Sergeyev Collection's Choreography for Operas in Ballet History and Music Posted June 29, 2020 Thanks for the interest! I glanced over the collection and have made a hasty stab at listing the items which appeared to indicate the holdings of Stepanov notations of Petipa's choreography for operas. These are the operas concerned, which I list by composer: Berlioz, Les Troyens Bizet, Carmen Borodin, Prince Igor Cui, Prisoner of the Caucasus Dargomyzhsky, Rusalka Delibes, Lakmé Glinka, Life for the Tsar Glinka, Ruslan and Ludmila Gounod, Romeo & Juliet Massenet, Esclarmonde Meyerbeer, Huguenots Meyerbeer, Prophète Nápravnik, Dubrovsky Offenbach, Les Contes d’Hoffmann Ponchielli, Gioconda Rimsky-Korsakov, Snegúrochka (The Snow Maiden) Rimsky-Korsakov, May Night Rimsky-Korsakov, Serviliia Rimsky-Korsakov, Sadko Rimsky-Korsakov, Tsar’s Bride Rubinstein, Demon Serov, Judith Tchaikovsky, Queen of Spades Tchaikovsky, Cherevichki Verdi, Aïda Verdi, Rigoletto Verdi, Traviata Wagner, Tannhäuser Some heavy-hitters there!--with a few intriguing obscurities. The nice thing about resurrecting these "for-opera" ballet sequences is that the would-be restorer wouldn't have to confront the Mt. Everest of a bulky manuscript for a full-length three-hour ballet; surely most of these pieces are ten or twenty minute performances, a less daunting investment for a restorer or dance company, and in almost all cases making use of published and currently available music scores from known and appreciated composers, with works mostly having names (both composer and opera) of a familiarity which would make them appealing to the Public. It's not an all-or-nothing: If one such modest effort would go well, then the restorer/company could embark on the next such modest one with increased confidence and likelihood of success. Lastly, I can't imagine but that Petipa's personality would mandate that he enter into these pieces with extra zest, and put his best foot forward to show off in his choreography for these, for the pieces to function as, so to speak, calling-cards in one genre giving a taste of what riches he had to offer at full-length in his other, "native," genre.