Arthur Saint-Leon

Arthur Saint-Léon (September 17, 1821 in Paris – September 2, 1870) was the "Maître de Ballet" of St. Petersburg Imperial Ballet from 1859 until 1869.

He is famous for creating the choreography of the ballet Coppélia.

Biography

Saint-Léon was encouraged by his father, he himself a dancer of the Paris Opéra Ballet, to study music and dance. Saint-Léon studied violin with Joseph Mayseder and Nicolò Paganini. At the same time, he studied ballet so he could perform both as violinist and dancer. When he was 17 years old, he made his début as first demi-charactére dancer at the Théâtre de la Monnaie in Brussels. He started to tour across Europe dancing in Germany, Italy, England, obtaining a lot of success. In particular, the London audience, who did not like at that time to see men dancing on stage, liked him very much. He was much appreciated for his tours and his jumps. He was able to gain applause in every theatre he danced, and this was not very common in the Romantic Era, where the only star on stage was the Ballerina dancing "en pointe".

When in Vienna, Saint-Léon could dance for the first time with Fanny Cerrito and from that very moment the two of them became almost indivisible, till they got married in 1845. For Cerrito, Saint-Léon choreographed a ballet that was a hit in London "La Vivandière" (1843). He created also ballets for the Teatro La Fenice in Venice and for the Paris Opéra.

He became the teacher of the master class at the Opéra and he was in charge to choreograph the divertissements of the most important ballet production. He parted from his wife in 1851 and when she was invited to dance at the Opéra, Saint-Léon retired.

After touring across Europe, (he also worked three years for the Teatro San Carlos in Lisbon), he was invited to succeed Jules Perrot in 1859 as "Maître de Ballet" to the Imperial Bolshoi Kamenny Theatre, home of the Tsar's renowned Imperial Ballet, in St. Petersburg, Russia, a post which he held until 1869 (he was succeed by Marius Petipa).

Even if Saint-Léon choreographed many ballets, the only one arrived to us almost complete is "Coppélia" (1870).

Saint-Léon is famous also because he invented a method of ballet notation described in the book: "La Sténochoréographie, ou Art d'écrire promptement la danse" published in 1852. It is the first method of choreographic notation which documented not only the feet but also the movements of the arms, torso and the head.

The "La Vivandière Pas de Six"

In 1848 Saint-Léon notated a "Pas de Six" from his 1846 ballet "La Vivandière" in "La Sténochorégraphie". The notation was preserved in the archives of the Paris Opera, and in 1975 the dance notation expert Ann Hutchinson-Guest and the Balletmaster Pierre Lacotte reconstructed Saint-Léon's choregraphy and Cesare Pugni's music for the Joffrey Ballet. In 1978 Lacotte staged the "Pas de Six" for the Kirov/Mariinsky Ballet (the former Imperial Ballet), who still retain it in their repertory. The "Pas de Six" has since been staged by many ballet companies all over the world, and is known as either the "La Vivandière Pas de Six", or the "Markitenka Pas de Six" (as it is known is Russia). The "Pas de Six" is the only known choreography of Saint-Léon's to have survived.

Main Choreographies

*1843 "La Vivandière" (mus. Cesare Pugni)
*1847 "Alma, ou la Fille de feu" (mus. Cesare Pugni)
*1849 "Le Violon du Diable" (mus. Cesare Pugni). Here, Saint-Léon performed both as dancer and violinist.
*1850 "Stella" (mus. Cesare Pugni)
*1860 "Graziella ou La Querelle amoureuse" (mus. Cesare Pugni)
*1861 "La Perle de Seville" (mus. Cesare Pugni)
*1864 "Fiametta" (mus. Léon Minkus)
*1864 "The Little Humpbacked Horse" (mus. Cesare Pugni)
*1866 "The Golden Fish" (mus. Léon Minkus)
*1866 "La Source" (mus. Léon Minkus and Léo Delibes)
*1869 "Le Lys" (mus. Léon Minkus) Here, Minkus re-used much of the music he wrote for "La Source".
*1870 "Coppélia" (mus. L. Delibes)