Russian Ballet Enthusiastically Acclaimed

Manawatu Times, Volume 64, Issue 41, 18 February 1939, Page 6

Russian Ballet Enthusiastically Acclaimed

PROGRAMME OF STRIKING CONTRAST WORLD’S FINEST EXPONENTS That ballet is the liveliest of the arts was fully exemplified last evening when an audience that filled the Opera House to capacity was transported to another world —a world of colour, music and action wherein the perfect expression of form and emotion was demonstrated by the talented members of the Coveut Garden Russian Ballet. The experience of seeing in action notable artists such as Irina Baronova, Tatiana Riabouchinska, Anton Dolin, to mention only three of the great ones, was a privilege all too rare and quickly recognised by thosa present. One emerged from a spell of magic enchantment to treasure precious memories of the lyric poetry of “Carnaval," tho dignity and beauty of “The Swan Lake," of tho amazing conception of “Les Presages" and Tchaikovsky's great work that provides the thought-provoking theme. The programme opened with Fokine's pantomimic ballet, “Carnaval," inspired by Schumann’s well-known piano composition, in which Harlequin, Columbine, Pierrot and Pantalon and all the rest of them flit across tho stage in a series of episodes that take place at a masked ball. Riabouchinska danced her roguish way into the hearts of tho audience as the fickle Columbine, in an entrancing frock of white petalled satin embroidered in scarlet and blue, with posies of red flowers in her golden curls and wristlets finished with red bows. So light in her airy grace one hesitated to breathe for fear she would float away. A virile dancer with amazing agility Yura Lazovsky was the mischievous Harlequin to the life. As the woebegone, grotesquely tragic Pierrot, Edouard Borovansky excited pity with admiration with his clever miming while delightful solo work was provided by Tamara Gregorieva as Chiarina and Anna Volkova as Papillon. It was possibly the classical ballet,

“The Swan Lake," the second choice, which had the greatest appeal. As presented last evening this ballet is described as a choreographic poem in one act admirably fitted by Petipa to Tchaikovsky 's first ballet composition. The audience was spellbound with the infinite variety and beauty of the classical attitudes of the dancers, as the fairytale of the princesses turned into swans and discovered by a prince out hunting, unfolded to its poignant conclusion. Words fail to describe in adequate terms the exquisite beauty of the pas do deux as interpreted by Irina Baronova as the Swan Queen and Anton Dolin the Prince, or of tho famous dance of the four little swans, which captivated the audience completely. Baronova, acclaimed to-day the world's greatest ballerina, can bo spoken of only in superlative terms, and tho technical mastery of Anton Dolin in like manner. Anton Dolin is the ideal partner, modest and unassuming, and as “premier danseur" has partnered all the leading ballerinas, including Tchernicheva, whose husband is Serge Grigorieff, regisseur-general of the Russian Ballet and leading figure in the ballet world to-day. In striking contrast iu movement was

“Les Presages," the subject of which is man’s struggle with destiny, based on Tchaikovsky's Fifth Symphony, this conception leaving the audience breathless. The first scene represents life, its diversions and temptations; the second love in contact with the baser passions; in the third destiny is forgotten and frivolity reigns supreme, and finally tho evil in man has aroused tho angry passion of war; womankind, tempted by the glamour of Mars, follow them; tho final triumph celebrated being not over tho vanquished but over the evil war spirit they have conquered. This ballet is one of the most remarkable of the modern works, with conflicting emotions strikingly enacted in rhythmic changes and intriguing blending of colours, most noticeable in the mass movement which is a feature. Outstanding was the work of Tamara Tchnarova as Action; of Baronova and Paul Petroff as Passion, H. Algernon as Fate and Riabouchinska as Frivolity personified.

A delighted audience paid spontaneous tribute at the conclusion of each ballet.

Most satisfying was the music as presented by a full symphony orchestra under the inspired direction of Antal Dorati, who well merited the applause acccorded him.