The
Lyon-born Perrot danced often with
Marie Taglioni but their partnership was short-lived. She eventually refused to dance with him fearing that he would outshine her. He left the Opéra in 1835 to tour European dance centers such as London,
Milan,
Vienna and
Naples, where he met and noticed the talent of
Carlotta Grisi. He coached her and presented her to the world as the next great ballerina in an 1836 performance in London with himself as her partner. , ca. 1840s) Following the success of his contributions to the choreography of
Giselle, Perrot went on to choreograph
Alma ou
La Fille du Feu (London 1842) for
Fanny Cerrito, which was hailed as a major choreographic success. For the next six years he choreographed regularly at Her Majesty's Theatre in London, including
Ondine (1843),
La Esmeralda (1844),
Le Judgement de Paris (1846), and
Pas de Quatre (12 July 1845). For this ballet he not only negotiated the difficult task of persuading the four leading ballerinas of the day to appear on stage together at
Her Majesty's Theatre in London. Nearly every ballet Perrot ever created was set to the music of
Cesare Pugni. of Jules Perrot rehearsing dancers in the
Foyer de la Danse of the
Palais Garnier, 1875 Perrot was engaged as a dancer in
St. Petersburg for the
Imperial Ballet and later was appointed Balletmaster there. He remained with the Imperial Russian Ballet until 1858. While there, he married Capitoline Samovskaya, a pupil at the Imperial Theater School, with whom he had two children. He returned to Paris to a life of comparative leisure. Perrot died on holiday in Paramé 29 August 1892. ==Ballets==