Subsequently, Pavlova was apparently never cast as the Fairy Candide again. Another of her earliest roles was Zulma, one of the attendants of the Queen of the Wilis in Giselle. In the season, Petipa upgraded her to the leading role of Flora.
The young ballerina was very nervous and was having trouble with her technique for the role proved to be a real challenge for her since it had been created by the virtuosa Matilda Kschessinskaya. Petipa coached Pavlova, himself, for the role of the temple dancer and she was also rehearsed by Eugenia Sokolova. Anna Pavlova became Prima Ballerina in In , she made her first appearance outside Russia when she danced the title role in Giselle in Warsaw. From , she further danced outside her home country when she and a troupe of her Imperial Ballet colleagues, including Nikolai Legat and Shiryaev, toured the west.
Afterwards, she founded her own company, with whom she would tour across the world. She would later dance again with the Ballets Russes as a guest ballerina and made her final appearance with the Imperial Ballet in She also added new short ballets that were based on scenes from full-length ballets such as Snowflakes, which was based on the snowy forest scene from The Nutcracker.
But the most famous piece in the repertoire that Pavlova performed many times in many different places was her signature ballet and most famous role — The Swan known today as The Dying Swan , which had been created for her by Mikhail Fokine in Captivated by what she saw, the wide-eyed little girl declared she was resolved to become a ballet dancer.
Her mother enthusiastically supported her pursuit. Within just two years, Pavlova was accepted at the St. Petersburg Imperial Ballet School, after passing the entrance exam with flying colors. The school was directed by famed ballet master Marius Petipa. A dedicated and ambitious student, Pavlova knew a successful ballet career would require a lot more than just talent. Her natural gift for dance, combined with her tireless work ethic, is here summarized in her own words: "No one can arrive from being talented alone.
God gives talent, work transforms talent into genius. Petersburg Imperial Dance School at the age of 18—gracefully leaping from school to stage in her hard-earned transformation from ballet student to prima ballerina in the making.
In other words, she bypassed the usual initiation rite of dancing in large groups and was permitted to dance in smaller groups right away. The performance took place at the Mariinsky Theatre in St. Petersburg—the same theater where, as a child, Pavlova had first decided to become a dancer.
Pavlova's career soon blossomed. With every performance, she gained increasing critical acclaim and subsequent fame. With her delicate movements and intense facial expressions, Pavlova managed to convey to the audience the play's complex message about the fragility and preciousness of life.
The Dying Swan was to become Pavlova's signature role. Pavlova continued to rise quickly through the ranks. By , she had already successfully danced the difficult part of Giselle. Just seven years into her ballet career, Pavlova was promoted to prima ballerina. Accompanied by a handful of other dancers, in , Pavlova took leave on her first tour abroad.
The tour stopped at capital cities throughout Europe—including Berlin, Copenhagen and Prague, among others. In response to the critical acclaim her performances received, Pavlova signed up for a second tour in In , after having completed her second tour, Pavlova was invited to join Sergei Diaghilev's Ballet Russe on its historic tour, during the opening season in Paris.
While touring, the Ballet Russe frequently visited Australia, and there played an instrumental role in Russian ballet's influence on the future of Australian dance. At ten years old, the school finally accepted her.
However, ballet did not come easy to Pavlova. Her feet were severely arched and her ankles too thin and legs too long, especially for a ballerina of her time. But, Pavlova never gave up. She trained harder and took extra classes. At eighteen, she graduated from the Imperial Ballet school and was admitted into the Imperial Ballet. Often times her knees were bent and she had bad turnout at her performances.
Still, her weak ankles provided difficulty performing in certain roles. Petipa favored Pavlova as she continued to climb through the ranks as a ballerina. In , Pavlova was given the rank of prima ballerina after her performance in Giselle. Kschessinska had been pregnant and was hoping that Pavlova would fail at the role. To make it easier with her small toes and weak ankles, Pavlova added hard wood to her pointe shoes for support.
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