PAVLOVA DANCES HER WAY THROUGH WONDERFUL NIGHT.

Star (Christchurch), Issue 17881, 24 June 1926, Page 7

PAVLOVA DANCES HER WAY THROUGH WONDERFUL NIGHT.

I ; NEW PROGRAMME IS PRESENTED TO AN APPRECIATIVE HOUSE. } The greatness of Pavlova’s art is such j that long after the enthusiastic plaudits i of the “house” have gone the individual | still has the delightful memories of an I enchanting night and the pleasant task of recalling the spectacles which left | one with impressions which were crowdj ed together in the appreciation of the ! moment. | Having recovered from the magic • with which the dance enwrapped them ! the theatre-goers hark back to the de- , tail of the ensemble and remember the j exquisite poise, the grace in every gesf ture. the rhythmic figure of the dance, j and the beauty which had captivated the soul. Pavlova, Queen of the Dance, i will live long in the hearts of those privileged to see her. Every cadence j carried its message, radiating the charm j of the artist and across the footlights | found a response in those who were ' held spell-bound by the genius of it all. An enchanting scene was unfolded in i “Snowflakes.” a ballet in one act in | which the music is by Tschaikowsky. i The representation of the wintry realm results in a beautiful setting. Jollity holds sway, and the dancing interprets the heavenly theme of the - composer in wondrous fashion. Pavlova has full i scope for her marvellous powers of | portraying the sentiment of the ballet, , and gives grace to the fairy setting by j her every action. Of another type was | "Dragonfly” (Ivreisler), in which daring ; predominates without being too obtrusive. It was a gem; but it was in “Rondino” (Belhowen-Kreisier) that she triumphed. This dainty offering wafted the thoughts of all to ethereal heights. With impressions clinging to them the

audience were loth to bid even a temporary adieu to the one responsible: for this scene of beauty. Enthusiastic recalls followed one on the other-till; Madame had bowed her acknowledgment nearly a dozen times. Grandeur :was 'typified in the strains of the opening bars by Tschaikowsky for the Christmas ballet and then followed scenes of merrymaking, in which Pavlova and M. Xovikoff carry on the abandon of the festive season. Gaiety is personified by these two in a manner which grips the imagination, as do all tiie other ef forts, and leaves the onlookers humbly paying homage. The ballet, “The Magic Flute” (Mozart) introduces Mile Thursa Rogers and M. Pianowski. This is a romantic tale of the woman who would wed her daughter to gold, but who is frustrated by the magic flute, and the youn*j people emerge triumphant. Realisticallv portrayed in the dance, it is a real joy. Mile Rogers has claims to high honours for her part in this performance. Sprightliness characterises every action. M. Pianowski is the successful lpver. The characters *of the Marquis (M. Zalewski) and the fudge (M. D.omoslavski) are delightfully sustained- Mile Rogers made a welcome reappearance in “Pizzicato” (Drigo). Splendid support was given to the principals by the corps de ballet. Thev gave delightful exhibitions in “The Magic Flute." and “Snowflakes.” The orchestra, under the con due tor ship of M. Lucien Wtirmser, has a verv important part in the success of the-entertain-ment. The sympathy with which the orchestra assists the dancers is sn revelation. and the interpretation of the beautiful works of master composers provides a musical feast. The programme will be repeated tonight.