She excelled in the classical repertory at the Imperial Theater. Petipa even reworked Giselle to showcase her Romantic qualities, but it was e the choreography of Michel Fokine that immortalized her. The Dying Swan (originally The Swan, 19o5), a solo depicting the last moments in the life of a swan, was technically a mere matter of bourrées and highly stylized port de bras, but Pavlova's genius transcended the sentimental melodrama of the piece, and her emotional, ecstatic style thrilled audiences