WorldCat Identities

Perrot, Jules 1810-1892

Overview
Works: 472 works in 763 publications in 6 languages and 3,983 library holdings
Genres: Filmed ballets  Drama  Filmed dance  Ballet films  Dance films  Nonfiction films  Music videos  Televised ballets  Documentary films  Short films 
Roles: Choreographer, Librettist, Author, Dancer, Performer, Donor, Adapter, Composer, Other, Honoree, Bibliographic antecedent, Creator
Classifications: GV1790.G5, 792.842
Publication Timeline
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Most widely held works about Jules Perrot
 
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Most widely held works by Jules Perrot
Creole Giselle by Adolphe Adam( Visual )

9 editions published between 1988 and 2006 in 3 languages and held by 329 WorldCat member libraries worldwide

The Dance Theatre of Harlem's acclaimed interpretation of the ballet classic. Set in 1841 Louisiana
La filleule des fées : (complete ballet) by Adolphe Adam( )

4 editions published between 2006 and 2007 in No Linguistic content and English and held by 293 WorldCat member libraries worldwide

Giselle by Ross MacGibbon( Visual )

16 editions published between 2008 and 2017 in 3 languages and held by 247 WorldCat member libraries worldwide

The story of a peasant girl (Giselle) who goes mad and dies of a broken heart when she discovers that her beloved is a nobleman betrothed to another
L'adage( Visual )

3 editions published between 1964 and 2013 in French and English and held by 223 WorldCat member libraries worldwide

This film by Dominique Delouche features a pas de deux from Giselle
Ballet favourites( Visual )

4 editions published between 1998 and 2011 in English and held by 204 WorldCat member libraries worldwide

A compilation of excerpts from ballets showcases the talents of many of the greatest dancers of recent years
Giselle by Adolphe Adam( Visual )

7 editions published between 1979 and 2004 in 3 languages and held by 199 WorldCat member libraries worldwide

The classic ballet about a young girl deceived by her lover, and the tragic consequences
Giselle by Adolphe Adam( Visual )

27 editions published between 1974 and 2017 in 4 languages and held by 176 WorldCat member libraries worldwide

Giselle, a simple peasant girl driven to madness and death through an unhappy love, becomes a ghost ordered to destroy the man who betrayed her, yet seeks to sustain him because of her undying love
Giselle( Visual )

1 edition published in 2004 in English and held by 140 WorldCat member libraries worldwide

Filmed live at the world-famous Bolshoi Theatre in Moscow [in 1975?], the Russian influence has enriched the deep, pathetic dilemma of a country girl forced to destroy the man she loves
Giselle by Adolphe Adam( Visual )

9 editions published between 2008 and 2009 in 3 languages and held by 117 WorldCat member libraries worldwide

A country girl falls in love with a nobleman disguised as a peasant, with tragic results
Giselle : a romantic ballet in two acts( Visual )

6 editions published between 1983 and 2008 in English and No Linguistic content and held by 114 WorldCat member libraries worldwide

A simple peasant girl, who is driven from joy to madness and death through an unhappy love, becomes a ghost ordered to help destroy the man who betrayed her, and yet seeks to sustain him because of her undying love
Giselle : balletto in due atti by Adolphe Adam( Visual )

3 editions published between 2006 and 2011 and held by 110 WorldCat member libraries worldwide

The Ballet of the Teatro alla Scala performs Chauviré's version of Giselle
Giselle : romantic ballet in two acts by Adolphe Adam( Visual )

10 editions published between 1983 and 2006 in 4 languages and held by 98 WorldCat member libraries worldwide

A simple peasant girl, who is driven from joy to madness and death through an unhappy love, becomes a ghost ordered to help destroy the man who betrayed her, and yet seeks to sustain him because of her undying love
Giselle ; Les sylphides ; Coppélia : ballets( Visual )

2 editions published in 2012 and held by 60 WorldCat member libraries worldwide

The three works represented on this release, along with Tchaikovsky's three balletic masterpieces, comprise a good share of ballet's core repertoire. Giselle, Les Sylphides and Coppélia, having succeeded in their premiere performances, have retained their popularity to the present day ... Les Sylphides is regarded as the first plotless ballet of the twentieth century. As such, it undoubtedly had a significant influence upon the works of George Balanchine who, in his vast output, typically eschewed narrative in favour of composition. Composition is certainly at the heart of Les Sylphides, which begins and ends in a geometrically positioned tableau. Though there is no story here, there is a character who has been variously described as a poet, a dreamer, or, simply, a young man. Dramatically he is a cipher, the only male on the stage, surrounded by diaphanous creatures which sometimes engage him and at other times simply flit around him. The ballet, choreographed by Michel Fokine, is set to the music of Chopin, and at its initial St Petersburg performance was titled Rêverie romantique: Ballet sur la musique de Chopin, subsequently shortened to Chopiniana. It was in the series premiered by Diaghilev's Ballets Russes that the work became known as Les Sylphides, then lavishly cast with Vaslav Nijinsky, Anna Pavlova and Tamara Karsavina. The music used varied in the early productions, but the orchestration of seven Chopin works for solo piano remains the standard musical version of the ballet. Rowena Jackson, Philip Chatfield and Nadia Nerina inhabit their ghostly glen in true Romantic style in this performance. Les Sylphides, though technically demanding, provides no opportunities for grandstanding. The dreamlike quality of the work is captured perfectly by these Royal Ballet dancers. The gaiety and charm of Coppélia is a far cry from the tale given as its source, E.T.A. Hoffmann's The Sandman. This very dark short story, written in 1816, was not only the inspiration for the ballet, but also for Offenbach's opera The Tales of Hoffmann. Both feature inanimate creations fashioned by mad inventors. In The Sandman, Coppelius is a grotesque presence whose very appearance instills fear. In Coppélia, the scenario makes him more of a buffoonish eccentric. That he attempts to give life to Coppelia, the doll he has created, by siphoning it from Swanilda's drugged betrothed is indeed nefarious, but Arthur Saint-Léon's choreography and Delibes's music make his machinations more comic than demonic. The perennial popularity of Coppélia has much to do with its score, a fusion of descriptive music underscoring the ballet's mise en scène with exhilarating folk dances appropriate to its rustic setting. The first act includes a mazurka and a czardas for the townspeople. For the second act, Delibes added a rollicking Scottish jig and a seductive Spanish dance for his heroine. It is no coincidence that in Swan Lake, premiering just seven years after Coppélia, Tchaikovsky incorporated a mazurka, a czardas and a Spanish dance into the ballet's third act. It is said that Tchaikovsky both admired and was influenced by Delibes. That esteem yielded considerable musical pleasures. Swanilda and Coppelius are coveted roles. Swanilda is seldom offstage and has ample opportunity to display the ballerina's technical and theatrical abilities. The most notable interpreters of the role have demonstrated skills of first-rate comediennes, foremost among them Alexandra Danilova, who, in those gruelling tours of the Ballet Russe de Monte Carlo, made Coppélia a welcome presence in countless American cities. Nadia Nerina, the Swanilda of this production, need not defer to any of her illustrious predecessors. She is perfect in the role: technically flawless, loaded with charm and utterly credible in the challenging second act. Coppelius is a mime role and no one ever did mime as well as Robert Helpmann. Though his acting had a bit of old school about it, there is no denying its effectiveness. It's no surprise that when Helpmann stopped dancing he went straight into film work. His Coppelius has the right degree of grotesqueness, but Helpmann also manages to find a sympathetic dimension to the character, enriching the role considerably. Giselle was the ballet chosen for Rudolf Nureyev's first performance with the Royal Ballet following his defection from his native Russia in 1961. His partner for that 1962 performance was Margot Fonteyn, who was almost twenty years his senior. That partnership and subsequent friendship was a thing of legend, persisting artistically until their last performance together in 1988 with Fonteyn just short of her seventieth birthday. In many ways this was an unusual collaboration. Aside from the age disparity, there was a question of style. Fonteyn was the quintessential classicist with a purity of line and histrionic reserve prevalent in the British School. Nureyev's Leningrad training was not that dissimilar in style, but his dancing often could be excessively intemperate. But this is also what made Nureyev one of the most exciting dancers of his time. One could only conjecture how these two dancers would mesh stylistically. The Giselle extract included here shows just how well that storied collaboration did work. Nureyev's partnering is effortless, considerate and totally supportive. His solo work, while technically brilliant, exhibits an appropriate degree of restraint. Fonteyn appears to have shed years as she dances with an unusual degree of abandon, striking for a ballerina in her forties. It has been said that Nureyev breathed new vitality into Fonteyn's work and life. This rare sample of one of their earliest collaborations fully supports that view. Ernie Gilbert
Giselle : ballet( Visual )

1 edition published in 2011 and held by 58 WorldCat member libraries worldwide

The ballet was in fact a reworking by its choreographer, Mikhail Fokine, who several years earlier had created Chopiniana, his hommage to the Romantic ballets of the past. The work does not have a story -- as Karsavina says in the introduction, it is a 'Romantic reverie'. The only male dancer (John Field in this recording) plays the role of a Poet. The corps de ballet and the three female soloists, Alicia Markova, Violetta Elvin and Svetlana Beriosova, have strong links with the Ballets russes and Russia. Markova, born in England, was the Ballets russes's baby ballerina when she joined in 1925, aged fourteen. She went to perform both Les Sylphides and Giselle all over the world. Violetta Elvin (born Prokhorova) trained at the Bolshoi Ballet School and performed with the company before coming to England and joining the Sadler's Wells Ballet, where she danced until her retirement from the stage in 1956. Svetlana Beriosova was born into a ballet family; her father was dancer, ballet master and director Nicholas Beriozoff, who had worked closely with Fokine in the Ballets russes de Monte Carlo in the late 1930s. Young Beriosova studied with teachers who had danced with the Diaghilev company and joined the Royal Ballet in the 1950s to become a much loved ballerina. All who saw her Lady Elgar in Frederick Ashton's Enigma Variations (1968) will never forget it. The corps de ballet, which plays such an important role in Les Sylphides, were rehearsed by another Diaghilev dancer, Lydia Sokolova, who danced with his company for many years and was in facr renamed Sokolova by Diaghilev himself, having been born in England as Hilda Munnings. This Les Sylphides is the first film of a complete ballet in the BBC archives. It is important to remember that in the 1950s television was black and white, video recording had not arrived, studios were small, and the cameras, full of valves, were both heavy and bulby. The visual effects and superimposing of one image on another in both Les Sylphides and the recording of Giselle presented here seem very Heath Robinson in this digital age, but they are still effective. In both films the directors have reworked the stage production for the screen -- the corps de ballet groupings and the soloists' entrances are made to suit the camera. In Les Sylphides, for example, the dancers enter and exit past the camera, and in Giselle good use is made of foreground trees, and dancers are placed close to camera allowing us, the viewers, to see their reactions to what is happening in the drama. All this would be impossible on the stage, as the orchestra pit would get in the way. There is no record of the orchestra that played in the recording of Les Sylphides, but as Eric Robinson is credited as conductor, it is likely to have been the BBC Television Orchestra. For Giselle the music was pre-recorded by the Covent Garden Orchestra, conducted by Hugo Rignold. Giselle is the only ballet that has an unbroken performance tradition from its first night until today. It is the the story of the village girl who falls in love with a prince and, on discovering that he has deceived her, goes mad and dies. When the prince visits her woodland grave, the Queen of the Willis (the spirits of the girls who have been betrayed by men) commands him to dance himself to death, but Giselle appears and saves him. It is perhaps the most popular and best known of the ballet from the Romantic era. The first performance was at the Paris Opéra on 28 June 1841, and it was choreographed by the Opéra's ballet master, Jean Coralli, and Jules Perrot to a wonderful score by Adolphe Adam. Giselle dates from a period when plots feature a fascination with the supernatural. A corps de ballet of spirits, sylphs or Wilis enslaves the hearts of men, making it impossible for them to live in the real world. The Willis were, and still are, dressed in long white skirts and danced in a new fluid style that caused a sensation for the audiences. The great stars of the Romantic era were Carlotta Grisi, Fanny Essler and Marie Taglioni, and it was Grisi that created the role of Giselle. The first performance was a triumph, and Giselle was soon being staged all over Europe. The director of Russia's Imperial Theatres sent his ballet master to Paris to see it so that Russia could have its own version. It is this version, revised later by that great choreographer Marius Petipa, which remains, in companies's repertories today, having been brought back to Paris by Diaghilev on 18 June 1910 with Tamara Karsavina as Giselle and Vaclav Nijinsky as Albrecht. Margaret Dole, who produced and directed this television version of the ballet, picked the Royal Ballet ballerina Nadia Nerina as Giselle. It was for her that Albrecht Dale invited the Soviet dancer and star of the Bolshoi ballet Nikolai Fadeyechev to dance the role of Albrecht, with the Danish character dancer Niels Bjørn Larsen as Hilarion, the gamekeeper who is in love with Giselle. Lydia Sokolova is her mother and Margaret Hill the Queen of the Willis. It is interesting to note that Peter Wright, who plays the role of Albrecht's equerry as well as being the ballet master for this production, went on to be a television director, then director of Sadler's Wells/Birmingham Royal Ballet, and is the producer of the Royal Ballet's current production of Giselle
Gala du Jeune Ballet de France( Visual )

1 edition published in 1997 and held by 58 WorldCat member libraries worldwide

Founded in 1983 by Robert Berthier, the Jeune Ballet de France used to have a very special place in the ballet tradition in France. Hiring some of the youngest and most promising dancers after the conservatories, it was a perfect way to fly towards a bright carreer. The JBF repertoire is particularly eclectic, ranging from the greatest classical ballets to more contemporanean works. The many tours of the company helped the choreographic art to be broadcast. In this programme, filmed at the Opéra Théâtre de Massy in 1997, we can admire famous excerpts from ballets by Marius Petipa and Jules Perrot, the ironic pas de deux from Ad'Gag by Norbert Schmucki, and last but not least, an excerpt from Elixir Glass, which was choreographed in 1997 by Philippe Trehet on a score by Philip Glass. The dancers displayed here have now earned international fame: this is a unique opportunity to watch them at the beginning of their carreers. You will most notably see the Cuban dancer Joan Boada (who then entered the San Francisco Ballet), Yukari Kami (hired in 1997 at the Ballet du Grand Théâtre de Genève), Boyd Laud (today a principal dancer at the Opéra national du Rhin), Amilcar Moret (Ballet de Hambourg), Guennadi Nedviguine (San Francisco Ballet), among others
Essential ballet : Kirov Ballet at Covent Garden ; and, Gala performance in Red Square( Visual )

1 edition published in 2000 and held by 53 WorldCat member libraries worldwide

Highlights of various ballets performed by the Kirov Ballet
Giselle by Adolphe Adam( Visual )

18 editions published between 1983 and 2008 in 4 languages and held by 43 WorldCat member libraries worldwide

A simple peasant girl, who is driven from joy to madness and death through an unhappy love, becomes a ghost ordered to help destroy the man who betrayed her, and yet seeks to sustain him because of her undying love
La filleule des fées by Adolphe Adam( Recording )

3 editions published in 2002 and held by 43 WorldCat member libraries worldwide

Les sylphides( Visual )

2 editions published in 2012 in English and held by 42 WorldCat member libraries worldwide

Esmeralʹda : romanticheskiĭ balet po romanu V. Gi︠u︡go "Sobor Parizhkoĭ Bogomateri"( Visual )

1 edition published in 2005 in Russian and held by 32 WorldCat member libraries worldwide

Reconstruction of Esmeralda, a ballet based on Victor Hugo's novel Notre-Dame de Paris (The hunchback of Notre Dame), originally choreographed in London in 1844 by Jules Perrot and recreated with new choreography by Marius Petipa in St. Petersburg in 1886
 
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Audience level: 0.40 (from 0.26 for Giselle / ... to 0.88 for Letter fro ...)

WorldCat IdentitiesRelated Identities
Giselle
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Alternative Names
Jules Joseph Perrot

Jules Perrot ballerino e coreografo francese

Jules Perrot danseur, chorégraphe, maître de ballet à l'Opéra de Paris

Jules Perrot Frans balletdanser (1810-1892)

Jules Perrot französischer Tänzer und Ballettchoreograph

Jules Perrot French ballet dancer and choreographer

Jules Perrot tancerz i choreograf francuski

Pero, Ž. (Žils), 1810-1892

Pero, Žils, 1810-1892

Perro, Ž. (Žils), 1810-1892

Perro, Žils, 1810-1892

Perrot, Giulio

Perrot, Giulio 1810-1892

Perrot J.

Perrot, J. 1810-1892

Perrot, J. (Jules), 1810-1892

Perrot, Jules 1810-1892

Perrot, Jules J. 1810-1892

Perrot, Jules-Joseph

Perrot, Jules-Joseph 1810-1892

Жул Перо

Жюль Перро французский танцор балета и хореограф

Перро Ж.

Перро, Ж 1810-1892

Перро, Ж. (Жюль), 1810-1892

Перро, Жюль Жозеф

Перро, Жюль-Жозеф, 1810-1892

Перро Ю

Перро Ю. 1810-1892

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