On Ballet at the Opéra, 1909–14, and La fête chez Thérèse

This article is broadly centred on the ballets staged at the Paris Opéra during the era in which Diaghilev's Ballets Russes were resident in the French capital. I seek initially to define the ways in which both troupes, the Opéra Ballet and the Russian, were received in the period press: in short, how the French company was implored to take its lead from Russian choreographic and scenic developments. My principal aim, though, is to offer a 'thick' description of one particular ballet – a commission from the Opéra entitled La fête chez Thérèse, set to music by French salon composer Reynaldo Hahn and premièred on 16 February 1910. A close reading of Thérèse's narrative, structure and musical design reveals something of the ballet's cultural resonance: a resonance that extends from the ballet-pantomimes of the July Monarchy, through the extra-curricular endeavours of the composer Gustave Charpentier, to contemporary ideals of womanhood, social parity and dancers' skirts. A new historical perspective emerges, one that prompts a revision of the taxonomies according to which narratives of the pre-war balletic scene are usually plotted, along with a reassessment of the dominant historiographical strategy itself.