BALLET MAGIC.

Auckland Star, Volume LXX, Issue 31, 7 February 1939, Page 10

BALLET MAGIC.

AUCKLAND RESPONDS. "SCHEHERAZADE'S" GLAMOUR SECOND PROGRAMME THRIX.T.S Opening its second programme at lllis Majesty's Theatre last evening, the Covent Garden Russian Ballet found a most responsive Auckland audience. Through lack of opportunity it was not a thoroughly critical —in the wide sense of the word —nor an entirely discriminating audience, 'but it "v/as one of great enthusiasm. The germs of balletomania were there, to sweep infectiously throughout the house as the programme progressed. It would have revelled in the atmosphere uncaring for anything else had the programme been continued until midnight. The appreciation of that audience was given vent in frequent and prolonged applause, with a murmur of' voice that almost rose to a' shout of acclaim at one stage. From an ordinarily restrained, though always kindly, New Zealand audience that was indeed remarkable. It was the heady wine of "Scheherazade" that caused it — the symphonic ]>oem of RimskyKorsakoff's music, the vivid colouring of Leon Bakst's decorative scheme, and the tumult of passions portrayed in the clear narrative and the physical expression of the dancers. The audience cared not, in the main, whether the interpreI tation was classical in foundation or I individualistic; the effect was there. The perfect co-ordination between the music, the painting and the choreography (or design of the dance) and the interpretive skill of the dancers provided the vehicle on which they floated away oil the path of exotic romanticism. Drama and Colour.

Because of the general gripping ap|ieal of the famous ballet, the individual success of Tamara Grigoricva and Anton Dolin was the greatest one of the evening. "Sobeherczade" is the introductory scene to the "Arabian Nights Entertainment," and is. itself, a •brilliantly dramatic story with clearly expressed rlinracters. There is the weak Sultan (Diinitri Rostoff), the imperious voluptuous Zobeide (Tamara Grigoricva), his favourite wife, and the crafty brother of the Sultan (.Tan Hover) ; there, too, is the purely sensual lover (Dolin), and all the others of like nature in the court. The story develops with the departure of the Sultan and his brother on a fictitious hunting trip— their unexpected return to find an orgy in progress, and the massacre of all who were concerned in it.

The beautifully executed work of the many, and all the colour. drama and glamour of the music, the decor and choreography had a focal point in Grigorieva and Dolin. The physical demand of the mJh in facial expression, in posturing and expressive attack revealed Dolin at his best; but the success in even larger measure was that of Origorieva's. It was her rol« —the descent from the imperious ruler to the undisciplined slave of sensuality, to the pleader at the feet of her sultan, and then the last regal gesture of self destruction. One of the richest and most exciting of the ballets, it made a tremendous appeal to the audience. The opening ballet, "Les Dieux Mendicants," with the choreography by David Lichine, was a dainty offering but it did not have the strength of the other two ballets. This story of the two gods who descended to earth and danced as shepherd and shepherdess before assembled noblemen and ladies displayed effectively, however, the versatile classical style of Roman Jasinsky and the individualism of Tatiana Riabouchinska. Both are exceedingly light, with fine elevation, and there was decided charm in their presentation. The work of Tainar Tchinarova, Kira Abricoesova and Borislav Runanine was also pleasing. Brilliant Dancing. Almost a divertisment, "Le Mariage D'Aurore," a classical Petipa-Tchai-kovsky survival, has no developed story, but is a one act fragment from "The Sleeping Princess," with . a series of charming dances, connected only by mood and music, each of which makes demands on the individual dancers. It offered the first appearance last night of the prima ballerina, Irina Baronova, in the name role, partnered by Paul Petroff as Prince Charming, and once again they were greeted by a tremendous ovation. Fluidity of movement in all phases of the dance, and the appeal of a delightful presence once again stamped these two as outstanding interpretative dancers —but one of the gems of the evening was the delightful "Blue Bird" dance interpreted by Tatiana Riabouchinska and Roman Jasinsky. Its gay moods its elevations and fluttery daintiness were splendidly suited to their styles, and they were called back again and again. Public acclaim, too, greeted the fast acrobats of the traditionally Russian "Three Ivans" (Yura Lazovsky, Marian Ladre and Narcisse Matouchak) the charming "Florestan and his Sisters" (Mera Nelidova, Kira Strakhova and Borislav Runanine), the five "Variations" (with Razoumova and Baronova especiall charming), and the quaintness of the "Porcelain Princesses" (Galina Razaoumova, Irian Kosmovska, and Edouard Borovansky) and "Little Red Riding Hood" (Lisa Serova and Jan Hoyer). The individual and collective work of the corps de ballet, and the excellence of the orchestra under the baton of Antal Dorati, all added to the pleasure of a programme that will livfe long' in the memory. These ballets will be repeated until Wednesday night and a special matinee will be presented on Wednesday afternoon. On Thursday, Friday and Saturday nights and on Saturday afternoon "Les Sylphides," "Union Pacific" and "Les Presages" will be produced.