Johansson, Christian

▪ Swedish-Russian dancer

in full  Per Christian Johansson  

born May 20, 1817, Stockholm, Sweden

died December 12 [December 25, New Style], 1903, St. Petersburg, Russia

      Swedish-born ballet dancer and principal teacher at the Imperial Ballet School in St. Petersburg, who made a fundamental contribution to the development of the Russian style of classical ballet.

      Johansson received his basic dance training in the ballet school of the Royal Opera in Stockholm, graduating shortly after Anders Selinder, the first Swedish-born choreographer of note, was appointed ballet master there. In 1836, soon after making his debut, Johansson was sent to Copenhagen to finish his training under August Bournonville (Bournonville, August), whose approach derived from the pure French school of Gaétan and Auguste Vestris (Vestris family) and Pierre Gardel. Between 1836 and 1839 he danced in both Stockholm and Copenhagen; in the former city in 1841 he partnered Marie Taglioni (Taglioni, Marie) in La Sylphide during her brief visit as guest artist. That was to be the turning point in his career. Learning that Taglioni was proceeding to St. Petersburg, he resolved to follow her in the hope of securing an engagement. He managed to obtain permission to attend classes at the Imperial Ballet School, where he came to the notice of the ballet master, Antoine Titus, and made useful contacts that led to a debut and his being engaged at the Imperial Russian Ballet.

      From that moment he was to devote his life to the Russian ballet. During a long and distinguished dancing career he partnered not only principal Russian ballerinas such as Yelena Andreyanova and Olga Schlefokht, but also many of the visiting ballerinas from western Europe—Marie Taglioni, Fanny Elssler (Elssler, Fanny), Carlotta Grisi (Grisi, Carlotta), Fanny Cerrito (Cerrito, Fanny), and Amalia Ferraris. In his prime his innate nobility and grace were unsurpassed. His technique always remained impeccably correct and precise, even if, to Russian eyes, the turnout of his feet at times appeared a trifle exaggerated.

      In 1860, when his dancing skill was waning, he turned his attention to teaching and began to give classes at the Ballet School, although he would not be officially enrolled on its staff until 1869. The part he played over the next four decades in laying the foundations of the golden age of Russian ballet under Marius Petipa (Petipa, Marius) was to be fundamental. He brought a new polish to the Russian style, providing it with a firm base in the method that he had himself learned from Bournonville. Few teachers have been held in such affection and esteem as he. Throughout his service, he enjoyed the fullest support of Petipa, but his pupils were the source of his strength. In his 80s he would still climb the three flights of stairs to the classroom, clutching his precious violin, and at the very sight of his class he would be miraculously reinvigorated. His students affectionately called him Methuselah. By the time he retired, in 1902, he had produced an incredible galaxy of talent, including the Legat brothers, Sergey and Nicholas, and the ballerinas Praskoviya Lebedeva, Mathilde Kschessinska (Kschessinska, Mathilde), Olga Preobrajenska, Anna Pavlova (Pavlova, Anna), and Tamara Karsavina (Karsavina, Tamara Platonovna).

Isabella Gordon

 

* * *