Cesare Pugni

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Pugni, Cesare


Born May 31,1802, in Genoa; died Jan. 26, 1870, in St. Petersburg. Italian composer; worked for many years in Russia.

Pugni graduated from the Milan Conservatory of Music (1822). He worked as a composer for the ballet in the theaters of Milan, London, Paris, and other European cities. Beginning in 1851 he was a composer of ballet music at the St. Petersburg imperial theaters. He collaborated with the choreographers J. Perrot, A. Saint-Leon, and M. Petipa. He was the composer of many ballets, including La Esmeralda (1844), The Pharaoh’s Daughter (1862), and The Little Humpbacked Horse (based on a tale by P. P. Ershov, 1864), the first ballet on a Russian national theme. He also composed operas and other works. His ballet music, which in itself is of no artistic significance, is characterized by melodiousness and well-defined rhythmic forms; for this reason, some of his ballets have remained in the theatrical repertoire.

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
And, finally in this trilogy of case studies, the "Indian" Lalla Rookh, an Oriental Romance (1817) by Irish poet Thomas Moore, a set of four long verse tales connected by a prose story that enjoyed a phenomenal international success, is followed through its equally remarkable and wide-ranging set of musical responses: from Schumann (Das Paradies und die Peri (1843)), David (Lalla-Roukh (1862)), Cesare Pugni (Lalla Rookh, or, The Rose of Lahore (1846)), and others.
Set to the workmanlike score of Cesare Pugni, it is a fancifully silly tale about an English explorer who dreams that, as an Egyptian named Ta-Hor, he falls in love with Aspicia, the Pharaoh's daughter.
Why not an Esmeralda, with its cheery and painless Cesare Pugni score, for ABT?
The current score is a musical hodgepodge by Riccardo Drigo, Cesare Pugni, Leo Delibes, Prince Oldenburg, and Adolphe Adam (the original composer), with all too few moments of greatness.
Music by Cesare Pugni was added by Perrot; Petipa brought in music by Leo Delibes for the 1868 production, then passages by Riccardo Drigo and Ludwig Minkus for his 1899 staging.