Brilliant Dancing By Kovach, Rabovsky

Press, Volume CII, Issue 30108, 17 April 1963, Page 17

Brilliant Dancing By Kovach, Rabovsky

Nora Kovach and Istvan Rabovsky appeared in Christchurch two years ago. They at •once became popular with audiences in the city, not only because of their remarkable talent, but for personal reasons as well. They bring with them a certain air of informality and are quite without the remoteness that is sometimes cultivated by artists at their level of attainment.

As might be expected, the audience at the Majestic Theatre last evening, at the first of the two programmes to be presented here, was an enthusiastic one. All the members of the group were warmly applauded, and the applause was deserved. This was a brilliant performance. The dancers opened the programme with the Wedding Scene from Act 111 of “Coippelia.’’ and their marvellous sense of style was at once apparent. This enabled them to do something—perhaps even more than that —to make up for the lack of the usual accompaniments of ballet —the orchestra, the supporting dancers and the traditional settings. Their “Chopiniana,” a souvenir of "Les Sylphides,” was even more successful in this way. It would have been a distinguished performance anywhere, the concluding waltz being particularly noticeable. Another waltz, “The Blue Danube,” ended thfe first part of the programme. It was quite different in tone; in its gaiety and lack of dignity perhaps somewhat plebeian, but nevertheless making considerable technical demands upon the dancers. This programme is diversified with the music of piano and violin. Anatoly Mirosznyk is a virtuoso at the former instrument; but the extreme restraint of his manner contrasts with the bravura of bis playing. The names of some of the pieces he played will give an idea of the scope of his ability. These included Liszt’s "Hungarian Rhapsody No. 10.” the “Rondo Capriccioso’’ of Mendelssohn and Chopin’s

"Fantasie Impromptu." Eugene Ostromecky is a violinist who can produce an astounding variation of tone from bis instrument. He f is strongly drawn to East European airs, as his polished version of Bulange's

“Rumanaeu Horre” showed. From the more conventional point of view, his playing of Paganini’s “Romance” was quite outstanding. Great interest attached to the numbers offered by Nora Kovach and Istvan Rabovsky in the second part of the programme. Most of these will be new to Christchurch audiences; perhaps the only exception is the moving glimpse of tragedy from “Orfeo and Eurydice,” danced to the music of C. W. Gluck.

“The Saffron Knot” is a contemporary ballet, at once graceful and original. In particular. it revealed the perfect accord of the two artists,.

“Esmeralda” moves with a surface gaiety that is just as admirable in its way. It obviously gives as much pleasure to the dancers as it does to the audience, and it was enthusiastically received. Raibovsky was seen at his most enterprising and athletic here, and his partner, a gracious and smiling Esmeralda, delighted the audience with what might be called some of the flamboyant parade of ballet.

The music for the dancers came unostentatiously from the wings. It was played with unfaltering tact by Anatoly Mirosznyk and Eugene Ostromecky.—C.E.S.