as "authentic." They were brought up to believe that Nikolai Sergeyev stole the notations from the Mariinsky when
he brought them to the West. Actually, in retrospect, he was trying to save and preserve Stepanov's notations.
He was also painted (after the Revolution), as a despised ballet master in the company. N. Sergeyev was a traitor, thief and "villain" who stole Mariinsky Theatre property; that was the official narrative. Lenin, with much persuasion, eventually changed his mind about the ballet and the opera, seeing their value as propaganda tools, and
decreed that these performing arts should be for all people, not the elite few. Ballet was considered to be an
art of the nobility. Everything associated with Imperial Russia had to be destroyed.
I remember that it wasn't only the 1890 "Beauty" that was controversial, this was also the issue they had with 1900 "Bayadere" recon staged in the early 2000s. Fydodor Lophukov 's and Konstantin Sergeyev's redactions were approved by the Soviet authorities as they were intent on rewriting everything, history - as well as Russian ballet history - i.e. starting from scratch. Konstantin Sergeyev's "Beauty" is especially beloved by the company and Petersburgers, because it was this production, as well as his redactions of "Raymonda" and "Swan Lake," that helped the city recover after the 900 day siege it endured during World War 2. These productions gave the people hope, color and joy after alot of suffering and sacrifice. This is why the Sergeyev productions remain beloved and are sentimental on a lot of levels for the dancers and the people. This is also true of the Vasily Vainonen "Nutcracker" (1934), which they still perform and tour frequently. It's performed much more than the recent Simonov Chemiakin "Nutcracker." All subsequent reconstructions have been staged at the Bolshoi, La Scala and in
Tokyo by Sergei Vikharev. Both he and they have been welcomed in these theatres, but not in the Mariinsky Theatre. It's very sad.