to Léon Minkus). Rudolf Nureyev Rudolf Nureyev (Tatar form Rudolf Xämät ulı Nuriev, Russian Рудольф Хаметович Нуриев) (17 March 1938 – 6 January 1993), Tatar-born dancer, is regarded as one of the greatest male dancers of the 20th century, alongside Vaslav Nijinsky and Mikhail Baryshnikov. ... Alla Sizova is a twentieth-century ballet dancer, best known for her work with the Kirov Ballet. ... Argippina Vaganova in the title role of Marius Petipas 1899 production of the Perrot/Pugni La Esmeralda, St. ... The ballet Don Quixote is based on the famous Miguel Cervantes novel Don Quixote de la Mancha. ...

When Rudolf Nureyev staged the Le Corsaire Pas de Deux for the first time in the West, he also included the variation that Sizova danced for their graduation performance, likely due to the fact that the choreography suited the more lyrical gifts of the great Ballerina Fonteyn. For many years Nureyev's staging of the Le Corsaire Pas de Deux was the standard in the west, complete with Fonteyn's interpolated variation.

Another variation often danced in substitution of the original Ballerina solo is the Variation of Gamzatti from the Grand Pas d'action from the Petipa/Minkus La Bayadère. This variation is actually from the Pas de Venus from Petipa's 1868 ballet Tsar Kandavl (or Le Roi Candaule) to the music of Cesare Pugni, and was added to La Bayadère by the Ballerina Olga Preobrajenskaya in 1900 when she performed Gamzatti in Petipa's revival. La Bayadére is a ballet, originally in 4 Acts and 7 scenes with apotheosis, choreographed by the Balletmaster Marius Petipa to music by Lèon Minkus. ... Olga Preobrajenskaya as Queen Nisia in the Pas de Venus from the Petipa/Pugni Tsar Kandavl, St. ... Maestro Cesare Pugni, London, circa 1843 Cesare Pugni (31 May 1802?, Genoa?, Italy — 26 January 1870, St. ... Olga Preobrajenska Olga Preobrajenska (1871 – 1962) was probably the best loved ballerina of the Russian Imperial Ballet. ...

A Page from the Stepanov choreographic notation of Petipa's Le Corsaire, made circa 1894-1900. This is a page documenting a grouping in the scene Le Jardin Animé. Today the notation is part of the Sergeyev Collection and is housed in the Harvard University Library.

Image File history File links Download high resolution version (1017x717, 214 KB) Summary Page from the Vladimir Stepanov choreographic notation of the ballet Le Corsaire from the Sergeyev Collection, made by Nikolay Sergeyev and his assistants circa 1894 at the Mariinsky Theatre, St. ... Image File history File links Download high resolution version (1017x717, 214 KB) Summary Page from the Vladimir Stepanov choreographic notation of the ballet Le Corsaire from the Sergeyev Collection, made by Nikolay Sergeyev and his assistants circa 1894 at the Mariinsky Theatre, St. ... A Drawing of Nicholas Grigorovich Sergeyev, made in 1929. ...

The notation of Petipa's 'Le Corsaire'

Petipa's choreography for Le Corsaire was documented in the Stepanov method of dance notation in circa 1894 and completed in 1900. In the early 1890s, the Imperial Ballet began documenting their repertory in the Stepanov method of dance notation, the majority of which being the choreography of Petipa. Around the time of the Russian revolution of 1917, the Imperial Ballet's régisseur Nicholas Sergeyev smuggled this cache of notation out of Russia, and used it to stage such works as The Sleeping Beauty, Swan Lake, The Nutcracker, and Petipa's definitive Giselle and Coppelia for the first time in the west for such companies as the Ballet Russe and the Royal Ballet (then the Vic-Wells Ballet). From there these ballets went on to be staged all over the world. In 1969 Harvard University purchased this collection and named it the Sergeyev Collection, where it now resides as part of the university's theatre collection. Vladimir Ivanovich Stepanov (1866 - 1896), dancer at the Imperial Ballet in Saint Petersburg. ... Vladimir Ivanovich Stepanov (1866 - 1896), dancer at the Imperial Ballet in Saint Petersburg. ... The Russian Revolution of 1917 was a series of political and social upheavals in Russia, involving first the overthrow of the tsarist autocracy, and then the overthrow of the liberal and moderate-socialist Provisional Government, resulting in the establishment of Soviet power under the control of the Bolshevik party. ... Sleeping Beauty (Op. ... Altynai Asylmuratova as Odette in the Kirov/Mariinsky Ballets production of Swan Lake, St. ... (left to right) Sergei Legat, as the Nutcracker, an unidentified child as a gingerbread soldier, and Lydia Rubtsova as Marianna in Vsevolozhskys costumes for the Ivanov/Petipa/Tchaikovsky The Nutcracker, St. ... Anna Pavlova as Giselle in Act I (ca. ... Coppélia is a ballet by Leo Delibes based upon a story by E.T.A. Hoffmann entitled The Sandman. It concerns an inventor who makes a life-size dancing doll. ... Léon Bakst: Firebird, Ballerina, 1910 The Ballets Russes was a ballet company established in 1909 by the Russian impresario Serge Diaghilev and resident first in Théâtre Mogador, Paris; and then in Monte Carlo. ... Royal Ballet may refer to: Royal Ballet, London Birmingham Royal Ballet Royal Winnipeg Ballet Royal Danish Ballet There is also an article about the Royal Ballet School in London, England. ... Poster for the Royal Ballet performance of Swan Lake at the Lyric Theatre in the Queensland Performing Arts Centre, Australia The Royal Ballet, is based at the Royal Opera House in Covent Garden, London, England, and is the leading ballet company in the United Kingdom. ... Harvard University (incorporated as The President and Fellows of Harvard College) is a private university in Cambridge, Massachusetts, USA. Founded in 1636,[2] Harvard is the oldest institution of higher learning still operating in the United States. ... A Drawing of Nicholas Grigorovich Sergeyev, made in 1929. ...

In 2007, the Bavarian State Ballet utilized the notation to reconstruct 25 dances from Petipa's 1899 revival of Le Corsaire for their new production.

'Le Corsaire' in the 20th century and America

Le Corsaire had been staged at the Bolshoi Theatre in Moscow as early as 1858 in a version later revised by the Balletmaster Ivan Clustin in 1902. It was not until after Petipa's death that a new revival was mounted at the Bolshoi Theatre by Alexander Gorsky, premiering on January 15/28 (Julian/Gregorian calendar dates), 1912 with Ekaterina Geltzer as Medora and Vasily Tikhomirov as Conrad. This staging, long gone from the repertory of the Bolshoi Theatre, was a restaging of Petipa's 1899 revival with revisions by Gorsky. He also included new dances to the music of such composers as Vasily Soloviev-Sedoy, Reinhold Glière, Frédéric Chopin, and even Tchaikovsky. The Bolshoi Theatre of Moscow, Russia The Bolshoi Theatre (Russian: , Bolshoy Teatr, Large Theater) is a theatre and opera company in Moscow, Russia, which gives performances of ballet and opera. ... The Julian calendar was introduced in 46 BC by Julius Caesar and came into force in 45 BC (709 ab urbe condita). ... The Gregorian calendar is the most widely used calendar in the world. ... 1912 (MCMXII) was a leap year starting on Monday in the Gregorian calendar (or a leap year starting on Tuesday in the 13-day-slower Julian calendar). ... Yekaterina Vasilyevna Geltzer (November 2, 1876 - December 12, 1962) was a prima ballerina of the Bolshoi Ballet who danced in the theatre from 1898 to 1935. ... Vasiliy Mikhailovich Tikhomirov (1876-1956) was a dancer (since 1895) and a choreographer (since 1913) in the Bolshoi Theatre of Moscow. ... Reinhold Moritzovich Glière Reinhold Moritzovich Glière (Russian: , Rejngold Moricevič Glièr) (January 11, 1875 [O.S. 30 December 1874] – June 23, 1956) was a Soviet composer of German descent. ... The only known photograph of Frédéric Chopin, believed to have been taken by Louis-Auguste Bisson in 1849. ... Pyotr (Peter) Ilyich Tchaikovsky (Russian: Пётр Ильич Чайкoвский, Pëtr Il’ič ÄŒajkovskij;  )[1] (7 May [O.S. 25 April] 1840 – 6 November [O.S. 25 October] 1893), was a Russian composer of the Romantic era. ...

Petipa's last revival of Le Corsaire remained in the repertory of the Imperial Ballet until 1928 (by that time the company was known as the State Petrograd Ballet), where up to that point it had been performed an incredible 224 times since the premiere of the 1899 production. Many more stagings of Le Corsaire followed in versions that, for the most part, retained all of the ballet's classical dances as set down by Petipa, which by that time were considered almost sacrosanct (though they were not entirely immune from revision themselves). Carlotta Brianza and Paul Gerdt of the Imperial Ballet as Princess Aurora and Prince Desire in the 1890 premiere of the Sleeping Beauty. ...

The changes that came along in these revivals were done rather severely to the incidental scenes of action. As a result, the ballet's plot evolved from a melo-drama into what many consider to be an absurd and insignificant comic tale that merely serves as the glue holding the dancing passages together.

Agrippina Vaganova, the revered pedagogue of Russian Ballet, supervised the first "after Petipa" revival of Le Corsaire for the Kirov Ballet in 1931. The next important revival of the work was staged by the Balletmaster Pyotr Gusev in 1955 for the Ballet of the Maly Theatre of St. Petersburg. This was the first production of the work to present a completely modified version of the libretto, written by Gusev and the ballet historian Yuri Slonimsky, which included a new character - the slave Ali - who would also perform the Le Corsaire Pas de Deux as the suitor. Aside from the new libretto Gusev opted to do a complete revision of the ballet's score - although by this time the score for Le Corsaire contained the traditional interpolated dances by many composers ( the Pas d'Esclave, the Corsaire's Mazurka, the Grand Pas de Trois des Odalisques, the scene Le Jardin Animé, the Grand Pas de Deux à Trois/Grand Pas de Deux, as well as the usual supplemental variations), the majority of the score still belonged to Adolphe Adam, as the music for the incidental scenes of action were from his original score of 1856. Gusev opted to discard nearly all of this original music in favor of music fashioned out of themes from Adam's 1842 ballet La Jolie Fille du Gand, as well as more additions from various ballets by Cesare Pugni. Vaganova as Odette-Odile, 1900es Agrippina Yakovlevna Vaganova (July 6, 1879 - November 5, 1951) was an outstanding Russian ballet teacher who developed the Vaganova method. ...

With this interpolated music new leitmotifs were fashioned for the ballet's main characters, along with Gusev creating a new version of the ballet's prologue - this scene included the standard opening of the ballet with the famous shipwreck, followed by a scene set on a beach. Gusev added here a new Entrance for Medora, and an elaborate Pas for Gulnare, Medora, and ten other ballerinas, who subsequently find Conrad and his party washed ashore. Soon after the women are kidnapped by Lankendem and his cohorts, which causes Conrad and his party to go to their rescue. Gusev also added many individual dances throughout his production from Riccardo Drigo's score for Petipa's 1889 ballet The Talisman. Originally Gusev had intended to mount this revision for the Kirov Ballet, but the company chose to retain Vaganova's 1931 staging (Gusev's production was also staged for the Novosibirsk Ballet in 1964, where it is still retained). This article or section does not adequately cite its references or sources. ... Mathilde Kschessinskaya costumed as Niriti for the Grand Pas des Fleurs of Act II in Nikolai Legats revival of Petipas The Talisman, St. ... The Mariinsky Ballet is one of the most famous ballet schools in history (formerly the Kirov Ballet, and also the Academic State Theatre), located in St. ...

Many more revisions of Le Corsaire were mounted in Russia, perhaps one of the most noted being in 1958 for the Stanislavsky Ballet by the former ballerina Nina Grishschina with the assistance of the Balletmasters Alexei Chichinadze and Vladimir Bourmiester, a production which was revived in 1989. In 1973, the Balletmaster of the Kirov Ballet Konstantin Sergeyev staged his own completely new revision of Le Corsaire, a production which was soon pulled 4 years later by Oleg Vinogradov, the former director of the Ballet of the Maly Theatre, who was appointed director of the Kirov/Mariinsky Ballet that year. Vinogradov opted to stage Gusev's 1955 revision of the ballet instead, a production that the Kirov/Mariinsky Ballet still retains in its repertory to the present day. Konstantin Mikhailovich Sergeyev (1910 - April 1, 1992) was a Russian ballet danseur, artistic director and choreographer for the Kirov Theatre. ...

In 1989 the Kirov/Mariinsky Ballet decided to present a revival of Le Corsaire for its upcoming world tour. There was much debate as to whether Gusev's staging would be retained or whether Sergeyev's version would be reinstated. In the end, they chose to retain Gusev's version, while still lavishing the production with new sets and costumes. This staging premiered to great success in New York at the Metropolitan Opera House on July 3, 1989 with the Ballerina Altynai Asylmuratova as Medora (this production was filmed at the Mariinsky Theatre in April of 1989, and has been released onto DVD/video). The Metropolitan Opera is located at Lincoln Center in New York, New York. ... Altynai Asylmuratova (born 1961) was a leading ballerina with the Kirov Ballet/Mariinsky Theatre and a guest artist all over the world. ...

Sergeyev then staged a complete revival of his 1973 revision of Le Corsaire for the Bolshoi Ballet, at the invitation of Yuri Grigorovich, the company's director. For this version, Sergeyev called upon the Bolshoi Ballet's fasmous head conductor Alexander Sotnikov to reorchestrate and revise much of the music. This production premiered on March 11, 1992 to great success, becoming Sergeyev's last work for the ballet; he died on April 1, that same year. Grigorovich then decided to pull Sergeyev's staging from the Bolshoi's repertory after only seven performances, so that there would be no competition for his own staging, which premiered on February 16, 1994, a production that is still retained in the repertory of the Bolshoi Ballet. The Bolshoi Theatre in Moscow houses the world renowned Bolshoi Ballet, which has been home to some of the worlds greatest ballet dancers, including Anna Pavlova, Vaslav Nijinsky, Rudolf Nureyev, Mikhail Baryshnikov and Natalia Makarova. ... Yury Grigorovich Yury Nikolayevich Grigorovich (born January 2, 1927 in Leningrad) is a Russian dancer and choreographer who dominated the Russian ballet for 30 years. ...

The sets and costumes designed by Irina Tibilova which were used for Konstantin Sergeyev's production of Le Corsaire sat unused in the archives of the Bolshoi Theatre for almost five years. At the suggestion of Sergeyev's wife, the celebrated Ballerina and teacher Natalia Dudinskaya, Anna-Marie Holmes staged Sergeyev's production for the Boston Ballet (with the assistance of Dudinskaya, Tatiana Terekhova, Sergei Berezhnoi, Tatiana Legat, and Vadim Disnitsky). The Bolshoi Theatre of Moscow, Russia The Bolshoi Theatre (Russian: , Bolshoy Teatr, Large Theater) is a theatre and opera company in Moscow, Russia, which gives performances of ballet and opera. ... Natalia M. Dudinskaya as Söyembikä in the Jakobson/Yarullin Shuraleh, Leningrad, circa 1935 Natalia Mikhailovna Dudinskaya (21 August 1912, Kharkov — 29 January 2003, Saint Petersburg) was a Russian prima ballerina who dominated the Kirov Ballet in the 1930s and 1940s. ... The Boston Ballet is a professional ballet company based in Boston, Massachusetts. ...

The music for this production was copied from the conductor's score used by Kirov/Mariinsky Ballet, as well as additional parts taken from the Mariinsky Theatre library. In some cases however, the Boston Ballet used copies of the Bolshoi's score, which contained orchestrations by Alexander Sotnikov. The Boston Ballet music librarian Arthur Leeth, the company pianist Marina Gendal, and conductor Jonathan McPhee performed a cut-and-paste operation on the score as the choreography was adapted for the new staging. This required the re-ordering of many numbers, as well as a few new transitional passages which were composed by Kevin Galie. Galie also did some minor reorchestrating throughout many parts of the score. This production premiered on March 27, 1997 with the Ballerina Natasha Akhmarova as Medora, to great success.

Nearly one year later, American Ballet Theatre in New York rented the Boston Ballet's production for its own staging of Le Corsaire. The staging went through even more revisions both choreographically and musically, with musical modifications performed by American Ballet Theatre conductor Charles Parker and the company pianist Henrietta Stern. This production premiered on June 19, 1998, with Nina Ananiashvili as Medora, Ashley Tuttle as Gulnare, Giuseppe Picone as Conrad, Jose Manuel Carreño as Ali, and Vladimir Malakhov Lankendem. The ABT production was later filmed at the Orange County Performing Arts Center in Costa Mesa, California by PBS for Great Performances in 1999, with Julie Kent as Medora, Paloma Herrera as Gulnare, Ethan Steifel as Conrad, Angel Corella as Ali, and Vladimir Malakhov as Lankendem. The American Ballet Theatre , based in New York City, is one of the foremost ballet companies of the 20th century, and a leading company in America. ... Nino Ananiashvili Nina Ananiashvili (also: Nino Ananiashvili, Georgian: , born on March 28, 1963 in Tbilisi, Georgia (at the time Georgian SSR, Soviet Union)) is a Georgian ballerina. ... Ashley Tuttle is an American musical theatre actress and dancer best known for her role in the musical Movin Out, which earned her a Tony Award. ... Jose Manuel Carreño Jose Manuel Carreño (born May 25, 1968) is a Cuban principal dancer with the American Ballet Theatre. ... Vladimir Malakhov may be: Vladimir Malakhov (chess). ... The American Ballet Theatre , based in New York City, is one of the foremost ballet companies of the 20th century, and a leading company in America. ... The Orange County Peforming Arts Center is a performing arts complex located in Costa Mesa, California. ... Costa Mesa is a city located in Orange County, California. ... Official language(s) English Capital Sacramento Largest city Los Angeles Area  Ranked 3rd  - Total 158,302 sq mi (410,000 km²)  - Width 250 miles (400 km)  - Length 770 miles (1,240 km)  - % water 4. ... Not to be confused with Public Broadcasting Services in Malta. ... Great Performances was a television series devoted to the performing arts which ran on the US television station PBS from 1972. ... Julie Kent(born July 11, 1969 in Bethesda, Maryland), birth name Julie Cox, is an American ballerina. ... Paloma Herrera (born December 21, 1975 in Buenos Aires, Argentina) is a principal dancer with the American Ballet Theatre in New York City. ... Angel Corella (1975 - ) is a principal dancer with American Ballet Theatre. ... Vladimir Malakhov may be: Vladimir Malakhov (chess). ...

Today the full-length Le Corsaire has been staged by many companies all over the world. It is Pyotr Gusev and Konstantin Sergeyev's stagings that serve as the foundation for these productions, though to date there has not been a company who has chose to merge the two. Outside of Russia, primarily in western Europe and the Americas, it is Sergeyev's production that has been staged primarily, while in Russia and in eastern Europe Gusev's revision has been staged for the most part. World map showing the Americas CIA political map of the Americas The Americas are the lands of the Western hemisphere or New World consisting of the continents of North America[1] and South America with their associated islands and regions. ...

Pacific Northwest Ballet School's reconstruction of Le Jardin Animé

In June 2004 the School of the Pacific Northwest Ballet in Seattle presented a reconstruction of Petipa's choreography for the scene Le Jardin Animè, taken directly from the notation of the Sergeyev Collection. It was staged by the dance historian and Stepanov notation expert Douglas Fullington, and Manard Stewart, former principle dancer of the Pacific Northwest Ballet. The Pacific Northwest Ballet is a ballet company and based in Seattle, Washington in the United States. ... City nickname Emerald City City bird Great Blue Heron City flower Dahlia City mottos The City of Flowers The City of Goodwill City song Seattle, the Peerless City Mayor Greg Nickels County King County Area   - Total   - Land   - Water   - % water 369. ... A Drawing of Nicholas Grigorovich Sergeyev, made in 1929. ...

Bavarian State Ballet's Revival of 'Le Corsaire'

In 2006, the Bayerisches Staatsballett (Bavarian State Ballet) presented a partial reconstruction of Petipa's 1899 revival of Le Corsaire. For this production, twenty-five of Petipa's original dances were reconstructed from the Stepanov Choreographic Notation of the Sergeyev Collection. Vladimir Ivanovich Stepanov (1866 - 1896), dancer at the Imperial Ballet in Saint Petersburg. ... A Drawing of Nicholas Grigorovich Sergeyev, made in 1929. ...

Adam's music was restored from the original conductor's score in the archives of the Paris Opéra, while still retaining the traditional additional dances Petipa added to his revivals throughout the mid to late 19th century.

Video

• The Grand Pas de Trois des Odalisques as danced by the Kirov/Mariinsky Ballet (music by Adolphe Adam and Cesare Pugni)

• The Pas d'Esclave as danced by the Kirov/Mariinsky Ballet (music by Grand Duke Peter II of Oldenburg)

• The scene Le Jardin Animé as danced by the Kirov/Mariinsky Ballet -pt.1

• The scene Le Jardin Animé as danced by the Kirov/Mariinsky Ballet -pt.2

• The Le Corsaire Pas de Deux -

1. Danced by Igor Zelensky & Svetlana Zakharova (with the "original" variation for Medora from the Petipa/Ivanov/Cecchetti ballet Cinderella to music by Baron Boris Fitinhof-Schell)
2. Danced by Tamara Rojo & Jose Manuel Carreño (with alternate Variation for Medora from Petipa's La Bayadère - originally from the Pas de Venus from Petipa's Tsar Kandavl, music by Cesare Pugni)
3. Alternate Variation for Medora from the Le Corsaire Pas de Deux danced by Alla Sizova (music by Anton Simon, originally the Variation of the Dryad Queen from Alexander Gorsky's 1900 revival of Petipa's Don Quixote)

Gallery of Le Corsaire

Lithograph by J. Bourvier of Adèle Dumilatre as Medora and Henri Desplaces as Conrad in a revival of Décombe's version of Le Corsaire, London, 1844

Pierina Legnani as Medora and Pavel Gerdt as Conrad in Petipa's 1899 revival for the Imperial Ballet

Design for the décor of the Act I Bazaar by Hugues Martin for the original 1856 Paris production

Design for the décor of the Act III Harem by Mons. Désplechen for the original 1856 Paris production

Image File history File links Download high resolution version (700x938, 57 KB) Licensing This image is in the public domain because its copyright has expired in the United States and those countries with a copyright term of life of the author plus 100 years or less. ... Image File history File links No higher resolution available. ... Image File history File links Corsaire_-Set_design_for_Act_I_-Hugues_Martin_-Paris_-1856. ... Image File history File links Size of this preview: 800 × 598 pixelsFull resolution (1305 × 975 pixel, file size: 686 KB, MIME type: image/jpeg) Sketch by Henri Desplechin for the decor of Act III scene 1 of the ballet Le Corsaire, circa 1856. ...

Synopsis

(NOTE - The following synopses detail the two most prominent versions of Le Corsaire. The first is of Pyotr Gusev and Yuri Slonimsky's scenario, used mostly in Russia and eastern Europe (most notably by The Mariinsky Ballet). The second is of Konstantin Sergeyev's 1973/1992 scenario as adapted for American Ballet Theatre's production. The Mariinsky Ballet is one of the most famous ballet schools in history (formerly the Kirov Ballet, and also the Academic State Theatre), located in St. ... Konstantin Mikhailovich Sergeyev (1910 - April 1, 1992) was a Russian ballet danseur, artistic director and choreographer for the Kirov Theatre. ... The American Ballet Theatre , based in New York City, is one of the foremost ballet companies of the 20th century, and a leading company in America. ...

Scenario for the Kirov/Mariinsky Ballet's version of Le Corsaire (by Pyotr Gusev and Yuri Slonimsky)

Characters

• Conrad -- Captain of the corsair ship
• Ali -- Conrad's slave
• Birbanto -- First mate, and Conrad's friend
• Lankendem -- Slave dealer
• Medora -- Young Greek woman
• Gulnare -- Young Greek woman and Medora's friend
• The Seid Pasha -- A Turkish nobleman

Prologue: Shipwreck

A groups of Mediterranean corsairs (pirates), led by Conrad, Birbanto, and the slave Ali are caught at sea in a fierce storm. Soon, their great ship sinks.

Act I

Scene 1: The Sea-Shore Conrad and his friends are washed ashore. Young Greek women appear, led by Medora and Gulnare. They soon discover the shipwrecked corsairs, and immediately Medora and Conrad fall in love. But soon the women become aware of impending danger, and quickly hide the corsairs. A patrol of Turkish traders, in league with the villainous slave dealer Lankandem, are hunting for beautiful woman to sell as slaves. The Turks soon capture the young Greek women, and are paid handsomely by Lankendem. They soon head off to the slave market in a Turkish bazaar, and the corsairs vow to rescue the unfortunate maidens.

Scene 2: The Slave Market Amidst the bustle and barter the wealthy Seid Pasha turns up at the slave market to purchase beautiful young slave women for his harem. Lankendem shows off all of the fruits of his travels from foreign lands, and though he extols the beauty of captive maidens from Palestine and Algeria, the Pasha is not interested. Soon Lankendem presents Gulnare, who enchants the Pasha. Gulnare and Lankendem dance a Pas d'action (the Pas d'esclave). He then pays handsomely for her as she is carried off to his harem. But Lankendem has saved his greatest spoil for last - the beautiful Medora. The Pasha soon makes his offer, but is soon outbid by an unknown trader, who is Conrad in disguise. Conrad then wins Medora and whisks her away, followed by her fellow captives. In the confusion the Corsaires also take Lankendem captive.

Act II

The Corsaire's Cave Conrad and his fellow corsairs take Medora and her fellow maidens to their cave filled with treasure. At the height of the celebrations Medora and Conrad declare their love, and Ali vows to be Medora's devoted slave. The three dance a Grand Pas Classique (the Grand Pas de Deux à Trois or Le Corsaire Pas de Deux). The woman ask Medora to intercede on their behalf so that they may be released. Conrad promises to free them, but Birbanto and his friends protest, and a fight breaks out. Conrad keeps his word and releases the woman. Lankendem, who has witnessed the conflict, strikes a deal with Birbanto and his friends - in exchange for his freedom, he informs them of a potion that, when sprinkled on a flower, can immideiately induce sleep. Birbanto and his friends agree. Conrad and Medora return, relishing in the chance to be alone together. Lankendem then offers Medora a bouquet of flowers to give to Conrad. Conrad then smells the beautiful flowers and falls asleep. Soon, Lankendem, Birbanto, and their cohorts capture Medora. Conrad then awakes, and he and Ali vow to save her once again.

Act III

Scene 1: The Seid Pasha's Harem Gulnare is being fêted by the Pasha, and she is enjoying herself. Lankendem soon arrives and presents the Pasha with three woman of ideal beauty to entertain the harem. They dance a Pas de Trois Classique (the Grand Pas de Trois des Odalisques). Soon Lankendem carries in the greatest prize - Medora. Though she is very sad at having been captured once more, her spirits are lifted when she is re-united with Gulnare.

Scene 2: Le Jardin Animé Medora, Gulnare, and the woman of the harem join together to dance a fantastical Grand Ballabile in which they celebrate beauty, grace, and harmony in a garden filled with flowers and magic fountains.

Scene 3: The Rescue Afterwards, the Pasha is warned that mysterious pilgrims have arrived. The pilgrims arrival coincides with the evening prayer, which is conducted by the leader, who is really Conrad in disguise. Their true identity is soon revealed, and they take revenge on the Pasha, his men, and Lankendem. They rescue Medora and Gulnare.

Epilogue

Medora, Conrad, Gulnare, and Ali set sail for new adventures, certain this time of lasting happiness.

Scenario for American Ballet Theatre's Version of Le Corsaire (derived from Sergeyev's version)

Characters

• Conrad -- Captain of the corsair ship
• Ali -- Conrad's slave
• Birbanto -- First mate, and Conrad's friend
• Lankendem -- Slave dealer
• Medora -- the beautiful slave girl
• Gulnare -- Medora's friend
• Seyd -- A Turkish Pasha

Prologue

A pirate ship, manned by Conrad, his slave Ali, and his friend Birbanto, sails toward Turkey.

Act I

The Bazaar Dealers and buyers fill a noisy bazaar where slave girls are being traded. Conrad and his men arrive where Lankendem, the owner of the bazaar, is selling girls. Conrad sees Medora, a slave girl, and falls immediately in love. Seyd, a Pasha, arrives on the scene amidst much fanfare. Lankendem presents three young women, who dance a Pas de Trois Classique (the Grand Pas de Trois des Odalisques) whom the Pasha rejects. Lankendem then presents Gulnare, a lovely slave girl, and together Gulnare and Lankendem dance a Pas d'action (the Pas d'Esclave). The Pasha buys her. Lankendem then presents a young slave girl, Medora, and everyone is entranced by her beauty. The Pasha buys her. Conrad instructs the slave to steal Medora back and the corsairs raid the village and kidnap Lankendem.

Act II

The Grotto Conrad shows Medora his cave filled with treasure. Birbanto calls all the corsairs to bring in their stolen bounty to the grotto, as well as the slave girls and Lankendem. Medora, Conrad, and the slave Ali dance a Grand Pas Classique (the Grand Pas de Deux à Trois or Le Corsaire Pas de Deux). Afterward, Medora entreats Conrad, in the name of their love, to free all the slave girls. He agrees, but Birbanto rebels against the idea and instead persuades the pirates to riot against Conrad. By the force of Conrad's commanding personality and physical presence, he single-handedly instills terror into the hearts of the corsairs and they abandon their mutinous plan. Not to be thwarted, Birbanto devises a new scheme. He sprays a rose with a sleeping potion and forces Lankendem to help him pass the flower to Medora, who unwittingly gives it to Conrad. He inhales its aroma and falls into a drugged sleep. The corsairs return to the grotto and attempt to capture Medora. While struggling, she snatches a dagger and cuts Birbanto's arm. In the confusion, Lankendem steals Medora back and escapes. Birbanto is about to kill Conrad but is interrupted by the slave. Stunned and broken-hearted, Conrad discovers Medora missing. Birbanto feigns ignorance and swears his loyalty to Conrad.

Act III

Scene 1: The Pasha's Palace The playful Gulnare is interrupted by Lankendem bringing a veiled Medora. The Pasha is delighted that Medora has been recaptured.

Scene 2: Le Jardin Animé' (The Animated Garden) The Pasha then decides to take a nap. He dreams of all of the beautiful women of his harem dancing in an enchanted flower garden. The woman dance a Grand Ballabile.

Scene 3: The Pasha's Palace Conrad and his party arrive at the palace in disguise, waking the governor. Once inside, the maurauders attack the Pasha and his guards. After the residents flee, Medora names Birbanto as the traitor and Conrad kills him. Conrad, Ali, Medora and Gulnare all escape to the Corsaire ship.

Scene 4: The Storm The corsair ship sails upon a calm sea. Conrad, at the helm, cradles Medora in his arms. Suddenly a fierce storm blows across as lightning illuminates the darkening sky. Gusting winds shred the sails and a lightning bolt snaps the ship's mast in half. The ship sinks amidst the relentless, turbulent waters.

Epilogue

As the wind subsides and the sea calms itself, the moon rises in the sky. It sheds light upon Conrad and Medora, clinging to a rock and offering thanks for their miraculous survival, a testimony to the strength of their love.

The music of Le Corsaire on CD

The following list is of recordings of music from the ballet Le Corsaire. Though there are bootleg recordings available taken from the soundtrack of the American Ballet Theatre and the Kirov/Mariinsky Ballet's DVD releases, this list concentrates only on officially released recordings.

Recording of Adolphe Adam's original score for Le Corsaire by Richard Bonynge and the English Chamber Orchestra

• Adam: Le Corsaire Richard Bonynge, English Chamber Orchestra. (1992) Decca 430 286-2, 2CDs. Out-of-print. Note for this recording Bonynge utilized the conductor's score as used for Mazilier's 1867 revival of Le Corsaire. It contains Adam's original, unaltered score, as well as Delibes' addition of the music for the scene Le Jardin Animé in it's original orchestration by Delibes, and with the original variations for the characters Medora and Gulnare. It does not contain the additions added to the score in Russia throughout the mid to late 19th century.

• Musiques Pour les Ballets de Marius Petipa Klaus Weise, Orchestre Philharmonique de Nice. (1996) Accord 205472, 1 CD. Out-of-print. Note Among the excerpts included on this disc (from Petipa's Raymonda, Don Quixote), are the 3 Pas Petipa added to Le Corsaire - the Pas d'esclave (by Grand Duke Peter II of Oldenburg. The recording does not include the two variations), Grand Pas de Trois des Odalisques (by Adolphe Adam and Cesare Pugni. The recording does not include the third variation in waltz rhythm), and the Le Corsaire Pas de Deux (arranged by Riccardo Drigo, with music by Yuli Gerber and Baron Boris Fitinhof-Schell. This recording consists of the original variation for Medora in polka time). These pieces are incorrectly attributed solely to Adam in the liner notes. The music in this recording is presented in the Bolshoi Ballet's version, in an orchestration by Alexander Sotnikov. To date, this is the only officially released professional recording of these pieces.

• Ballet Gala from the Boxed-set Original Bolshoi Theatre Orchestra Georgi G. Zhemchushin, Bolshoi Theatre Orchestra. (1989) Pilz 44 1008-2, 1 CD. Out-of-print. Note This recording contains the Le Corsaire Pas de Deux in an extremely stripped-down version of the original orchestration. The original female variation is substituted-out for Cesare Pugni's variation which is typically associated with the role of Gamzatti in the Grand Pas d'action from the ballet La Bayadère.

This recording includes many rare excerpts from Le Corsaire by Klaus Weise and the Orchestre Philharmonique de Nice

The following list is of recordings of the Le Corsaire Pas de Deux as orchestrated by John Lanchbery for Rudolf Nureyev and Margot Fonteyn in 1962. Except where noted, all of these recordings contain the Variation of the Dryad Queen taken from Alexander Gorsky's 1900 revival of Don Quixote to music by Anton Simon in substitution for the original variation for Medora in polka rhythm. Image File history File links Download high resolution version (1620x1344, 1102 KB) Summary Cover of the CD Adam: Le Corsaire. This CD comes from my own collection and was scanned by me. ... Image File history File links Download high resolution version (1620x1344, 1102 KB) Summary Cover of the CD Adam: Le Corsaire. This CD comes from my own collection and was scanned by me. ... The English Chamber Orchestra is a small (hence chamber) orchestra based in London. ... Image File history File links No higher resolution available. ... Image File history File links No higher resolution available. ...

• Ballet Gala Richard Bonynge, English Concert Orchestra. (1990) London 421 818-2, 2 CDs. Out-of-print. Note This recording is also included in the boxed-set Fête du Ballet (Decca 468 578-2, 10 CDs).

• Pas de Deux Richard Bonynge, London Symphony Orchestra. (1963, re-released in 1992) London 433 862-2, 1 CD. Out-of-print.

• Pas de Deux: The Ballet Experience Boris Spassov, Sofia National Opera Orchestra. (2002) Capriccio 67 012, 1 CD.

• Ballet Gala Terence Kern, Orchestra of the London Festival Ballet. (1996) Seraphim 5 69089 2, 2 CDs. Out-of-print. Note This recording contains the original variation for Medora in polka rhythm in Lanchbery's orchestration.

The London Symphony Orchestra (LSO) is one of the major orchestras of the United Kingdom. ...

External links

• Le Corsaire Fact Sheet by Robert Greskovic
• The Pacific Northwest Ballet School's reconstruction of Le Jardin Animé by Sanra Kurtz
• American Ballet Theatre repertory archive - Le Corsaire
• Anna-Marie Holmes answers questions about Le Corsaire on Ballettalk.com

References

• American Ballet Theatre. Theatre program for Le Corsaire. Playbill 24-26,31. 2005.
• Fullington, Doug. "Petipa's Le Jardin Animé Restored". The Dancing Times: September, 2004. Vol. 94, No. 1129.
• Garafola, Lynn, ed. and translator. "The Diaries of Marius Petipa" from Studies in Dance History: Spring 1992 Vol. III, No. 1
• Guest, Ivor Forbes. CD Liner notes. Adolphe Adam. Le Corsaire. Richard Bonynge cond. English Chamber Orchestra. Decca 430 286-2.
• Guest, Ivor Forbes. Ballet of the Second Empire.
• Guest, Ivor Forbes. Jules Perrot: Master of the Romantic Ballet.
• Mariinsky Ballet. Theatre program for Le Corsaire. 2004.
• Smakov, Gennady. The Great Russian Dancers.
• Wiley, Roland John, selector and translator. A Century of Russian Ballet: Documents and Eyewitness Accounts 1810-1910.
• Wiley, Roland John. Dances from Russia: An introduction to the Sergeyev Collection. The Harvard Library Bulletin: January, 1976. Vol. XXIV, No. 1.