POPULAR APPEAL

Otago Daily Times, Issue 26632, 1 December 1947, Page 6

POPULAR APPEAL

THIRD BALLET PROGRAMME BOROVANSKY COMPANY The third programme of the Borovansky Ballet’s season includes three of the best-known of all ballets, and the obvious approval of Saturday’s crowded houses at His Majesty’s provided an indication of the regard in which these popular works are held, as well as an expression of appreciation of the dancers’ ability. At this stage of the season it might be pertinent to comment on the decor and costuming, which have been consistently refreshing and stimulating. It may seem a trivial point, but the costumes have had the appearance of being freshly laundered—an attribute all too rare among travelling stage presentations of any kind. The members of the corps de ballet are engaging youngsters who have obviously made the most of skilled and sympathetic training. The company as a whole may well be regarded as a considerable cultural acquisition to Australia, and more frequent visits to this country would be welcomed. The survival of “ The Swan Lake ” as a consistently popular item in the ballet repertoire must depend as much on Tschaikowsky’s score as on the actual stagecraft. The concentrated form in which it has been retained has largely nullified the trivial story, but it rpakes an attractive frame for the technical ability of the prima ballerina. Edna Busse’s, interpretation of the Queen of the Swans again offered proof of her polished artistry, her talent for miming, and her captivating personality. Serge BouslofT was quietly competent in the very much subservient male lead. The dance of the little swans—Misses J. Halliday, M. Halliday, P. Wyatt and J. Potter —was particularly piquant and precise, while the corps de ballet was trim and well drilled.

The exotic “ Scheherazade,” based on Arabian Night tales and RimskyKorsakov’s lush symphonic poem, is one of the most spectacular ballets in the contemporary repertoire. Frankly sensual in its appeal, it was presented with warmth and zest. Against the rich colouring of the costumes and decor, Tamara Tchinarova’s dark beauty was particularly impressive. By turns imperious and provocative, her poised dancing made an excellent match for the passionate intensity of Martin Rubinstein’s dramatic work. Edouard Borovansky’s conventionally comic role contrasted effectively with the full characterisations demanded of the other dancers.

To the balletomane, “Le Spectre de la Rose,” was fogged by the customary fault Vassilie • Trunoff’s energetic dancing overshadowed the charm and restraint of Kathleen Gorham’s sensitive handling of the fragile little drama. As usual, the applause which followed Trunoff’s spectacular leap off-stage through the casement made the disillusionment of the girl’s awakening almost anti-climactic.

The final ballet on the programme—- “ Minuit au Bal ” —was a divertissement composed by Borovansky for the operetta “ Gay Rosalinda.” Set to music by Strauss, it was a pot-pourri reminiscent in turn of “ Carnaval,” “ Gaiete Parisienne," and straight musical comedy, with light overtones of de Mille—Agnes rather than Cecil B. It made, however, an amiable ending to an exceptionally pleasing programme. The orchestra, under Kurt Herweg, handled Tschaikowsky’s “ Swan Lake ” music remarkably smoothly, the lead violinist’s solo work being sensitive and warm. The same player was also heard to advantage in “ Scheherazade," although such a small orchestra could hardly be expected to do justice to the richness and ' sweep of the score. Weber’s “ Invitation to the Waltz,” and the Strauss compilation were adequate, although there would seem little point in the well-worn orchestral interlude which preceded the final ballet. This programme will be presented until Friday, when the final group of ballets will conclude the season. •9 .. -