Should the man on the Clapham omnibus ever turn his mind to ballet, he is bound to envisage the work of Marius Petipa. The ballerina holding an arabesque on pointe shoes was his creation, as were The Sleeping Beauty, La Bayadère, Don Quixote, most of Swan Lake, the concept of The Nutcracker and aspects of La Sylphide, Giselle and Coppélia — this being merely the cream of a vast oeuvre dreamed up over the half century he spent based in St Petersburg.
When he died in 1910, one obituary claimed (in reference to Louis XIV’s view of l’état) that ‘with just reason, he could have said —“Russian ballet is me”’. If this wasn’t precisely true — he had several estimable predecessors — it is indisputable that this fractious and pompous Frenchman left a legacy that has continued to form the bedrock of the classical repertory worldwide.
Nadine Meisner’s meticulously researched and exhaustively detailed study will surely establish itself as the standard authority on the subject in English.
Get Britain's best politics newsletters
Register to get The Spectator's insight and opinion straight to your inbox. You can then read two free articles each week.
Already a subscriber? Log in
Comments
Join the debate for just $5 for 3 months
Be part of the conversation with other Spectator readers by getting your first three months for $5.
UNLOCK ACCESS Just $5 for 3 monthsAlready a subscriber? Log in