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Arts Calendar / October 20 / Ballet
19:00 Giselle
Ballet to music by Adolphe Adam. 150 mins (with one interval). Libretto by Theophile Gautier, Jules-Henri Vernoy de Saint-Georges. Choreography: Jean Coralli, Jules Perrot, Marius Petipa. Giselle is a masterwork in the classical ballet performance canon. The ghost-filled ballet tells the tragic, romantic story of a beautiful young peasant girl who falls for the flirtations of the deceitful and disguised nobleman Albrecht. When the ruse is revealed, the fragile Giselle dies of heartbreak, and Albrecht must face the otherworldly consequences of his careless seduction. The masterpiece of classical romantic choreography came to be in 1841 thanks mostly to immeasurable talents of Carlotta Grizi, a ballerina equally adored by poet and writer Th?ophile Gautier, librettist Jules-Henri Vernoy de Saint-Georges, choreographers Jean Coralli and Jules Perrot and composer Adolphe Adan, who created the ballet together as a token of their shared fascination. The story of love that triumphs over death was danced by many great dancers and ballerinas of the world, and to this day remains an inspiration to ballet stars the world over.
Stanislavsky and Nemirovich-Danchenko Moscow Music Theater 
19:00 La Fille du Pharaon
12:00, 19:00. Ballet in three acts to the music by Cesare Pugni. Choreography by Pierre Lacotte (after the ballet of the same name by Marius Petipa). Libretto by Jean-Henry Saint-Georges and Maurice Petipa after the story Le roman de la momie by Theophile Gautier, version by Pierre Lacotte. Author of the score's version - Alexander Sotnikov. Starring: Maria Alexandrova, Sergei Filin, Vyacheslav Lopatin, Natalia Osipova, Andrei Merkuriev. The second birth of La Fille du Pharaon took place in Moscow in the year 2000 - the reconstruction was undertaken by Pierre Lacotte in answer to an exclusive commission from the Bolshoi Theatre. Pierre Lacotte, the famous researcher into our ballet legacy, who has breathed new life into more than one forgotten masterpiece of past centuries, had long ago been fired with enthusiasm by the idea of resurrecting Petipa's mighty, pseudo-Egyptian fresco: ever since, in fact, he had begun to realize the fascinating discoveries to be made by the would-be restorer of ancient ballets, an art genre that one might think did not lend itself to restoration.
Bolshoi Theater 
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