RUSSIAN BALLET.

Auckland Star, Volume LVXIII, Issue 53, 4 March 1937, Page 10

RUSSIAN BALLET.

AUCKLAND DEBUT.

A BRILLIANT FIRST NIGHT.

SUPREME ART AND * ENTERTAINMENT.

Dressed and gowned for the occasion as it had not been for many years, Auckland was there en masse and "with tails on" at His Majesty's Theatre last night to suitably welcome the first appearance in the land of the famous Monte Carlo Russian Ballet. It was, indeed, a brilliant house, which bubbled into early enthusiasm that intensified with the successive performances. Despite the handicap of some sections of its personnel and equipment having been landed from the Sydney steamer only an hour before the advertised time of the opening performance, the Ruesian ballet came and showed and conquered. Favourably predisposed by knowledge of British, American and Continental triumphs, which accounted for the heavy first-night booking, patrons, by and large had the appearance of passengers about to undertake a first aeroplane trip. They were troubled by conflicting reports of first sensations. Mingled with the epetasy were vague references to classical etuff that they might not like as entertainment.

Classical enough in all conscience were the music and opening ballet, "J>s Sylphides," consisting of Chopin prelude, nocturne, valee and mazurka by the orchestra, translated by the ballet into etill, statuesque stage groupings, dreamy dances "sur les, pointes," including pirouette and fouette of old classical dance memories. But—the gloriously controlled and balanced orchestration under Jascha Horenetein's direction gave instant universal appeal to the delicate melody of Chopin's music; the classic dancing features mentioned were but a means towards the end of giving .point and delicacy to a visual translation of the music to poetic, romantic motion; and the costumes and special setting designed by Leon Bakst made understanding easy. Classical enough, but patrons found they liked it. and they rose to it enthusiastically. The chastity of the early tranquil scones, with beautiful groupings like sculpture fringing the fairy pool of the setting, veiled by the frentle moonlight music, aroused tender fairy memories, as in a lin If -forgotten dream. The music <tirro<l to languorous valsp, and Nina, Vmiclikov icli was thp beautiful spirit of the vaNi*. The bout hurried to mazurka. an<l Holene Kirsova took np the rhythm in a dainty solo. A yet more vigorous mazurka note brought a vigorous male dancer, T<ror YoussTcevicli. Imundin? across the jrlade, to later join step with Kirsova in a romantic waltz, following which the fairies, in glorious ensemble, danced in ecstasy. Classical it was, but entertaining, understandable in its lovely music-picture, a revelation of 4>allet as a real art.

The Kastern <lanoe drama oalle<l "Scheherazade." a story of infidelity ift a harem and ruthless reprisal by the Sultan, fastened the spell of the ballet »pon the patrons, who wpre at, once thrilled and fascinated by the wild nnitsic, the gorgeous richness of the barImric settinjr and costume-;, and the fierce abandon of the dance-play drama. The great feature in this was the wild dance of minpled adoration and lust by Leon Woizikowsky in the role of the chief Sultana's favourite slave.

"Aurora's Wedding," a one-act ballet from "The Sleeping Princess." had Tchaikovsky music and strikingly beautiful costumes and setting, but more than cither of the other ballets performed last night, it illustrated the wonderful strength of talent which has made the Monte Carlo Russian Ballet famous. From within the superbly shaped and controlled ensembles of wedding gaiety, it sends forth specialty after specialty in character dances and variations. It piles strength upon strength in a cascade of varying |>ersonalities. all highly talented, and in the performance humour gaily jostles drama. The famous Blue Bird dance by Xina Golovina and Roland (iuerard shared popular favour with the romping Russian character dance of the Three Ivans by Yalcry Shai-vsky. Scrirt- Unjra and Dmitri Tuva ruff. To others the quaint humour of the Porcelain Princesses by Sonia Woizikowsky, Vanda (Jrossen and .fan Hover appealed strongly. Unquestionably the Russian Ballot, in its piitcrttiiuing melody, pageantry and allegory, quite apart from its immense aggregation of talent, made a general appeal, which onsuros a highly successful season. The same programme will l>o presented nightly to the end of the weok.