a great deal of his final years reviving older ballets. In the winter of 1895 Petipa presented lavish revivals of his 1889 Le Talisman, and Saint-Léon's 1864 The Little Humpbacked Horse (as La Tsar-Demoiselle), both with Legnani in the principal rôles. The turn of the 20th century saw Petipa present more revivals: The Pharaoh's Daughter in 1898; La Esmeralda, Giselle and Le Corsaire in 1899; La Bayadère in 1900 and Le Roi Candaule in 1903. These revivals would prove to be Petipa's "finishing touch" on these works. Petipa also mounted new works. For the celebrations held at the Moscow Imperial Bolshoi Theatre in honor of the coronation of Emperor Nicholas II, Petipa presented the one-act ballet to Drigo's music, Le Perle, which proved to be the greatest success during the gala of . Le Perle was truly a ballet à grand spectacle: based on the un-staged danced scene La Pérégrina from Verdi's opera Don Carlos, which was to have been choreographed by Petipa's brother Lucien. The ballet featured some of Petipa's most grand choreography for a 200-member cast, all set to Drigo's Wagnerian score that boasted an off-stage choir. In 1896 Petipa was given a benefit performance to celebrate 50 years in service to the St. Petersburg Imperial Theatres. For the occasion, Petipa created one of the most lavish ballets he ever staged: Bluebeard, based on the Perrault fairytale to the music of Pyotr Schenk, was given its premiere on . The ballet was given a sumptuous production. Many critics felt that the ballet was merely a gargantuan excuse for spectacle and dances, something made all the more apparent with the spectacular showcasing of Pierina Legnani in the principal role of Ysaure. The final tableau consisted of a three-part astrological divertissement titled The Temple of the Past, Present & Future. The Temple of the Future completed the scene with the Pas de deux éléctrique performed by Legnani and Nikolai Legat to a tremendous ovation from the audience. In spite of the criticisms of Bluebeard, the critics unanimously praised the seventy-eight-year-old Petipa's seemingly limitless imagination in the creation of classical dances, proving once again that no other choreographer in Europe could claim to be his rival. On the nearly eighty-year-old Petipa presented one of his greatest ballets, Raymonda, set in Hungary during the middle ages to the music of Alexander Glazunov, which premiered to great success. Petipa's Pas classique hongrois from