Around 1902, Petipa's choreography for the Imperial Ballet's production of Paquita was notated using the Stepanov method while Petipa rehearsed Anna Pavlova for her début in the title role.
In 1926, Petipa's version of Paquita was removed from the Mariinsky Theatre's repertoire.
In 1952 Pyotr Gusev staged a version of the Paquita grand pas classique for the Maly Theatre Ballet.
In 1964, Rudolf Nureyev staged Paquita for the Royal Academy of Dancing.
In 1970, Rudolf Nureyev staged Paquita at La Scala.
In 1974, Ballet Master Nikita Dolgushin produced a staging of the Paquita grand pas classique for the Maly Theatre Ballet of St. Petersburg with the assistance of Elizaveta Gerdt.
In 1978, Oleg Vinogradov staged a new version of the Paquita grand pas classique for the Kirov/Mariinsky Ballet, largely based on Pyotr Gusev's 1952 version.
In 1984, Natalia Makarova staged a new version of the Paquita grand pas classique for American Ballet Theatre, with music arranged by Lanchbery.
In 2001, director Brigitte Lefèvre asked French choreographer Pierre Lacotte to produce a revival of the full-length two act Paquita for the Paris Opera Ballet, restoring Mazilier's original mime sequences and Petipa's 1881 additions.
In 2007, Paquita was performed again by the Paris Opera.
In 2014, Doug Fullington and Alexei Ratmansky mounted a reconstruction of Petipa's final revival of Paquita for the Bayerisches Staatsballett.
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