Bournoville was also dissatisfied with the ballet compositions and plots. He remodelled many French ballets and wrote some himself. In many things Bournoville coöperated with Pierre J. Larcher. The most conspicuous of their works was _Valdemar_, which was first performed in 1835, with music by Froehlich. Not less successful was the _Festen i Albano_, an idyllic ballet in one act with music by Froehlich. This was first performed in 1839. A very popular ballet that Bournoville arranged to the music of Hartmann was _Olaf den Hellige_. The most conspicuous pupil of Bournoville and the foremost of his prima _ballerinas_ was Lucile Grahn, a girl of outspoken individuality, temperament and dramatic force. She was a rival of Taglioni and Elssler, not only in Denmark, but in France, England and in other European countries. Grahn’s favored ballet was _La Sylphide_, though she danced superbly in the _Fiorella_, and _Brahma und Bayaderen_. The Danish critics wrote that the Copenhagen audience fairly went wild over her dancing in the _Robert af Normandie_. Grahn differed from Taglioni in her individual style, which was more romantic and lofty, and in her dramatic talent. Besides being a great dancer she was an excellent actress. The London and Petrograd audiences were particularly fond of her _divertissement_ numbers, mostly written by Danish composers. She was born in 1819 and died in Munich in 1875, after having lived nineteen years of happy married life with Friedrich Young, a celebrated opera singer of that time. Next to Lucile Grahn in the Danish ballet stands Augusta Nielsen, born in 1823 in Copenhagen. As a girl of fifteen, she danced in _Valdemar_. But her real career began with _Toreadoren_, in which she danced for the first time in 1840. Nielsen’s tendency in dancing was to be natural rather than acrobatic. Her mimic and rhythmic talent surpassed by far that of Grahn, Taglioni and Elssler. But since she strove less for gymnastic effects than her celebrated contemporaries, she failed to arouse the enthusiasm that greeted the others. She came close to the modern natural dancers, since dancing was for her an individual art like singing, in which each artist should express only the best of his inner self. Like many other Danish dancers, Nielsen was a born actress and emphasized the dramatic features as the most important ones in the ballet.