Pavel Gerdt in the context of Charles Didelot


Pavel Gerdt in the context of Charles Didelot

⭐ Core Definition: Pavel Gerdt

Pavel Andreyevich Gerdt (Russian: Па́вел Андре́евич Ге́рдт), also known as Paul Gerdt (22 November 1844, near Saint Petersburg, Russia – 12 August 1917, in Vamaloki, Finland, Russian Republic), was the Premier Danseur Noble of the Imperial Ballet, the Bolshoi Kamenny Theatre, and the Mariinsky Theatre for 56 years, making his debut in 1860, and retiring in 1916. His daughter Elizaveta Gerdt was also a prominent ballerina and teacher.

Gerdt studied under Christian Johansson, Alexander Pimenov (a pupil of the legendary Charles Didelot), and with Jean-Antoine Petipa (Marius Petipa's father, a master of the old pantomime and a student of Auguste Vestris). He was known as the "Blue Cavalier" of the Saint Petersburg stage, creating the roles of nearly every lead male character throughout the latter half of the 19th century, among them Prince Désiré in The Sleeping Beauty and Prince Coqueluche in The Nutcracker. Nobody in the theatre knew his real age, and when asked, he would always say that he was 23.

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Pavel Gerdt in the context of La Bayadère

La Bayadère (lit.'the temple dancer'; Russian: Баядерка, romanizedBayaderka) is an 1877 ballet, originally staged in four acts and seven tableaux by the French choreographer Marius Petipa to music by Ludwig Minkus and libretto by Sergei Khudekov [ru]. The ballet was staged for the benefit performance of the Russian Prima ballerina Ekaterina Vazem, who created the principal role of Nikiya. La Bayadère was first presented by the Imperial Ballet at the Imperial Bolshoi Kamenny Theatre in St. Petersburg, Russia, on 4 February [O.S. 23 January] 1877. From the first performance the ballet was hailed by contemporary critics and audiences as one of the choreographer Petipa's masterpieces, particularly the scene of act II The Kingdom of the Shades, which is one of the most celebrated pieces in all of classical ballet.

Nearly all modern versions of La Bayadère are derived from Vladimir Ponomarev [ru] and Vakhtang Chabukiani's redacted version staged for the Kirov/Mariinsky Ballet in 1941 that has remained in the company's repertory to the present day. Outside of the Soviet Union, Natalia Makarova staged the first full-length production of La Bayadère in 1980 for American Ballet Theatre, a version that is itself derived from Ponomarev and Chabukiani's production of 1947.

View the full Wikipedia page for La Bayadère
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