PAVLOVA’S ART IS IRRESISTIBLE.

Star (Christchurch), Issue 17880, 23 June 1926, Page 7

PAVLOVA’S ART IS IRRESISTIBLE.

ANOTHER TRIUMPH AT THEATRE OYAL.

Madame Anna Pavlova and her ballet afford an unforgettable spectacle, a pageant of splendid motion, of gorgeous colours and of charming ensembles, telling fairyland tales to haunting melodies. Another large audience at the Theatre Royal last evening was sent away marvelling at the art that could place so sure and yet so indefinable a grip upon them. The dominance of Pavlova seems almost hypnotic. She carries her audience with her to delightful scenes of gay or sombre fancy; lifts them right out of this workaday world to be for the moment one with herself. The subtle power of the dance was never better demonstrated than when interpreted with Pavlova’s genius. It matters not whether one understands the technique or no, the appeal is there, strong and compelling, an appeal that finds response in every artistic sense of the onlooker. The magic of Pavlova's art defies analysis. One is aware merely of its irresistible appeal, and the sensations inspired are altogether too delightful to bother about the mechanics of.the process. To carry away the mental picture of that wonderful tip toe dancing, of the tTision of incredible lightness that seems to be wafted across the stage, of the death throes of the swan in that magical dance —these are all delights that remain in permanent heritage after the senses have been captivated for three glorious hours.

The orchestra, under the conductorship of Lucien Wurmser, played a worthy part in a wonderful entertainment. While the eye is feasted with beautiful colour schemes and graceful motions, the ear is charmed with the most delightful harmonj’. The understanding between the orchestra and the dancers appears to be perfect. Everything is done to music and kept up till the precise moment of the beat. The opening overture by Massenet was played with most artistic restraint and delicacy. The music for the lively gaiety of “ The Polish Wedding ” was by Krupinski, and it gave pleasure illustrative of the charming work of this clever composer. The mazurka was a particttlarly graceful number. In the introduction to the Fairy Doll ballet the pizzicato opening was admirably done, and it led into a most melodious valse. The music for the Pavlova dance in this ballet was beauti-

fully played and the cornetist deserves a special word of praise for his rendering of the music in Mr Novikoff's solo dance. In the concluding part the music for the “ Primavera ” was admirably rendered, the ’cello and strings bearing the chief burden. “ The Swan Dance went inevitably to SaintSaens’s “Le Cygne,” and it was most delicately played by the ’cellist. The “Bolero" was given to a lively dance by Minkus, and a pretty pas de trois to a charming Strauss composition, j The Gavotte Pavlova was well suited j by a pretty piece from Lincke. and J Tschaikowsky was drawn upon for I suitable music for an energetic Spanish i dance. The delicate Boccherini composition for the Scene Dansant was played with consummate grace. The final contribution for the Russian dance Avas vigorous, lively and colourful, a fitting accompaniment to a dance that deserves all those three adjectives. The orchestra is a delightful help to an enchanting entertainment. TO-NIGHT'S PROGRAMME. I A change of programme, will be made ! this evening. “ The Magic Flute,” a i ballet in one act, with music by Drigo, j and arranged by Marius Petipa, will I be one of the features. Another treat j is in store in “ Snowflakes,” in which Tschaikowsky Avill provide the music. • Pavlova will also appear in solo dances ! and together with Laurent Novikoff, ■ who Avill also perform some solo dances. The programme promises another de- ' lightful dancing and musical feast, as Lucien Wurmser and his orchestra may be depended’upon to fulfil their part of the entertainment in keeping with the wonderful standard of the performance on the stage floor.