Le Diable Amoureux
, or Love and Hell
) is a Pantomime ballet
in 3 acts, 7 scenes. Originally staged by Joseph Mazilier
to the music of Napoléon Henri Reber
and François Benoist
. Libretto by Jules-Henri Vernoy de Saint-Georges
, based on the 1772 occult romance by Jacques Cazotte
First presented by the Ballet du Théâtre de l'Académie Royale de Musique in Paris, France on September 21, 1840. Pauline Leroux (as the Satanella), Mazilier (as Alvaro).
- Revival by Marius Petipa and Jean Petipa for the Imperial Ballet under the title Satanella, with music orchestrated and revised by Konstantin Liadov. First presented on 22 February, 1848 at the Imperial Bolshoi Kamenny Theatre, St. Petersburg, Russian Empire. Principal Dancers - Mariia Surovshchikova-Petipa as Satanella, and Marius Petipa as Count Fabio.
- Revival by Marius Petipa for the Imperial Ballet with additional music by Cesare Pugni. First presented on 30 October, 1866 at the Imperial Bolshoi Kamenny Theatre, St. Petersburg, Russian Empire. Principal Dancers - Praskovia Lebedeva as Satanella, and Lev Ivanov.
- Revival by Marius Petipa for the Imperial Ballet with additional music by Cesare Pugni. First presented on 7 May, 1868 at the Imperial Bolshoi Kamenny Theatre, St. Petersburg, Russian Empire. Principal Dancers - Alexandra Vergina as Satanella, and Lev Ivanov as Count Fabio.
- Revival by Marius Petipa for the Imperial Ballet. First presented on 18 February, 1897 at the Imperial Mariinsky Theatre, St. Petersburg, Russian Empire. Principal Dancers - Lyubov Roslavleva.
Le Carnaval de Venise: The Satanella pas de deux
In 1859, Marius Petipa created a new concert pas de deux for the benefit performance of Amalia Ferraris, for which he partnered the ballerina. Petipa choreographed the pas de deux to new music arranged by Cesare Pugni from an air taken from Nicolò Paganini's piece for violin known as Carnevale di Venezia (Op.10). The pas de deux was titled as Le Carnaval de Venise.
When Petipa revived Satanella for Alexandra Vergina in 1868, Le Carnaval de Venise into the the third act of the ballet, where it was retained for many years.
The Le Carnaval de Venise lived on long after the full-length Satanella left the Imperial Ballet's repertory. Today the pas de deux is a staple of the classical ballet repertory and the ballet competition circuit. The celebrated documentary hosted by Princess Grace of Monaco The Children of Theatre Street (which profiled students attending the Vaganova Choreographic Institute) featured the pas de deux prominently.
In Russia this pas de deux is known as either the The Fascination Pas de Deux from Satanella, or The Carnival in Venice Pas de Deux, or Venetian Carnival Pas de Deux. In the west it is known simply as The Satanella Pas de Deux. The multiple titles of the piece derives from its origins in the ballet Satanella, as Le Diable Amoureux was known in Russia, and from the fact that the music for the pas de deux had its basis in Paganini's composition for violin Carnevale di Venezia (Op.10).
- Cohen, Selma Jeanne. In Search of Satanella: An Adventure Prompted by "The Children of Theatre Street". Published in Dance Research Journal, Vol. 11, No. 1/2 (1978 - 1979), pp. 25-30.
- Garafola, Lynn / Petipa, Marius. The Diaries of Marius Petipa. Trans, Ed., and introduction by Lynn Garafola. Published in Studies in Dance History. 3.1 (Spring 1992).