ABSTRACT
As France's balletic fortunes were waning, those of Russia were in the ascendant. Indeed, Taglioni and La Sylphide had appeared in St Petersburg by 1837, with Fanny Elssler soon after. Other French citizens chose to develop their careers in a Russia that was briefly culturally sympathetic and distant from European unrest epitomized by the Franco-Prussian War of 1870, with Perrot and Saint-Léon bringing productions to St Petersburg. As a French artist, Ravel plays his part in effecting reform within stage productions, mischievously pointing up shortcomings at the Opera-Comique by comparison with Rouche's innovative Théâtre des Arts. Despite his criticism of these continuing endemic problems, Ravel cannot hide his innate enthusiasm for theatrical work, especially in relation to his own practice. There is a vast literature on critical approaches to music, let alone dance, design and combinations thereof. The approach therefore must be selective, flexible and generally compatible with, if not uncritical of, Ravel's perceptions.
