Diable amoureux (The Devil in Love), which premiered under the title Satanella on . The prima ballerina Andreyonova performed the title rôle, with Petipa in the rôle of Fabio. At the time Petipa had arrived in St. Petersburg, the Imperial Ballet had experienced a considerable decline in popularity with the public since the 1842 departure of Marie Taglioni, who had been engaged in the Imperial capital as guest ballerina. The productions of Paquita and Satanella brought about a measure of prestige and attention for the company. Critic Raphael Zotov reflected, "Our lovely ballet company was reborn with the productions of Paquita and Satanella, and its superlative performances placed the company again at its former level of glory and universal affection." In the winter of 1849, the French Ballet Master Jules Perrot arrived in St. Petersburg, having accepted the position of premier maître de ballet of the St. Petersburg Imperial Theatres. He was accompanied by his chief collaborator, the prolific Italian composer Cesare Pugni, who was appointed Ballet Composer of the Imperial Theatres, a position created especially for him. Aside from dancing the principal rôles in many of Perrot's productions, Petipa rehearsed older works with the company and assisted Perrot in staging revivals (such as Giselle in 1850, and Le Corsaire in 1858), all the while learning a great deal from the man who was at that time the most celebrated choreographer in Europe. Although Petipa did not create his own original works during this period, he nevertheless staged many dances for various operas, and on occasion revised dances for Perrot's many revivals of older works. By 1850 Petipa's first child, a son named Marius Mariusovich Petipa (1850–1919) was born. His mother, Marie Thérèse Bourdin— with whom Petipa had a brief liaison—died five years after the birth of their child. In 1854 Petipa married the Prima ballerina Mariia Surovshchikova-Petipa. Together they had two children: Marie Mariusovna Petipa (1857–1930), who would go on to become a celebrated dancer in her own right, and Jean Mariusovich Petipa (1859–1871). On Petipa presented his first original ballet in over six years, a ballet-divertissement titled L’Étoile de Grenade (The Star of Granada), for which he collaborated for the first time with the composer Cesare Pugni. The work was presented for the first time at the Palace of the Grand Duchess Elena Pavlovna, a fanatic balletomane and patron of the arts. L’Étoile de Grenade was followed by