¹ Jennifer Homans relates this history in Apollo's Angels: A History of Ballet (New York: Random House, 2010).

² See Genné, Beth, ‘Creating a Canon, Creating the “Classics”’ in Twentieth-Century British Ballet’, Dance Research 18 (2000): 132–162 Google Scholar. Nicolai Sergeev's many documents containing choreographic notation are now housed in the collection Nikolai Sergeev Dance Notations and Music Scores for Ballets (MS Thr 245), Harvard Theatre Collection, Houghton Library, Harvard University. According to the historical notes for this collection, Sergeev served as regisseur at the Maryinsky Theatre in St Petersburg, where he learned Stepanov notation, a method developed around 1891 to preserve choreography. These documents became the basis for numerous balletic revivals from 1921 to 1951. (The name ‘Sergeev’ is spelled ‘Sergueyev’ by Genné. I use the spelling employed by Harvard in its bibliographic records.)

³ Robert Ignatius Letellier describes the dimensions of the grand pas in his introduction to a facsimile of a piano arrangement in manuscript in Paquita, Ballet-Pantomime in Two Acts, Grand Pas Classique by Marius Petipa; and Nuit et Jour, Allegorical Ballet in One Act, by Marius Petipa, piano score (Newcastle upon Tyne: Cambridge Scholars Publishing, 2010).

⁴ See Marriott, Bruce, ‘Interview: Pierre Lacotte … Choreographer and Ballet Restorer’, Ballet.co Magazine (August 2000)Google Scholar, http://www.ballet.co.uk/magazines/yr_00/aug00/interview_pierre_lacotte.htm. See also Brown, Ismene, ‘Q&A Special: Choreographer & Ballet-Restorer Pierre Lacotte’, The Arts Desk (10 November 2012)Google Scholar, http://www.theartsdesk.com/dance/qa-special-choreographer-ballet-restorer-pierre-lacotte/.

⁵ Letellier provides a synopsis that places the long mime scene reconstructed by Lacotte at the beginning of the second act, not the end of the first act, as Lacotte's version has it.

⁶ During the nineteenth century in Paris the male danseur fell from favour in the shadow of the danseuse. Lynn Garafola and Marian Smith have both explored the implications of this shift toward the preeminence of women dancers, and the questions it raises for the participation of men in works created during this time. See, for example, Garafola, ‘The Travesty Dancer in Nineteenth-Century Ballet’, Dance Research 17–18 (1985–86): 35–40; and Smith, , ‘The Disappearing Danseur’, Cambridge Opera Journal 19/1 (2007): 33–57 CrossRefGoogle Scholar.

⁷ Pitou, Spire, ‘Eugénie Fiocre’, in The Paris Opéra. An Encyclopedia of Operas, Ballets, Composers, and Performers. Growth and Grandeur, 1815–1914 (New York: Greenwood Press, 1990)Google Scholar: vol. 1, 511–13. For more information on the travesty dancer, see Garafola, Lynn, ‘The Travesty Dancer in Nineteenth-Century Ballet’, in Crossing the Stage: Controversies on Cross-Dressing, ed. Lesley Ferris (London: Routledge, 1993): 96–106 Google Scholar.

⁸ These ballet-plays were produced by Thames Television International in 1970, and were once released on videocassette by Media Guild in San Diego, California. Peter Brinson and Clement Crisp also considered differences between the 1870 French and the 1884 Russian versions of Coppelia in The International Book of Ballet (New York: Stein and Day, 1971): 35–8. Ivor Guest also discusses this subject in Two Coppelias: A Centenary Study to Mark the One Hundredth Anniversary of the Ballet Coppelia and Accompany a Centenary Production of Two Coppelias by the Royal Ballet's Ballet for All (London: Friends of Covent Garden, 1970).

⁹ For a discussion of recurring themes associated with the emphasis on bodies in opera, see Smart, Mary Ann, ‘Ulterior Motives: Verdi's Recurring Themes Revisited’, in Siren Songs: Representations of Gender and Sexuality in Opera, ed. Mary Ann Smart (Princeton: Princeton University Press, 2000): 135–159 Google Scholar.

¹⁰ For more on the École de danse, see the ‘bonus’ documentary, which provides some insight into the establishment of the school and its curriculum, with footage of dance classes in progress. As one might expect, the programme is completely in French, and although captions are provided in English, German, Spanish, Italian and Chinese, much of the verbal exchange remains untranslated. Among the most interesting moments are the school director's description of the perfect body for ballet through the example of one small pupil, a student's informal attempts to imitate a conga player's rhythm on his drum, and the studio pianist's energetic contributions to classes and rehearsals.

¹¹ For further discussion of the Parisian Giselle, and the potential space for character dancing in the second act, see Smith, Marian, Ballet and Opera in the Age of Giselle (Princeton: Princeton University Press, 2000): 192–194 Google Scholar.

¹² Webcasts featuring excerpts of the new choreography can be found on the PNB's web site. http://www.pnb.org/Season/13-14/Giselle/#Media (accessed 12 May 2014). See also Fullington, and Smith, Marian, ‘Giselle's Seattle Revival’, Dancing Times (June 2011): 30–33 Google Scholar.

¹³ According to Louise Robin-Challan, the often-impoverished women required the extra resources that informal ‘patrons’ provided to pay for dancing lessons, to clothe themselves properly, and to support their families. See Robin-Challan, , ‘Social Conditions of Ballet Dancers at the Paris Opera in the 19th Century’, Choreography and Dance, 2/1 (1992): 17–28 Google Scholar.