Marius Petipa: The French Master of Russian Ballet

Ballet choreographer Marius Petipa created the versions of Sleeping Beauty and Swan Lake that we know today. In his informative documentary, Denis Sneguirev (The Bolshoi Theatre, A Renaissance) traces Petipa's path from dancer to choreographer. He includes modern-day interpretations of his work; interviews with historians, choreographers, and dancers; and archival illustrations and photographs, many hand-tinted. By 1847, 29-year-old Petipa had peaked as a principal dancer in France. Debts began to pile up, so he didn't hesitate to accept a job with the Imperial Russian Ballet in St. Petersburg. Then, as his dancing days were winding down, he set his sights on choreography. Since the Imperial Ballet didn't have an opening, he created The Pharaoh's Daughter, a commercial success that some critics found ostentatious. It led to a position as ballet master, which he held for eight years before taking over as choreographer. Speakers praise the ambition and inventiveness of his work, like Bayadére, which dancer-turned-choreographer Rudolph Nureyev chose to update for his final performance (he appears in archival footage). Petipa became a star with the arrival of Sleeping Beauty in 1890. And it only took him 72 years to get there. Critic Yulia Yakovleva credits him for ushering ballet into the 20th century with this intricate, yet emotional work. He also collaborated with Tchaikovsky on the score, the composer's first for ballet (Ivan Vsevolozhsky, director of the Imperial Theatres, helped to bring the two together). Their triumph encouraged other classical composers, who had previously avoided the ballet, to do the same. Petipa would enjoy other successes, like Swan Lake, but by 1903, the Imperial Ballet would not renew his contract in favor of younger, fresher talents. Sneguirev makes a convincing case that Petipa's influence would long outlive him. Though more information about his personal life would have been ideal, this is an enlightening profile for ballet dancers, scholars, and enthusiasts alike. Recommended. Aud: C, P (K. Fennessy)