[2]: 4 Following the Revolution of 1917, a period of experimentation in ballet ensued as a distaste for works which evoked the imperial court developed in post-revolutionary Russia.

To re-appeal to the public, choreographers in Soviet Russia explored new performance spaces and formed smaller chamber ballet companies where there would be more scope for creativity.

[2]: 4  Unlike the Petipa classics, The Magnificence did not tell any story, but symbolically suggested the origin of universal light and other profound spiritual concepts.

This ballet, the first to tackle the subject of the 1917 Revolution, begins with an act or “process” with strong, aggressive dancers opposing the passive and elusive group.

Lopukhov’s other choreographed ballets include The Firebird (1921), Raymonda (1922), The Sleeping Beauty (1923), Don Quixote (1923), Khovanshchina (1926), The Red Poppy (1929), Coppélia (1934), The Snow Maiden (1947), and Pictures at an Exhibition (1963).