Question: Ballerina Marie Bonfanti appeared in what ballet with a mythological Arcadian setting?
Context: Lola Yberri was a Mexican dancer who performed in theatres in cities such as London and San Francisco in the early 20th century.  While in New York, she took lessons from the ballet dancer, Marie Bonfanti.  In 1905, she appeared in Kinetoscope moving pictures directed by Alfred Clark – "Cyclone Dance" and "Fan Dance". Filippo Taglioni (aka Philippe Taglioni; 5 November 1777 – 11 February 1871) was an Italian dancer and choreographer and personal teacher to his own daughter, the famous Romantic ballerina Marie Taglioni.  (He had another child who also danced ballet, Paul Taglioni.)  Also, although August Bournonville's version is better known, it was Taglioni who was the original choreographer of "La Sylphide", in 1832. Rita Sangalli (20 August 1849 – 3 November 1909) was an Italian ballet dancer.  Born in Antegnate, she danced in the Italian provinces of Asti, Piacenza, and Turin, making her 1865 debut at Milan's La Scala in Paul Taglioni's (1808-1884) "Flik and Flok", before being hired for the opera at Her Majesty's Theatre in London.  In 1872, she danced the principal role in "La source" at its successful revival.  In the same year, she joined the Paris Opera Ballet, where she performed in numerous premieres, including in the role of "Sylvia" (14 June 1876), "Yedda" (1879), and "Namouna" (6 March 1882).  She retired from the company in 1884.  Sangalli toured America where she performed in "The Black Crook" and "Flick Flock".  In August 1901, Sangali and Marie Bonfanti performed at the Metropolitan Opera House, during the inaugural season of ballet at the New York City venue.  She died in Carpesino d'Arcellasco, Italy. Christoffer Christian (or Kristofer Kristian) Karsten (9 September 1756 – 6 August 1827) was a Swedish opera singer, sometimes called the greatest male opera singer in Swedish history.  He was also the maternal grandfather of the world-famous ballerina Marie Taglioni. Franz Anton Christoph Hilverding (1710–1768), aka Hilferding, was an Austrian choreographer and dancer.  For a time Hilverding served as the director of the Imperial Theatre in St. Petersburg, Russia.  Hilverding, simultaneously as his contemporaries Jean Baptiste de Hesse, and own assistant Gaspare Angiolini, contributed to the development of the Ballet d'Action, for which Jean Georges Noverre would get lasting credit with the publication of his Letters on Dancing and Ballets.  Ballets d'action emphasized a cohesive dramatic and expressive element to performances, with costumes, plot, and movement all serving the purpose of the story.  Hilverding studied in Paris from 1734 and 1736, and may have been inspired by the ballerina Marie Sallé, who was one of the first to explore this notion of cohesive dramatic ballets.  He started creating dramatic ballets as court choreographer in Vienna in the 1740s, many using the stories of mythological lovers.  Hilverding reworked Rameau's Le Turc Généreux (1758) from Lés Indes Galantes, which is immortalized in a print by Bernardo Bellotto entitled Le Turc Généreux.  Ballet Pantomime executé à Vienne sur le théâtre de la cour, le 26 Avril 1758, in the British Museum.  Invited by Czarina Elizabeth in 1758, he became court choreographer in St Petersburg.  He brought his dancers with him to Russia, and did much to progress the talent of the Russian dancers.  He tried to use Russian themes in his ballets, and depicted Russia as the "Defender of Virtue" in his "Virtue's Refuge."  Hilverding returned to Vienna in 1764 and staged "Le Triomphe de l'Amour" which starred Marie Antoinette and her brothers Ferdinand and Archduke Maximilian Francis of Austria. Christian Johansson (May 20, 1817 – December 12, 1903) was a teacher, choreographer and coaching balletmaster for the Russian Imperial Ballet.  Born Pehr Christian Johansson in Stockholm, Sweden, he moved to Russia as a dancer and stayed on as one of the most important teachers in Russian history.  He is remembered in Russia as exemplifying the artistic beauty of the male dancer.  He began teaching in 1860 and by 1869, had become the leading ballet instructor at the Imperial Ballet School.  He stayed there until his death in 1903.  Johansson studied under Bournonville and partnered the great ballerina Marie Taglioni. Marie Bonfanti (1845-1921) was a 19th-century ballet dancer whose New York City première came at Niblo's Garden on Monday, September 10, 1866.  She then was the prima ballerina in "The Black Crook" at the same theatre, which premièred two days later.  She appeared in "Sylvia" by Léo Delibes at the Metropolitan Alcazar concert hall on July 15, 1882.  In August 1901, Bonfanti performed with Rita Sangalli at the Metropolitan Opera House, during the inaugural season of ballet at the New York City venue.  Her talent for expressionist dancing and her private life were covered widely from the mid-1860s until the early 20th century. Sylvia, originally Sylvia, ou La nymphe de Diane, is a full-length ballet in two or three acts, first choreographed by Louis Mérante to music by Léo Delibes in 1876.  "Sylvia" is a typical classical ballet in many respects, yet it has many interesting features that make it unique.  "Sylvia" is notable for its mythological Arcadian setting, creative choreographies, expansive sets and, above all, its remarkable score. Prima ballerina assoluta is a title awarded to the most notable of female ballet dancers. To be recognised as a "prima ballerina assoluta" is a rare honour, traditionally reserved only for the most exceptional dancers of their generation.  Originally inspired by the Italian ballet masters of the early Romantic ballet, and literally meaning "absolute first ballerina", the title was bestowed on a prima ballerina who was considered to be exceptionally talented, above the standard of other leading ballerinas.  The title is very rarely used today and recent uses have typically been symbolic, either in recognition of a prestigious international career, or for exceptional service to a particular ballet company.  There is no universal procedure for designating who may receive the title, which has led to dispute in the ballet community over who can legitimately claim it.  It is usually a ballet company that bestows the title, however some dancers have had the title officially sanctioned by a government or head of state, sometimes for political rather than artistic reasons.  Less common is for a dancer to become identified as a "prima ballerina assoluta" as a result of public and critical opinion. The Romantic ballet is defined primarily by an era in ballet in which the ideas of Romanticism in art and literature influenced the creation of ballets.  The era occurred during the early to mid 19th century primarily at the Théâtre de l'Académie Royale de Musique of the Paris Opera Ballet and Her Majesty's Theatre in London.  It is typically considered to have begun with the 1827 début in Paris of the ballerina Marie Taglioni in the ballet "La Sylphide", and to have reached its zenith with the premiere of the divertissement "Pas de Quatre" staged by the Ballet Master Jules Perrot in London in 1845.  The Romantic ballet had no immediate end, but rather a slow decline.  Arthur Saint-Léon's 1870 ballet "Coppélia" is considered to be the last work of the Romantic Ballet.
Answer: Sylvia