The Paquita Grand Pas Classique

Choreography - Marius Petipa
Edited by V. Gordeev

The Paquita (a ballet in two acts) was staged for the first time in Russia by Marius Petipa. In 1881 Petipa produced a revival of the ballet for which he added new pieces specially composed by Ludwig Minkus. This included the Paquita Grand Pas Classique.
The plot is a somewhat melodramatic story taking place in Spain under the occupation by Napoleon's army. The heroine of the ballet is a young gypsy girl, Paquita. In fact, she is a girl of noble birth who had been carried off by gypsies when she was a baby. She manages to save the life of a young French officer, Lucien d'Hervilly and discovers at the end, thanks to a medallion, that in fact she is the cousin of Lucien, and can marry him.

The ballet itself had been staged regularly till 1920-s and then it was completely forgotten. But the Paquita Grand Pas Classique is still included in the repertoire of many theatres all over the world.
The ballet is difficult technically. It's accessible only to primas. The presence of “Paquita” in the repertoire of a group proves its highest professionalism. Soloists of any class find their own way to prove themselves in this ballet.
Spectators love “Paquita” for the refined beauty of the spectacle, the effervescence of the dance that gladden them like a seasoned wine.
The success of the Paquita Grand Pas Classique doesn't stem only from the incomparable mastery of Marius Petipa. It's ingenuous to put a sharp virtuosity and St Petersburg style in his ballet on the head of the list. Instrumental choreography of Petipa has a mark of his personality and the destiny of the artist. In the poetic style of the ballet we see an artistic credo of the choreographer, the sanctum sanctorum of his soul.

 

Dyagilev and Nizhinsky

Choreographic fantasy in one act

Libretto, choreography and direction of V.Gordeyev
M.Fokin's choreography is used in performance

Sergey P. Dyagilev was the outstanding Russian impresario. His magnificent enterprise which has charmed Paris and known as «Russian seasons» collected the best creative power – ballet masters,
dancers and artists. Innovative works are represented by ballet master Michael Fokin.
In his "Parsley", "Sheherazade", «Spirit of the Rose» a brilliant dancerVatslav Nizhinsky shines. However Nizhinsky is not only the favourite of public. Maestro Dyagilev is charmed by talent of the young actor.
Dyagilev has mixed feelings toward Vatslav. He fosters the dancer in a fatherlike way, widening his horizons. But Nizhinsky attracts Dyagilev not only as the actor. That is why Dyagilev takes so jealously everything that can take Nizhinsky away from him. The image of the Ballerina encroaching on attention and love of Nizhinsky becomes Dyagilev's delusion. Nizhinsky is suppressed by  Dyagilev’s proprietary behavior. He is grateful to his master on which his career, his well-being, his life depends. Vital circumstances separate two dear people with whom it is so many related to. Dyagilev remains alone, but in the world history of art they will stand together. Their names will be said in couple with the admiration and gratitude and grateful descendants will estimate the contribution of two geniuses to a spirit treasury.

In performance are used fragments M.Fokin’s performances
«Rose vision» - K. Weber’s  music
"Parsley" - I. Stravinsky's music
"Sheherazade" - N. Roman's music
«Chopiniana» - F. Chopin’s music
"Swan" - K. Sen-Sansa's music

Trio on I. Stravinsky's music to the ballet "Firebird", V. Gordeyev's choreography