Question: Arthur Saint-Léon was the "Maître de Ballet" of the ballet company now known as?

Passages:
The Mariinsky Ballet is the resident classical ballet company of the Mariinsky Theatre in Saint Petersburg, Russia.  Founded in the 18th century and originally known as the Imperial Russian Ballet, the Mariinsky Ballet is one of the world's leading ballet companies.  Internationally, the Mariinsky Ballet continues to be known by its former Soviet name the Kirov Ballet.  The Mariinsky Ballet is the parent company of the "Vaganova Ballet Academy", a leading international ballet school. This is a listing/"catalogue raisonnė" of the works of the Maître de Laz.  His work, dating to around 1527, can be seen in various parts of Brittany.  He is unusual amongst sculptors in this region working in the 15th and 16th century in that he often worked using "grés feldspathique" as opposed to granite or kersanton stone.  He executed pietàs in Laz, Finistère, Briec-de-l'Odet, Saint-Hernin and Plourac'h and in Plourac'h, he executed statuary for the parish church.  Grés feldspathique had been used earlier in Laz in 1350 with a statue of a dying cavalier placed by the chevet of the Église Saint-Germain-et-Saint-Louis.  It was also used by the Maître de Tronoën (Listing of the works of the atelier of the Maître de Tronoën. ) for the bas-relief in the entry to the old presbytery at Laz. Jean-Louis Aumer was a French danseur and choreographer, who was born in Strasbourg on 21 April 1774, and who died in Saint-Martin-de-Boscherville in July 1833.  Educated at the school of the Paris Opera Ballet, he joined the company in 1801 after an initial engagement with Jean Dauberval in Bordeaux.  The Paris Opera's "maître de ballet" Pierre Gardel presented an obstacle which led Aumer to choose the Théâtre de la Porte Saint-Martin as the venue for which to create his early ballets.  Faced with the implacable competition from Gardel, Aumer left France for engagements in Kassel (1808–1814) and Vienna (1814–1820).  Brief periods in Paris (1821–1822) and London (1824–1825) were followed by his return to the Paris Opera Ballet (1820–1831), where, enriched by the experience of working abroad, he engaged in a profound renovation of the French repertory, capped by his "chef-d'œuvre", "Manon Lescaut" (1830). Pierre Tabart (also Thabart, Tharbart) (Chinon, baptized 8 January 1645 – Meaux, 1716) was a French composer and maître de chapelle.  Said to have studied music under 'the best contrapuntist of his time', he served as maître de musique in Orléans until 1683, followed by Senlis from 1683-1689.  He then succeeded Nicolas Goupillet as maître de musique of Meaux Cathedral.  However, due to the fact that his nine-year contract was left unrenewed, he was succeeded by Sébastien de Brossard in 1699.  He later aided his successor to the post in selecting the maître de musique for Évreux Cathedral. The Sergeyev Collection is a collection of choreographic notation, music, designs for décor and costumes, theatre programs, photos and other materials that document the repertory of the Imperial Ballet (precursor of the Kirov/Mariinsky Ballet) of St. Petersburg, Russia at the turn of the 20th century.  The majority of the choreographic notations document with varying degrees of detail the original works and revivals of the renowned choreographer Marius Petipa, who served as "Premier Maître de ballet" of the St. Petersburg Imperial Theatres, as well as notation and music documenting the ballets of Lev Ivanov, who served as second "Maître de ballet".  Also included in the collection are choreographic notation documenting dances from various operas by both Petipa and Ivanov, respectively. Cesare Pugni (Russian: Цезарь Пуни ) (] ; 31 May 1802–26 January [O.S. 14 January] 1870 ) born in Genoa, was an Italian composer of ballet music, a pianist and a violinist.  In his early career he composed operas, symphonies, and various other forms of orchestral music.  Pugni is most noted for the ballets he composed for Her Majesty's Theatre in London (1843–1850), and for the Imperial Theatres in St. Petersburg, Russia (1850–1870).  The majority of his ballet music was composed for the works of the ballet master Jules Perrot, who mounted nearly every one of his ballets to scores by Pugni.  In 1850 Perrot departed London for Russia, having accepted the position of "Premier maître de ballet" of the St. Petersburg Imperial Theatres at the behest of Carlotta Grisi, who was engaged as "Prima ballerina".  Cesare Pugni followed Perrot and Grisi to Russia, and remained in the imperial capital even after Grisi's departure in 1853 and Perrot's departure in 1858.  Pugni went on the compose for Perrot's successors Arthur Saint-Léon and Marius Petipa, serving as the Imperial Theatre's official composer of ballet music until his death in 1870. Ballet Master (also "Balletmaster", "Ballet Mistress" [increasingly archaic English language use], "Premier Maître de ballet" or "Premier Maître de ballet en Chef") is the term used for an employee of a ballet company who is responsible for the level of competence of the dancers in their company.  In modern times, ballet masters are generally charged with teaching the daily company ballet class and rehearsing the dancers for both new and established ballets in the company's repertoire.  The artistic director of a ballet company, whether a male or female, may also be called its ballet master.  Historic use of gender marking in job titles in ballet (and live theatre) is being supplanted by gender-neutral language job titles regardless of an employee's gender identity or expression (e.g. "Ballet Master" in lieu of "Ballet Mistress", "Wig Master" as an alternative to "Wig Mistress"). Louis Alexandre Mérante (23 July 1828–Courbevoie, 17 July 1887) was a dancer and choreographer, the "Maître de Ballet" (First Balletmaster/Chief Choreographer) of the Paris Opera Ballet at the Salle Le Peletier until its destruction by fire in 1873, and subsequently the first Ballet Master at the company's new Palais Garnier, which opened in 1875.  He is best remembered as the choreographer of Léo Delibes' "Sylvia, ou la nymphe de Diane" (1876).  With Arthur Saint-Léon and Jules Perrot, he is one of the three choreographers who defined the French ballet tradition during the Second French Empire and the Third Republic according to choreographer . Agrippina Yakovlevna Vaganova (Russian: Агриппина Яковлевна Ваганова ; 26 June 1879 – 5 November 1951) was a Russian ballet teacher who developed the Vaganova method – the technique which derived from the teaching methods of the old "Imperial Ballet School" (today the "Vaganova Academy of Russian Ballet") under the "Premier Maître de Ballet" Marius Petipa throughout the mid to late 19th century, though mostly throughout the 1880s and 1890s.  It was Vaganova who perfected and cultivated this form of teaching the art of classical ballet into a workable syllabus.  Her "Fundamentals of the Classical Dance" (1934) remains a standard textbook for the instruction of ballet technique.  Her technique is one of the most popular techniques today. Arthur Saint-Léon (17 September 1821, Paris – 2 September 1870) was the "Maître de Ballet" of St. Petersburg Imperial Ballet from 1859 until 1869 and is famous for creating the choreography of the ballet "Coppélia".

Supporting sentences:
The Mariinsky Ballet is the resident classical ballet company of the Mariinsky Theatre in Saint Petersburg, Russia.  Founded in the 18th century and originally known as the Imperial Russian Ballet, the Mariinsky Ballet is one of the world's leading ballet companies.  The Mariinsky Ballet is the parent company of the "Vaganova Ballet Academy", a leading international ballet school.