This version derives from the Petipa original at the Maryinsky as remembered by Balanchine and Danilova, abbreviated and rechoreographed by Balanchine, retaining the Petipa style. The male pas de quatre and the ballerina’s variation in Act III (VARIATIONS III and VII of the PAS CLASSIQUE HONGROIS) are particularly close to the Petipa choreography, as set by Danilova. The other female solos in Act III (with the exception of Variation IV, below) are probably close to the Petipa originals as well. Balanchine provided new choreography for several waltzes, and in Act III, the Pas de Trois, Variation VI (male solo), and Variation IV. He and Danilova choreographed the finale together. The original was a full evening’s ballet for more than two hundred performers; the Balanchine-Danilova version lasted three-quarters of an evening, omitting much of the Petipa mime, and used the entire Ballet Russe de Monte Carlo company of about forty dancers. Frederic Franklin was scheduled to dance Jean de Brienne on opening night, but was injured. The central pas de deux from the Act III PAS CLASSIQUE HONGROIS, usually called Pas de Deux from Raymonda (and as often credited to Petipa as to Balanchine, who staged the Petipa choreography for Diaghilev in 1925), is frequently performed by a ballerina and cavalier as a concert piece. In 1955, Balanchine choreographed Pas de Dix [309] for the New York City Ballet, using much of the PAS CLASSIQUE HONGROIS music, but adding a fast finale (coda). The choreography, for the most part new, retained VARIATION III exactly; VARIATION VII (ballerina solo) was retained in essence, although made more brilliant and sultry. In 1973, Balanchine incorporated this version of VARIATION VII into Cortège Hongrois [384], a new work for the New York City Ballet using much of the Pas de Dix music. In 1961, Balanchine choreographed a completely different work to other selections from the Raymonda score for the New York City Ballet: Valses et Variations [339, retitled Raymonda Variations in 1963].