working for nearly all of the 1892-1893 season. It was during this time that Enrico Cecchetti, the great Italian dancer and teacher, began to assist Lev Ivanov in substituting for Petipa in the staging of ballets and rehearsals. In 1893 Petipa supervised Cecchetti and Ivanov's staging of the ballet Cinderella, set to the music of Baron Boris Fitinhof-Schell. The Italian ballerina Pierina Legnani made her début in the title role, and on the evening of the premiere, , her perfection of technique and execution caused a sensation, with critics and balletomanes hailing her as the supreme ballerina of her generation. In the last act she astounded the audience by performing a feat never before executed by any Ballerina: 32 fouettés en tournant. Petipa was so enamored with the stellar ballerina that he bestowed upon her the rarely held title of Prima ballerina assoluta, and over the course of the next eight years, Petipa staged many new ballets especially for her talents. Petipa returned to choreography from his long infirmity with the one-act Le Réveil de Flore (The Awakening of Flora), set to the music of Riccardo Drigo. The ballet had its premiere on at Peterhof Palace. Petipa staged Le Réveil de Flore in honor of the wedding of Tsar Alexander III's daughter, the Grand Duchess Xenia to the Grand Duke Alexander Mikhailovich. The ballet was soon transferred to the Mariinsky Theatre. In 1893 Tchaikovsky died, and in February 1894 a gala was given in his honor at the Mariinsky Theatre. For the occasion Lev Ivanov mounted the second scene from Tchaikovsky's Swan Lake, first produced in Moscow in 1877. The gala was a success, with the excerpt from Swan Lake being the biggest success on the program. It was soon decided that a revival of the full-length work would be staged for the 1894–1895 season, with Ivanov staging the second and fourth scenes and Petipa staging the first and third scenes. Riccardo Drigo would revise Tchaikovsky's 1877 score in accordance with Petipa's instructions, and Tchaikovsky's brother Modeste would revise the ballet's scenario. The premiere on with Legnani in the dual rôle of Odette/Odile was a triumph, and in Petipa and Ivanov's version Swan Lake would go on to become one of the greatest of all ballets, remaining one of the ultimate tests for the classical ballerina and the corps de ballet. The turn of the 20th century Petipa would spend