RUSSIAN BALLET

Manawatu Standard, Volume LIX, Issue 193, 17 July 1939, Page 11

RUSSIAN BALLET

WONDERFUL ARTISTRY. One of the reasons for the extraordinary success of the Russian Ballet in New Zealand is that it has given balletomanes so many vibrant personalities to study. This fact was very clearly defined in Palmerston North on Saturday, when a group of the Covent Garden Russian Ballet dancers, at their imuincc and evening performances, captured outright the hearts of the audiences with their artistry and inspiring and exciting presentations. The piece de resistance of the entire programme were llaissa Kousnetzova’s remarkable poetry of movement in “Be Spectre de la Rose,” her vitality and personality in “Les Svlphides,” and her incredibly beautiful appearance in Petipa’s classic “Blue Bird.” She is purely classical, probably more so than any dancer at tlie same stage of development in Europe to-day. rivalling, if not surpassing, the noted Tatiana Biahonchinska.

Petruche Orlova was impressive as Columbine in the period ballet “C'arnaval,” and never has she danced to such good effect with her beautiful bands. The role suited her temperament admirably.

Valeric Rhaevsky, a typical Polish danseur. fascinated the audiences with his inherent grace and personality. A romantic, ho was most successful in “Les Sylphides,” “Blue Bird” and “Le (Spectre de la Rose.” A different type of danseur. Eduard Sobishcvsky was at his best in his translation of the sailor’s hornpipe in “Les Matelots,” and displayed clever originality in his own “Football Banco.” He appeared also in “Carnaval” as Harlcouin, a role which threw an even brighter light on his splendid performance. Shaevskv and Sobishevskv. Kousnetzova and Orlova wore delightful in other individual and grouped dances, each, providing a contrast in their ballet work which was a constant source of interest and admiration. Feodor Pellac. a talented ninnist. played the ballet music and also contributed to the programme.