RUSSIAN DANCERS

Dominion, Volume 32, Issue 234, 1 July 1939, Page 6

RUSSIAN DANCERS

Traditional And Colourful Costumes Displayed

Wearing the traditional and romantically associated costumes that have always been a part of classical ballet since the days of its beginnings in imperial Russia, a group of dancers from the Covent Garden Russian Ballet presented dances and scenas from ballets last night in the Concert Chamber of the Wellington Town Hall. In the enchanting moonlight that flooded the empty stage, two dancers opened the programme with a scena from “Les Sylphides.” Raissa Kousnetzova wore a full-length ballet frock of white tulle with satin bodice and half-wreath of white flowers encircling her head. Her partner, Valeri Shaevsky, wore a black velvet sleeveless coatee, full-sleeved white lawn blouse and white tights. In ‘Les Matelots,” Edward Sobichevsky danced a solo number in a white polo-necked jersey with black applique, white sailor’s cap and black trousers.

A cream lace headdress in the form of a shortened mantilla was worn by Petruche Orlova in her “Tarentella” number. Her full floral-patterned black skirt, with its frilly petticoats, was finished with a black velvet laced top and white bodice. In “Blue Bird,” the famous Petipa number was danced by Raissa Kousnetzova and V. Shaevsky in lovely costumes of blue bird colours. Mdlle. Kousnetzova’s short frilled ballet costume had one slender diamante shoulder strap and one of soft blue feathers. Her bodice gleamed with a dull silver sheen and in her hair a tuft of feathers was encircled by a brilliant band. Her partner was in a blue and silver suit in a deeper shade, with fitted headdress in the same colour. Harlequin and Columbine. With the ivory silk crinoline embroidered in scarlet and green, in which Mdlle. Orlova danced her Columbine number, she wore scarlet berries in her hair which was dressed low on her neek, and little white gloves tied with fluttering scarlet ribbons. M. Sobichevsky as Harlequin wore the traditional green and scarlet diamond patterned lights, full white blouse with large black bow, black cap and mask. Air. John Turner, in a solo number, “Valse Atiete,” was in a ballet suit of athletic design in soft grey and blue with sash from the shoulders.

The last number on the first half of the programme, “Charach,” was danced by a trio, Aldlle. Orlova and MAI. Straevsky and Sobichevsky in resplendent Russian gipsy costumes of sunflower yellow, scarlet and vivid green. The male dancers wore black tights, gold embroidered, with their yellow biouses and red headkerebiefs, and the girl had a sash of fringed ribbons with a full red skirt and yellow bodice. Short red leather Russian boots completed the three ensembles. As the curtains parted for the opening number on the second part of the programme, “Spectre de la Rose,” a young girl, Mdlle. Kousnetzova, in whiet taffeta ball frock and sapphire blue cape, stood pensively holding a scarlet rose. She danced with M. Shaevsky, who wore a suit of pink curled rose leaves on a pink background with pink tights. The “Cat’s Donee” followed. Mdlle. Kousnetzova, in a short white ballet frock with red ribbon neck bow and white fur “pussy” cap with ears, was partnered by M. Sobichnevsky, who was in a suit of brown fur fabric with a curled “tail” and neat white lace collar finished with a red bow.

Frilled orange skirts with flame posies embroidering them were effectively combined with green fringed shawl and white bodice in a solo number, “Spanish Dance,” performed by Mdlle. Orlova. National and traditional dances, solos and scenas from ballets completed the programme, a variety of delightful costumes being displayed. .