Stalinism is just a style

„The drums of revolution beat out once more in St. Petersburg“ — so began the review of The Flames of Paris that appeared in the Financial Times on the morning after the premiere; it was reminiscent of a news report from a battlefield and, at the same time, a ceremonial hymn of victory. „This is no dry, academic exercise; what emerges is a potent work, admirable in its drive and in its execution“, wrote the restrained flagship of the British press, not permitting itself even a shadow of irony as regards the ‘Stalinist legacy’. Later, when the heat of the ‘Flames’ that had burned during the five premiere performances had cooled somewhat, the time came for more detached appraisals. What was particularly noticeable was that numerous reviewers, while emphasizing the mastery of the soloists and the professionalism of the choreographer, also attempted to define the production’s place in the context of modern aesthetic sensibilities.
„In staging The Flames of Paris, Messerer is doing something that is significant not only from an artistic, but also from a socio-cultural point of view“, wrote Delovoy Peterburg.
„As a consistent propagandist of Soviet choreography from the first half of the 20th century, he believes its best examples to be the continuation and development of the great choreography of Petipa, Ivanov, and Gorsky. In reconstructing one of Stalin’s favourite productions, he is severing the link between that fearsome name and the ballet, showing it to be a valuable work of art in its own right. Athleticism, inventiveness, and drive all come together to form pure aesthetics that bring enjoyment devoid of moralizing, and which herald the long-awaited death of Stalin in popular consciousness. At long last, Stalinism is just a style, like Rococo or Biedermeier.“