BALLET SEASON

Otago Daily Times, Issue 26630, 28 November 1947, Page 6

BALLET SEASON

THE BOROVANSKY COMPANY WELL-BALANCED PROGRAMME The second programme of the Borovansky Ballet, which commenced its season at His Majesty’s last evening, proved to be a well-balanced contrast of romanticisms—the fragile romanticism of “Carnaval,” the more robust romanticism of “ Giselle,” and the contemporary romanicism of “ Capriccio Italien.” It gave further evidence of the polish which this young company has acquired since its first tour some three years ago, and gave scope for the considerable talents of the leading dancers. “Carnaval,” with chbreography by Fokine and music by Schuman, has wistfulness and subtlety in its tenuously woven pattern of naoods, and its presentation calls for meticulous attention to the minutiae of movement if the carefully drawn characters are not to lose their identities. The Borovansky Ballet’s interpretation tended to lack sustained deliniation of the individual roles, but was notable for the dancing of Edna Busse, Joan Potter, Valda Ivanova and Phyllis Kennedy. In the purely character roles, Serge Bousloff made a woebegone and sentimental Pierrot, and Leon Kellaway was the traditionally vain Pantaloon.

First presented over a century ago, “ Giselle ” is probably the oldest and most enduring ballet in the present repertoire. It is based on the old German legion of the. Wilis—maidens who have died before their wedding days and who come from their graves by night to dance in the forest glades in their wedding gowns. The legend tells how any man who is found by the Wilis in the forest will be fated to dance on and on until his death. The role of Giselle is the cherished ambition of every ballerina, for it calls for dramatic ability as well as considerable technical ability. In story it is stronger than most ballets, which lends the main male role an unforced and unusual purpose. Edna Busse was entirely equal to this demanding work, and her technical capacity was matched by her neat transition through the three dramatic moods demanded of her. Her handling of the tragic climax to the first act within the confines of convention was masterful, and her stage personality was completely captivating. Serge Bousloff was restrained and perhaps a little stiff as Count Albrecht, but had all the masculinity which the, role demanded. As the Queen of the Wilis, Tamara Tchinarova was statuesqe and graceful, while the work of the corps de ballet was nicely integrated in the subdued second act. The pas de trois by Phyllis Kennedy, Joan Halliday, and Martin Rubinstein was a pleasant interlude.

Edouard Borovansky had devised a delightful interpretation of Tchaikowsky’s haunting and melodic “ Capriccio Italien,” which completed the programme. The choreography was, in the same way as the music, inspired, by fragments from the Italian street scene and made a gay trifle to end the evening. Phyllis Kennedy and Martin Rubinstein were neat and vivacious in their peasant dance, the grouping of the corps de ballet in support being well handled. The orchestra, under Kurt Herweg, provided adequate accompaniment, but a greater degree of cohesion and polish might have been expected of a group which has presumably been playing together for some time. This programme will be presented again to-night, ’and there will be two further changes of programme during the season.