reviving the ballet. Drigo later recalled: Tchaikovsky died on just as plans to revive Swan Lake were beginning to come to fruition. A revival of the complete work was then planned for the Imperial Ballet's 1894–1895 season, in a staging by Marius Petipa and Lev Ivanov. Tchaikovsky's brother Modest approved that Drigo should be entrusted with the task of revising the score, which the composer did in accordance with Petipa's instructions. In his memoirs Drigo touched on his revision to the score: The revival premiered on at the Mariinsky Theatre with the Prima ballerina assoluta Pierina Legnani in the dual role of Odette/Odile. Drigo's version of Tchaikovsky's score has remained the definitive performance edition of Swan Lake, and is still used to one degree or another by ballet companies throughout the world. Nevertheless, Drigo is rarely given credit when his revisions are performed. La Perle Drigo's next score for the ballet was the grand pièce d'occasion La Perle (sometimes known in Russian as Прелестная жемчужина — Pretty Pearl), produced especially for the gala held at the Imperial Bolshoi Theatre of Moscow in honor of the coronation of Tsar Nicholas II and Empress Alexandra Fyodorovna. The ballet premiered on after a performance of Glinka's A Life for the Tsar Les Millions d'Arlequin In 1899 Petipa began work on the scenario for a ballet based on episodes from the Italian commedia dell’arte, which he called Les Millions d'Arlequin (The Millions of Harlequin). The ballet premiered at the Imperial Theatre of the Hermitage on with Mathilde Kschessinska in the role of Columbine and the danseur Gyorgy Kyaksht in the role of Harlequin. The audience included the Emperor and Empress as well as the whole of the Imperial court. Within moments of the final curtain, the typically subdued courtly audience erupted into thunderous applause. The composer received a tumultuous reception as he went before the curtain and was mobbed by several Grand Dukes who tripped over one another in their enthusiasm to congratulate him for his music. Due to her delight in Drigo's score, the Empress commanded two additional court performances of Les Millions d'Arlequin on the stage of the Mariinsky Theatre, the first given on . When plans were under way to publish Drigo's score in piano reduction by the publisher Zimmermann, many of Drigo's colleagues urged the composer to dedicate his score to the Empress. Drigo's request was then submitted to the