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The ballets of the late 19th Century—particularly of those of Marius Petipa—introduced the concept of the grand pas de deux, which often served as the climax of a scene or an entire performance. This involved a consistent format of entrée and adagio by a pair of leading male and female dancers, followed by virtuosic solos (first by the ...
It became the ballet’s Grand Pas de deux when Petipa transferred it to Act 2 and Drigo extensively revised the music, adding a new ending to the Grand Adagio and an interpolation from Tchaikovsky’s Opus 72 for Piano as the Variation of Odile.
For this production Petipa added the celebrated Paquita Grand pas classique, as well as the Paquita Pas de trois (or Minkus Pas de trois) and the Mazurka des enfants (Children's Mazurka), all to the music of Minkus.
Nov 28, 2012 · The famous grand pas de deux was added by Marius Petipa in 1881, when he revised the full-length Paquita for the Imperial Ballet of St. Petersburg. The variations didn’t come until a gala performance in 1896, when all of the reigning ballerinas of the day performed their favorite solo from a ballet of their choice.
Marius Petipa (born March 11, 1818, Marseille, France—died July 14 [July 1, Old Style], 1910, Gurzuf, Ukraine, Russian Empire) was a dancer and choreographer who worked for nearly 60 years at the Mariinsky Theatre in St. Petersburg and had a profound influence on modern classical Russian ballet.
- The Editors of Encyclopaedia Britannica
The early to mid 1880s saw Petipa staging lavish, grand revivals of many older works, including his 1881 revival of Paquita, for which Minkus composed the Grand Pas Classique, Pas de trois and Mazurka des enfants, and his first revivals of Giselle and Coppélia in 1884 and La Esmeralda in 1886.
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May 10, 2012 · Carla Körbes and Seth Orza of Pacific Northwest Ballet, in the final pose of the adagio of Marius Petipa’s grand pas de deux from Act III of “Swan Lake,” reconstructed from the 1895 notation.
