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639:. On the eve of the general rehearsal of the ballet Drigo fell ill, and asked Tchaikovsky if he could conduct the orchestra himself. To Drigo's astonishment Tchaikovsky insisted that if he conducted the orchestra he would ruin his score, and so Drigo, still ill, consented to conduct the rehearsal. The shy and reserved Tchaikovsky was ever after grateful to Drigo for his exceptional conducting, particularly after the premiere on 3 January [
993:, many of Drigo's colleagues urged the composer to dedicate his score to the Empress. Drigo's request was then submitted to the Minister of the Imperial Court, which brought about a lengthy correspondence by a commission set up to investigate whether or not Drigo's character, background and music were worthy of his offering a dedication to a Russian Empress. The response was favorable and the dedication was graciously accepted.
589:
25 January] 1889 on the occasion of
Cornalba's benefit performance. Despite a sumptuous production with many inspired choreographic episodes, the ballet's plot was something that critics and audiences alike found tedious. Nevertheless, Drigo's score was hailed as a masterwork of ballet music
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in the role of
Harlequin. The audience included the Emperor and Empress as well as the whole of the Imperial court. Within moments of the final curtain, the typically subdued courtly audience erupted into thunderous applause. The composer received a tumultuous reception as he went before the curtain
294:
then abolished the position of staff ballet composer in an effort to diversify the music supplied for new works. Since Drigo was well known as a composer, Vsevolozhsky employed him in the dual capacity of kapellmeister and
Director of Music, a position which would require Drigo to fulfill all of the
193:
which Drigo conducted. Kister was much impressed with Drigo's conducting talent, which was done without the aid of a score. Drigo then presented Kister with some of his own compositions, which prompted Kister to offer Drigo a six-month contract to conduct the Saint
Petersburg Imperial Italian Opera.
259:
in 1884 in an effort to solidify the art of
Russian operetta. This left Drigo, the company's kapellmeister, without a position. In 1886 the Saint Petersburg Imperial Ballet's kapellmeister, Alexei Papkov, retired after thirty-four years of service, leaving the company without a principal conductor.
621:
and incidental dances for insertion into older ballets. By the time Drigo left Russia in 1919, nearly every ballet in the repertory of the Saint
Petersburg Imperial Theatres contained many of the composer's own additional pieces. Drigo later commented in his memoirs that he composed about 80 such
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read an emotional farewell speech in both
Italian and Russian. Allowed to take only 60 kilograms with him, Drigo left all of his belongings in Russia with the exception of a collection of his manuscript scores, which he used as a pillow during his two-month journey to Padua via
488:...the music of this ballet is outstanding in a symphonic sense, reveals an experienced composer, a man with taste, and an excellent orchestrator. There are beautiful melodies in it, the rhythms are not overdone, and everything is listened to with pleasure from beginning to end.
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waiting for hours in bread lines and subsequently carrying their rations home through the snow on a sled. Upon his first engagement as conductor after his return to the former
Imperial Mariinsky Theatre, Drigo received a fifteen-minute standing ovation from the audience.
622:
pieces, and rarely received any additional payment for them. During the late 19th century, Petipa began to mount revivals of older ballets with increasing frequency, and the ballet master invariably called upon Drigo to revise and supplement the scores accordingly.
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In 1919 Drigo was finally repatriated to his native Italy. For his farewell gala at the former
Imperial Mariinsky Theatre, the Ballet Master Fyodor Lopukhov mounted a new version of Drigo and Petipa's final collaboration, the ballet
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government. For a time Drigo was forced to live in considerable poverty in a camp with a group of his fellow
Italian émigrés. He later recalled in his memoirs of the many cold evenings he spent with his close friend and colleague
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and maintained the Imperial Theatres lavishly. So impressed was the Emperor by Drigo's conducting that during the final curtain calls he gave the conductor a standing ovation, and ordered the rest of the house to follow suit.
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in 1914, which prevented him from returning to Russia for another two years. Soon after his arrival in Petrograd he was evicted from his home at the Grand Hotel, which was converted to offices for the newly established
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refused to conduct the performance, he recommended Drigo, if only because the rehearsal pianist would know the score intimately. Drigo's conducting was successful, and soon he was named second kapellmeister.
122:
and his mother, a noble Lupati, was active in politics. None of Drigo's family was distinguished in music, but at the age of five he began taking his first piano lessons from a family friend, the Hungarian
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approved that Drigo should be entrusted with the task of revising the score, which the composer did in accordance with Petipa's instructions. In his memoirs Drigo touched on his revision to the score:
342:
852:
were beginning to come to fruition. A revival of the complete work was then planned for the Imperial Ballet's 1894–1895 season, in a staging by Marius Petipa and Lev Ivanov. Tchaikovsky's brother
681:), which told the story of an enchanted instrument that compelled all within earshot to dance when it was played. The ballet was staged by Lev Ivanov, and premiered on 4 February [
323:
585:), a work which told the story of a Hindu Goddess who descends from heaven in order to test her heart against the temptations of earthly love. The ballet premiered on 6 February [
344:
243:
from memory. It was custom in Imperial Russia for all theatrical performances to be reported in detail in the newspapers, and Drigo's performances were always reported with praise —
147:. In 1862 he was allowed to perform some of his pieces with the local amateur orchestra in Padua. Through this performance, the young Drigo began to show interest in conducting.
1015:
472:
24 March] 1887 on the stage of the school's theatre, and was subsequently transferred to the stage of the Mariinsky Theatre, where it premiered on 1 June [
184:
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159:
151:
85:. During his career in Saint Petersburg, Drigo conducted the premieres and regular performances of nearly every ballet and Italian opera performed on the Tsarist stage.
456:), which was not only Drigo's first full-length ballet but also the first original work choreographed by the Imperial Theatre's newly appointed second Maître de Ballet
575:
When plans were made for the next ballet starring Elena Cornalba, the ballerina requested that Drigo should be the composer responsible for the entire score. This was
518:, she requested that Drigo should be the composer responsible for the supplemental dances she required. Drigo composed two additional variations for Cornalba known as
401:
to showcase the dramatic gifts of the ballerina Zucchi that also included virtuoso solos for violin and cello, with the violin solo crafted especially for the great
127:. Drigo excelled quickly, and by his early teens he attained some local celebrity as a pianist. His father eventually agreed to allow Drigo to attend the prestigious
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883:, and is still used to one degree or another by ballet companies throughout the world. Nevertheless, Drigo is rarely given credit when his revisions are performed.
223:
Almost immediately after arriving in Saint Petersburg, Drigo was conducting the entire repertory of the Imperial Italian Opera, which at that time performed at the
158:
in 1866. His first major opportunity as a theatrical conductor occurred in 1867 when the Garibaldi Theatre's kapellmeister fell ill on the eve of the premiere of
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in the lead role of Ilka. Although Ivanov's choreography was not well-received, Drigo's score was highly praised. A critic from the Saint Petersburg newspaper
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In 1920 Drigo accepted the post of kapellmeister to the Teatro Garibaldi in Padua where he had begun his career many years before. In 1926 he composed the
545:
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in 1886. For the revival Drigo was assigned the task of refurbishing the old score of Cesare Pugni. Drigo was commissioned to compose a four-part
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477:
1447:
Minor Ballet Composers: Biographical Sketches of Sixty-six Underappreciated Yet Significant Contributors to the Body of Western ballet Music
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for insertion into already-existing works. Drigo is also noted for his adaptations of already-existing scores, such as his 1895 edition of
88:
Drigo is equally noted for his original full-length compositions for the ballet as well as his large catalog of supplemental music written
732:
594:
told in his memoirs of his extreme delight with Drigo's score, which he said inspired a "short infatuation" in him as a young student at
332:
260:
Drigo took over the position before the beginning of the 1886–1887 season, making his debut as ballet conductor on 7 October [
671:
Drigo composed another score for the annual graduation performance of the Imperial Ballet school in 1893. This was the one-act ballet
102:. Many pieces set to the music of Drigo are still performed today, and are considered cornerstones of the classical ballet repertory.
1536:
1531:
1505:
1384:
23 January] 1904 at the Imperial Theatre of the Hermitage was canceled. The ballet was not performed until it was staged by
274:, which was the most popular work in the repertory of the Imperial Ballet. In attendance for the performance was the Emperor and the
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in 1889, which was to remain his home for the next thirty years. It was at this time that Drigo developed a close friendship with
1586:
606:). In fact (I) had been so delighted with it at the premiere that I could not stop applauding and even felt compelled to exclaim
506:, who provided what was at that time considered to be a highly symphonic score for ballet. The work was produced for the Italian
1142:
Riccardo Drigo died on 1 October 1930 at the age of 84, in his birthplace, Padua. There is now a street in Padua which is named
1581:
832:, Ivan Vsevolozhsky—director of the Saint Petersburg Theatres—expressed interest in reviving the ballet. Drigo later recalled:
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739:
25 July] 1894 was a grand occasion, with an audience composed of the whole of the Imperial court. For his score for
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in the dual role of Odette/Odile. Drigo's version of Tchaikovsky's score has remained the definitive performance edition of
1546:
915:
764:
759:, taken from the program for the celebrations held at the Imperial Bolshoi Theatre of Moscow in honor of the coronation of
613:
In the ensuing years, Drigo repeatedly received commissions from both Marius Petipa and Lev Ivanov to compose supplemental
275:
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and was mobbed by several Grand Dukes who tripped over one another in their enthusiasm to congratulate him for his music.
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958:
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was transferred to the stage of the Mariinsky Theatre, where it was given for the first time on 20 January [
595:
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728:
685:
23 January] 1893 to great success on the stage of the ballet school's theatre. Among the cast was a young
1139:) at the Teatro Garibaldi. He spent the remainder of his life conducting and composing masses and various songs.
910:), produced especially for the gala held at the Imperial Bolshoi Theatre of Moscow in honor of the coronation of
295:
duties of the staff composer with regard to adapting and correcting scores at the behest of the Ballet Master.
693:
was transferred to the Mariinsky Theatre, where it was presented in an expanded staging on 23 April [
446:, the director Vsevolozhsky gave Drigo his first commission to compose for a complete ballet score. This was
1541:
1381:
1365:
1357:
1337:
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1309:
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768:
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694:
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586:
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448:
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261:
1048:). The ballet was to have had its premiere at the Imperial Theatre of the Hermitage on 5 February [
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23 January] 1904 but was abruptly canceled, the official reason given being the outbreak of the
1429:
The Memoirs of Marius Petipa, Soloist of His Imperial Majesty and Ballet Master of the Imperial Theatres
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in one act, two tableaux. Choreography by Marius Petipa. The scheduled premiere of 5 February [
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Drigo's final original full-length ballet score was also Marius Petipa's final work — the fantastical
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8 January] 1894. The ballet soon became a favorite of the ballerinas of the era, among them
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266:
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Memuary Mariusa Petipa solista ego imperatorskogo velichestva i baletmeistera imperatorskikh teatrov
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at the Mariinsky Theatre. Two years later Drigo conducted the premiere of Tchaikovsky's next work,
630:
93:
38:Риккардо Эудженьо Дриго) (30 June 1846 – 1 October 1930) was an Italian composer of
1220:
701:
Mr. Drigo astounds the listener with his ability to create a near limitless variety of beautiful
256:
183:
In 1878 during the opera season in Padua the director of the Saint Petersburg Imperial Theatres,
150:
Drigo obtained his earliest position in an opera house as a rehearsal pianist and copyist to the
1006:
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Due to her delight in Drigo's score, the Empress commanded two additional court performances of
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990:
465:
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81:. Drigo also served as Chef d'orchestre for Italian opera performances of the orchestra of the
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for the Opera company of Padua's Teatro Verdi, and in 1929 his last work was given, the opera
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In the spring of 1902, Drigo and a group of dancers from the Imperial Ballet were invited by
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In 1899 Petipa began work on the scenario for a ballet based on episodes from the Italian
8:
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558:
290:, retired from his post in 1886. The director of the Saint Petersburg Imperial Theatres,
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73:, for which he composed music for the original works and revivals of the choreographers
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1080:
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468:, with the top graduates in the leading roles. The work premiered on 5 April [
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136:
864:, and I feared that I might not grasp the individuality of the great Russian master.
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rhythms and melodies, all the while including rich, almost symphonic orchestration.
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132:
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24:
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13 February] 1900. When plans were under way to publish Drigo's score in
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876:
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15 January] 1890. Drigo eventually conducted nearly 300 performances of
563:
394:
384:
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on the stage of the Mariinsky Theatre, the first given on 26 February [
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923:
840:), and that he intended to take up the matter, but he never managed to do this.
828:
686:
649:
228:
139:. Drigo scored his first compositions in his early teens, which were primarily
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in four acts and seven tableaux with prologue and apotheosis. Choreography by
1515:
1257:
1028:
810:
In late 1894 Drigo prepared an important revision of Tchaikovsky's score for
800:, who included an abridged version of the work on her legendary world tours.
528:
376:
287:
176:
74:
58:
43:
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in one act with apotheosis. Choreography by Marius Petipa. 29 May [
723:
ballet in one-act that was produced especially for the celebrations held at
602:
It was Drigo's simple and charming music that had attracted me (to Petipa's
1075:
797:
540:). Drigo also wrote an extra variation for the character of Cupid known as
499:
413:
17 December] 1886 with the Imperial family in attendance. Drigo's
402:
380:
271:
163:
836:...I knew of (Tchaikovsky's) dissatisfaction with the instrumentation of (
405:, principal violinist in the Imperial Theatre's orchestra. The revival of
1248:
1125:
1070:
720:
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costumed as the God Vayou in Nikolai Legat's revival of the Drigo/Petipa
689:
in the lead role of Luc. Due to the success of the student performance,
421:
to the present day, and is often extracted from the full-length work as
247:
commented one columnist after attending an opera which Drigo conducted.
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1059:
494:
457:
363:
286:
The Imperial Theatre's official composer of ballet music, the Austrian
264:
25 September] 1886 with a performance of the old grand ballet
207:
78:
47:
19:
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23 January] 1893, Imperial Ballet School. 23 April [
697:
11 April] 1893. Drigo's score was highly praised by critics:
437:
from the Yearbook of the Imperial Theatres. Saint Petersburg, ca. 1905
1388:
for Drigo's farewell benefit performance at the Mariinsky Theatre on
812:
750:
433:
Photograph of Drigo (person to right wearing white) and orchestra of
227:. He impressed the management a great deal, conducting such works as
119:
1389:
514:
music for her solo numbers. Having just witnessed a performance of
464:
was staged especially for the annual graduation performance of the
1356:
in two acts. Choreography by Marius Petipa. 23 February [
1069:
Drigo was vacationing in his native Italy during the outbreak of
51:
1013:. Drigo composed the music for the ballet-divertissement titled
1114:
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755:
Page from the illustrated libretto for Riccardo Drigo's ballet
350:
Pre-1917 recordings of two of Drigo's supplemental numbers for
89:
70:
39:
1300:
in one act. Choreography by Marius Petipa. 8 August [
1280:
in one act. Choreography by Lev Ivanov. 4 February [
1170:
860:...it was my lot, like a surgeon, to perform an operation on
633:, who was in the process of composing the score for Petipa's
155:
144:
115:
111:
872:
15 January] 1895 at the Mariinsky Theatre with the
1392:
233:
660:
336:, composed for the ballerina Virginia Zucchi, 1886 (1:35)
245:" ... the young gentleman will stay here a long time ..."
1368:
13 February] 1900, Imperial Mariinsky Theatre.
1185:
22 February] 1884, Imperial Mariinsky Theatre.
1340:
3 February] 1898, Imperial Mariinsky Theatre.
1064:
Maestro Riccardo Eugenio Drigo. Saint Petersburg, 1903
1316:
2 January] 1895, Imperial Mariinsky Theatre.
1288:
11 April] 1893, Imperial Mariinsky Theatre.
409:
premiered to great success on 29 December [
1031:on 30 March 1902, and featured the Prima ballerina
709:Drigo's next score was written for Petipa's ballet
492:In 1888 Marius Petipa was preparing his next work,
1409:. Muzykal'naya Zhizn (Musical Life). No. 23, 1973.
848:25 October] 1893 just as plans to revive
608:"Mais puisque, excellence, c'est un chef-d'œuvre!"
315:, composed for the ballerina Anna Johansson (1:20)
1244:3 May] 1887, Imperial Mariinsky Theatre.
476:15 May] 1887 with the Italian ballerina
1513:
893:Drigo's next score for the ballet was the grand
1095:La Romance d'un Bouton de rose et d'un Papillon
1041:La Romance d'un Bouton de rose et d'un Papillon
118:on 30 June 1846. His father Silvio Drigo was a
868:The revival premiered on 27 January [
548:. Three of these pieces were later published.
510:, who appealed to Petipa for additional, more
1416:. Trans. and Ed. Lynn Garafola. Published in
1373:La Roman d'un Bouton de rose et d'un Papillon
1312:25 July] 1894. 14 January [
922:17 May] 1896 after a performance of
442:With the success of his work on the score of
502:. The score was written by the music critic
255:The Imperial Italian Opera was disbanded by
918:. The ballet premiered on 29 May [
792:(who created the principal role of Flora),
218:) by the brothers Νikolai and Sergei Legat.
57:Drigo is most noted for his long career as
1105:). At the close of the gala, the renowned
934:
743:, Emperor Alexander III granted Drigo the
417:remains part of the performance score for
1506:International Music Score Library Project
1087:
969:in the role of Columbine and the danseur
844:Tchaikovsky died on 6 November [
250:
1407:The Personal Reminiscenes of R. E. Drigo
1058:
1046:The Romance of a Rosebud and a Butterfly
996:
749:
557:
427:
201:
187:, attended a performance of Donizetti's
18:
1592:20th-century Italian conductors (music)
1514:
1097:which Lopukhov staged under the title
735:. The premiere on 6 August [
590:by contemporary critics. The artist
544:, and a variation for the ballerina
1602:19th-century Italian male musicians
1597:20th-century Italian male musicians
393:for the visiting Italian ballerina
110:Riccardo Eugenio Drigo was born in
13:
1467:The Life and Ballets of Lev Ivanov
1454:Riccardo Drigo: l'uomo e l'artista
1436:Riccardo Drigo: Toast of the Czars
1334:Imperial Bolshoi Theatre of Moscow
820:in 1877. Following the success of
818:Imperial Bolshoi Theatre of Moscow
362:Problems playing these files? See
334:Valse lente: Variation d'Esmeralda
300:
14:
1613:
1495:
1362:Imperial Theatre of the Hermitage
959:Imperial Theatre of the Hermitage
733:Grand Duke Alexander Mikhailovich
596:Saint Petersburg State University
212:The Russian Ballet in Caricatures
1537:20th-century classical composers
1532:19th-century classical composers
1442:– January, 1982, pp. 26–28.
965:10 February] 1900 with
729:Grand Duchess Xenia Alexandrovna
371:The Imperial Theatre's renowned
340:
319:
210:of Riccardo Drigo from the book
23:Maestro Riccardo Eugenio Drigo.
1567:Italian male conductors (music)
1491:– June, 1982, pp. 661–662.
1485:Memoirs of R. E. Drigo, Part II
957:). The ballet premiered at the
902:(sometimes known in Russian as
727:in honor of the wedding of the
625:Drigo took up residence in the
1587:20th-century Italian composers
1474:Memoirs of R. E. Drigo, Part I
1027:. The ballet premiered at the
551:
1:
1582:Italian expatriates in Russia
1502:Free scores by Riccardo Drigo
1480:– May, 1982, pp. 577–578
1434:Scherer, Barrymore Laurence.
1399:
816:, originally produced at the
216:Рускій балетъ въ карикатурахъ
61:and Director of Music of the
1562:Italian male opera composers
1414:The Diaries of Marius Petipa
1360:10 February] 1900,
1306:Imperial Theatre of Peterhof
1228:in one act. Choreography by
916:Empress Alexandra Fyodorovna
803:
765:Empress Alexandra Fyodorovna
627:Saint Petersburg Grand Hotel
278:, both of whom were fanatic
7:
1547:Italian classical composers
1264:25 January] 1889,
886:
657:6 December] 1892.
653:, on 18 December [
185:Baron Karl Karlovich Kister
10:
1618:
1552:Italian Romantic composers
1266:Imperial Mariinsky Theatre
1213:
526:), which was written as a
435:Imperial Mariinsky Theatre
225:Imperial Mariinsky Theatre
83:Imperial Mariinsky Theatre
1236:24 March] 1887,
1154:
1009:, to produce a ballet in
961:on 23 February [
955:The Millions of Harlequin
197:
131:, where he studied under
1572:Italian ballet composers
1418:Studies in Dance History
1364:. 26 February [
1336:. 15 February [
1304:28 July] 1894,
1149:
1023:), set to a libretto by
874:Prima ballerina assoluta
631:Pyotr Ilyich Tchaikovsky
570:. Saint Petersburg, 1909
373:Premier Maître de Ballet
276:Empress Maria Fyodorovna
94:Pyotr Ilyich Tchaikovsky
1557:Italian opera composers
1345:Les millions d'Arlequin
1332:17 May] 1896,
1260:. 6 February [
1162:Don Pedro di Portogallo
1103:The Tale of the Rosebud
979:Les Millions d'Arlequin
950:Les Millions d'Arlequin
936:Les Millions d'Arlequin
423:La Esmeralda Pas de Six
105:
1238:Imperial Ballet School
1167:Teatro nuovo di Padova
1088:Drigo returns to Italy
1066:
866:
842:
773:
717:The Awakening of Flora
707:
611:
572:
490:
466:Imperial Ballet School
439:
305:
270:, set to the score of
267:The Pharaoh's Daughter
251:Composer and conductor
220:
160:Costantino Dall'Argine
32:Riccardo Eugenio Drigo
28:
1461:Tchaikovsky's Ballets
1445:Schueneman, Bruce R.
1326:Ballet divertissement
1308:. 6 August [
1062:
997:Later years in Russia
967:Mathilde Kschessinska
858:
834:
790:Mathilde Kschessinska
771:17 May] 1896
753:
699:
600:
561:
498:, set in the ancient
486:
431:
304:
257:Emperor Alexander III
205:
22:
1542:Musicians from Padua
1483:Wiley, Roland John.
1472:Wiley, Roland John.
1465:Wiley, Roland John.
1459:Wiley, Roland John.
1420:– 3.1 (Spring 1992).
1298:Ballet anacréontique
1232:. 5 April [
1181:. 6 March [
1007:Opéra de Monte-Carlo
904:Прелестная жемчужина
454:The Enchanted Forest
240:Un ballo in maschera
1452:Travaglia, Silvio.
1386:Alexander Chekrygin
1240:. 15 May [
1137:The White Carnation
929:A Life for the Tsar
823:The Sleeping Beauty
767:. 29 May [
645:The Sleeping Beauty
636:The Sleeping Beauty
129:Venice Conservatory
1405:Slonimskiy, Yuriy
1378:Ballet fantastique
1293:Le Réveil de Flore
1226:Ballet fantastique
1221:La Forêt enchantée
1202:Il Garafano Bianco
1144:Via Riccardo Drigo
1133:Il garofano bianco
1099:Le Conte du bouton
1081:Alexander Glazunov
1067:
1054:Russo-Japanese War
1033:Olga Preobrajenska
1021:The French Riviera
1005:, director of the
947:, which he called
944:commedia dell’arte
782:Le Réveil de Flore
774:
741:Le Réveil de Flore
712:Le Réveil de Flore
666:Le Réveil de Flore
573:
516:La Forêt enchantée
462:La Forêt enchantée
449:La Forêt enchantée
440:
306:
221:
29:
1577:Ballet conductors
1489:The Dancing Times
1478:The Dancing Times
1207:Garibaldi Theatre
989:by the publisher
796:and particularly
745:Order of St. Anna
546:Maria Gorshenkova
345:
324:
292:Ivan Vsevolozhsky
152:Garibaldi Theatre
137:Gaetano Donizetti
1609:
1423:Petipa, Marius.
1412:Petipa, Marius.
1273:La Flûte magique
1178:La Moglie Rapita
1165:. 25 July 1868,
1110:Feodor Chaliapin
912:Tsar Nicholas II
895:pièce d'occasion
794:Tamara Karsavina
778:La Flûte magique
761:Tsar Nicholas II
691:La Flûte magique
674:La Flûte magique
662:La Flûte magique
592:Alexander Benois
375:, the Frenchman
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190:L'elisir d'amore
133:Antonio Buzzolla
67:Saint Petersburg
25:Saint Petersburg
16:Italian composer
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1071:World War I
721:anacreontic
604:Le Talisman
578:Le Talisman
568:Le Talisman
553:Le Talisman
538:Sweet Waltz
1516:Categories
1400:References
1230:Lev Ivanov
991:Zimmermann
615:variations
495:La Vestale
458:Lev Ivanov
379:, revived
364:media help
208:Caricature
168:I Due Orsi
79:Lev Ivanov
42:music and
881:Swan Lake
862:Swan Lake
850:Swan Lake
838:Swan Lake
813:Swan Lake
805:Swan Lake
313:Pizzicato
120:barrister
99:Swan Lake
48:conductor
1390:16 April
1348:(a.k.a.
1321:La Perle
1209:, Padua.
1197:, Padua.
899:La Perle
888:La Perle
776:As with
757:La Perle
703:dansante
532:; and a
524:The Echo
512:dansante
385:romantic
383:'s 1841
141:romances
50:, and a
1508:(IMSLP)
1504:at the
1214:Ballets
731:to the
542:L'amour
145:waltzes
52:pianist
1155:Operas
1115:Odessa
1076:Soviet
1011:Monaco
924:Glinka
854:Modest
719:), an
520:L'echo
198:Russia
90:ad hoc
71:Russia
40:ballet
27:, 1892
1171:Padua
1150:Works
529:canon
229:Verdi
156:Padua
116:Italy
112:Padua
1393:1919
1382:O.S.
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