ADELINE GENEE.

Dominion, Volume 7, Issue 1890, 27 October 1913, Page 10

ADELINE GENEE.

AND THE IMPERIAL RUSSIAN BALLET. Hie glamour and enchantment of dancing in perfection extended its charm over an assemblage that filled every seat in the Opera House on Saturday evening. The peerless art of Adelina Genee, and, in a slightly less degree, her associates from the Imperial Russian Ballet, was to anyono present with a scrap of imagination, a return to tho golden age—a peep into an Arcadian world where joy reigns uneoniined and tho vain things ot earth find no abiding place. *- It- was tho first occasion on which 'Wellington playgoers have been afforded the opportunity of witnessing tij© ballet proper, and we must account ourselves extremely fortunate in making its acquaintance through such mediums as Jldilo Adelina Geneo, M. Alexander Volinin, Mcille. Halina Schmolz, and tho brilliant array of dancers represented by tho Russian Ballet, whose steady adhereneo to tho best ideals in classio and national dancing under the direct aegis of tho Tsar lias been the means of reviving enthusiasm for the art all over tho civilised world. Standing out forcibly pre-eminent from all in tho present company of artists introduced by J. C. Williamson, . Ltd., is tho Danish premiere danseuso Mdlle. Genee, who is the embodiment of tho spirit of the dance—tho soul of spring as wo all would have it. With gossamer lightness sjie floats airily into tlie focus of tho stage lights, and itith twittering feet, only the extreme- toetips of which touch the stage, she flits and flutters round like a golden butterfly in a rose garden, and when tho mood and the music impel a gyrating motion from corner to corner of the space, Genee- becomes a human petal caught and whirled by tho dawn breeze. Nothing approaching her airy grace can be recalled. Sho is a new sensation. Every movement is a perfect harmony; for Genee is not only a dancer, or rather she is the dancer perfect, aa sho dances with her whole being— gesture, expression, poise, pose, aro ail allied in each momentary movement. Iler technic is so perfect that every motion appears to.be gaily spontaneous. And what a vital little actress! Her pantomime makes words unnecessary. On Saturday sho essayed 110110 of tho deeper moods —through everything she danced trickled the brilliant sunshiiio of comedy, and it was all deliciously spontaneous and exhilarating. Mdlle. Genea is associated in much of her work with M. Alexander Volinin, a dancer of rare capacity, with the figure of a Greek god, and intelligence, strength, and Terpsichorean dexterity combined in a marvellous degree. Tho malo dancer is a novelty in this part of tho world, and wo aro happy in having M. Volinin as air expositor of the graceful art. He is absolutely fawn-like as he springs into tho light, and liis wonderful aerial twistings, statuesque posing, broad gestures, and illuminating facial expression were the highest form of this phase of art. With admirable discretion and emotional control ho can express at will iov, despair, amazement, love, fright, and j ecstatic happiness. His manner 111 everything is thoroughly masculine—thero 'is nothing finicky or effeminate in his composition, and on each of VolimVs appearances tho dancer was hailed with espccial favour. Mdlle. Halina Schmolz, tne prcmiero Russian danseuso, is a thing of youth and beauty, whoso dainty tip-too dancing and rare gesticulativo powers wore immediately recognised by tiio audience as distinguishing characteristics of an artist. Tho programme was divided into three _ parts. The first part was a series of dances—solos, duets, and full ballet—entitled: "Les Syiphides," danced in th& filmy knee-high skirts in tho turquoise light of a woodland_ dell, to the distractingly beautiful music of Chopin. _ Tt was s)rfph-land, invaded by the spirit of Chopin (represented by M. Volinin), and surely never were tho works of tho great composer more perfectly expressed 111 motion than by these brief-winged fays. Hero it was that Geneo tip-toed her v;ny into tho hearts of tho audience, and remained _ thero as a glorified fairy of dream-like reality. Surely nothing so exquisite could be quite human. As lights?, thistledown, the sylpii romped daintily with the _rc-onibodied spirit of Chopinj giving living impressions of the famous 'Nocturne," the Waltz in D Flftt, tho beautiful "Prelude in C," nid the entrancing "Waltz in ' E." Mdllesr. Schmolz and Vlasta. Novotna appeared to advantage as_ tho second' and third sylphs. Both principals and ballot wero arrayed in white, with but- tho rarest touches of colour. Tho corps du ballot 15 exceptionally good, and their posing and grouping made not the least interesting feature of "Les Sylphides." The , music was delightfully played by a wellbalanced orchestra, under' the direction of Mr. C. J. M. Glaser. Tho second part, , "Divertissements," was comprised of a number of dances, each having its own particular appeal. With the first dance, a "Mazurka" (music, by Glinka), came , the first insight, into' the electrical methods of tho' Russians (represented by Mdlles. Vlasta Novotna, Veroni , Westoff and Mark Zalewsk.t, andMMs. 1 Tan Kaweeki, Victor Lauschmalin, and ■ Jan Zalewska). Never was there such i- "Mazurka" danced in Wellington. It 5 ivas the real tiling—with tho jingling- 1 bells, tho clacking heels, and the Slav- j :)nic stamp of tlie foot, all'executed with " in elan and snap that- was delightful. * rho traditional form was observed of ! ihe couples following the leaders, and 1 ■urning from_ .left to right- and vies f »ersa into a circle, where the girls kneel 1 .vhilst their partners execute a. chasse wind them. Tlie "M-i/rurka" was jcstatically encored. Mdlle. Halina, Schmolz was responsible for a pretty tip- c :oo dance, entitled "Cupid," in which a 'he appears as tho prey elf of love wiHi e low and arrow. Pirouetting in. tho c irettiesfc manner on toe-tips, Cupid 11 it'length discovers a victim for his ii larts, takes a flying shot, and wings c iff to see the result of his gay deviltry, f 'The Gipsy Beggar's Dance" saw M. c /ohnin in a strenuous and vividly drat native danco that extended the physical "irilitv of tho artist, as he leaped and g lounded; tambourine in hand, his nether s rmsclo-play lunsereoned to the spectators t Sizarre and bold, tho dance lrinclo an ]j mmediato impression. Perhaps there 1, ras , nothing more exauisitoly artistic ]- 11 tho "Divertissements" than Mdlle. a lallna Schmolz in "Tho Dying Swan." danced with consummate grace »nd «thos to Samt-Sacns.' "Le Cygiic"). n this danco it became obvious to all a iow 'the essence of modern 'daSnciiig is j lio power to express all tho emotions 1 11 a perfectly natural'wav. 111 her learning white feathery costume, Jldlle. 11 ichmolz sailed round with stately praeo, g sing her arms in tho most wonderful a , lanner to suggest tho curves of tho 8 wall s neck and breast. In fine gradaion tho dancer conveyed the failing trength, and finally tho dc-ath, of the wan. as tho last faint chord vibrated 1 poignant sympathy. This was really notable exposition of histrionic dancig, and such was its emotional appeal m hat many were surprised to find it in ;i ho power of a dancer to bring a lump oi 0 the throat,. "Tho Chinese Daitcc," a fa omio pantomime, was capitally clone by 111 Idlle. Maria Zalowska. Jan Zalewska*, nd Alexander Lauschmann and had to tc o repeated, while the "Polka Violette" j" ras a lyric poem in its daintiness and n barm. E' '•Coppelia," the ballet, associated j" •itli the name Geneo the wide world fo ver, formed tho.third, and most en-- pa rancing section of the programme. It to ; a comedy without words, yet it is Cll s clear as sunshine, for it speaks a - u liiversal language, the poetry of mo- ' vc ion, the rhythmic action of' tho hu- "' vt inn form divine. "C'oppelia" is tho iliicst littlo two-act ■comedy possible. !-"] fc i-s based oil tho story on \Vhioh Ofjabach based hie opera "Tho Talcs of [,to

Hoffmann." Dr. Coppelius is a wondc-r----ful old toy-inakor, who has constructed a marvellous doll—so beautiful mid life-like that Franz, a youth of tlio village, begins to waver in his-affection for tho fair Swanilda, the local belle, \iho, observing 'his adoration of tlio doll exhibited in tho shop window, is exceedingly wroth, and petulantly spurns Franz's apologies. Olio da.v old Coppelius 'drops his latch-key. It is picked up by ono of Swanilda's friends, and together they creep into tho mysterious workshop, half scared at, their own temerity. When tlscy aro having fun with the mechanical figures, tho old man returns, and beats tho girls out of tho room. All roach tho. door save Swanilda, who is forced to hide behind tlio curtains that screen off the life-sizo doll. Then, to avoid being foiled out, sho takes tho doll's place. White thus occupied, Franz enters the workshop by n ladder, and is promptly seized as an interloper by Coppelius. Franz pleads that ho is in lovo with th© doll and the old man at one© se<xnts > nil idea. In his dotago he has conceived tho notion that lie can infuse life into the doll, nnd now resolves to try tho experiment. He drugs Franz, and then wheeling the great doll (now Swanilda) into the room, he, with a few passes over the body of each, attempts to transfer lifo to tho imago of it, Swanilda. seizing tho situation, nets up to it, by coining to life, and performing an extraordinary doll-dance, in tho courso of which sho gives the old man a rather bad time, concluding her effort by giving her lover a good shaking as he lies drugged on tho couclrJ Hnving returned to her chnir, and been wheeled out of sight, Swanilda replaces the doll and 6teps out to greet her halfdazed lover, whilst old Coppelius goes ,crazy with wrath at hnvin« been so shamefully hoaxed. The comedy was most, admirably acted ani danced. Mdlle. Geneo was the most perfectly adorable creature as . the vivacious Swanilda, and acted brilliantly in dumb show as tlio flouted maiden and the gr.y automaton. M. Volinin was capital as Franz, and M. Jan Zalcwska was quite a. good Dr Coppelius. The ensembles woro really splendid, and tho mounting nnd dressing were alike admirable. Before tho curtain descended on what was tho most gorgeously artistic show ever seen. in. Wellington, Mdile. and her associates were called half-a-dozen times. Mr. Glasor's orchestra is an excellent combination. It played tho Chopin music delightfully, did full justioo to tho Barcarolle from. "Tlio Talcs of Hoffman 1 ," and, in the Delihes' rmisio of "Coppelia" gave fino expression to its varied beauties. . The programme will be repeated until' Wednesday evening. Thursday night will; see the fir3t- production in Wellington of "Tho Ar.ibian Night®," a great dramatic ballet