Ballet divertissement in one act
Music by Riccardo Drigo
29th May [O.S. 17th May] 1896
Imperial Bolshoi Theatre, Moscow
Original 1896 Cast
The White Pearl
The Genie of the Earth
The King of the Corals
The Pink Pearls
The Black Pearls
The Yellow Pearl
St Petersburg Première
15th February [O.S. 3rd February] 1898
Imperial Mariinsky Theatre
The Pearl is set in a colossal subterranean grotto where the White Pearl, the most precious pearl on Earth, resides with her sister pearls of differing colours. The Genie of the Earth descends to the ocean floor in an attempt to abduct the White Pearl as an adornment for his crown. The King of the Corals comes to the White Pearl’s aid by causing a battle between the elements of the earth and of the sea. The Genie of the Earth succeeds in capturing the White Pearl and the King of the Corals, thereupon, orders all of the ocean denizens to salute the Genie of the Earth side by side with the White Pearl. In an apotheosis, the Triumph of Amphitrite and Poseidon is depicted.
The Pearl was created by Petipa and Riccardo Drigo as a lavish piece d’occasion for the gala given at the Imperial Bolshoi Theatre of Moscow in celebration of the coronation of Tsar Nicholas II and Tsarina Alexandra Fyodorovna. Petipa’s libretto for the new ballet was based on the scenario of the danced tableau La Pérégrina: Ballet de la Reine from Giuseppe Verdi’s opera Don Carlos, which was never performed and was to have been choreographed by Petipa’s brother Lucien. The cast for the première of The Pearl at the coronation gala featured the highest ranking dancers of both the Imperial Ballet of St Petersburg and of the Ballet of the Imperial Bolshoi Theatre of Moscow.
The Pearl was first presented after a performance of scenes from Mikhail Glinka’s opera A Life for the Tsar on the 29th May [O.S. 17th May] 1896. The ballet was later transferred to the regular repertoire of the Imperial Ballet, where it was first performed on the 15th February [O.S. 3rd February] 1898 at the Imperial Mariinsky Theatre. Petipa would revive the ballet on only one occasion for a gala performance given at Peterhof Palace in 1900. The Pearl was performed often throughout the early 1900s and was given its final performance in 1910, after which, it fell into obscurity. Only one variation from The Pearl was notated in the Stepanov notation method and this variation is part of the Sergeyev Collection.
As well as Petipa’s choreography, Drigo’s score also fell into obscurity as it was never published and only excerpts of the score have survived. Konstantin Sergeyev utilised pieces from Drigo’s score for The Pearl for his class concert for the Vaganova Academy entitled School of Classical Dance (or From Landé to Vaganova), which is still performed today by students of the school during their annual graduation performances. These pieces are the following:
- Valse Fantastique
- Variation of the Pink Pearls
- Variation of the Yellow Pearl
- Grand valse brilliante
Another surviving number from Drigo’s score is the pizzicato variation for the Black Pearls, which is used in the so-called Le Talisman Pas de deux.
The Yellow Pearl
While the ballet was in the early stages of production, a list of potential dancers for inclusion in the cast was drawn up for review by a committee responsible for the coronation and its subsequent celebrations. Among those chosen for consideration in the principal roles was the Tsar’s former mistress, Matilda Kschessinskaya. In light of the history between Kschessinskaya and the new Tsar, his mother the Dowager Empress Marie Feodorovna demanded that the ballerina be removed from the cast, as it would have been considered scandalous for the Tsar’s former mistress to perform in front of his wife. However, when Kschessinskaya learned of this, she was outraged and successfully appealed to the Tsar’s uncle, the Grand Duke Vladimir Alexandrovich to have her reinstated in the cast, despite the fact that at this point, Petipa and Drigo had completed all of the choreography and music.
Petipa became extremely frustrated when he learned that he and Drigo were nonetheless required to compose a new number for Kschessinskaya, which took the form of a classical pas de deux for a new character dubbed “the Yellow Pearl” and her cavalier, who was performed by Nikolai Legat. Interestingly, since Petipa thoroughly despised Kschessinskaya, his choice of name for her character may have been a snub to the ballerina, since unlike the other pearls in the ballet (white, pink and black), yellow pearls do not exist unless a white pearl’s colour has become tarnished with age.
- Petipa, Marius, The Diaries of Marius Petipa. Translated ed. and introduction by Lynn Garafola. Published in Studies in Dance History 3.1. (Spring 1992)
- Petipa, Marius (1971) Мариус Петипа. Материалы. Воспоминания. Статьи. Marius Petipa. Materials, Recollections, Articles. Leningrad: Iskusstvo (Искусство) A. Art
- Jürgensen, Knud Arne (1995) The Verdi Ballets. Istituto nazionale di studi verdiani
- Kschessinskaya, Matilda, H.S.H. The Princess Romanovsky-Krassinsky (1960) Dancing in Petersburg: the Memoirs of Mathilde Kschessinskaya. Alton, Hampshire: Dance Books Ltd
- Pleshcheyev, Alexander Alexeyevich (1899) Наш балет, 1673-1899 (Our Ballet), 2nd supplemented ed. with forward by K.A. Skalkovsky, Th. A. Pereyaslavtsev and A.A. Pleshcheyev
- Travaglia, Silvio (1929) Riccardo Drigo, l’uomo e l’artista. Guglielmo Zanibon
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