DAS RUSSISCHE BALLETT EIN GLAZENDER ERFOLGT

EIN sensationelles Kunst-Ereignes spielte sich gestern Abend in der "Academy of Music." Es war eine Novität, die geboten wurde, eine Neuheit, so erfüllt mit Grazie und unübertrefflicher Charaktertanz-Kunst, das selbst die Opern-Habituée's der "Academy" erklärten, sie hätten etwas gleich Follendetes und Eigenartiges bisher nicht gesehen.

"Der rote Schrecken" war von grossen dramatischem effekt. Es ist durchaus originell. Es hat zur Grundlage der handlung den bekannten Appell des russischen Schriftstellers Leonid Andrejew. Er ist gerichtet an die civilisiert Welt, die der russische Patriot ersucht, die dem roten Schrecken in die Hände gefallene Maid Russland zu retten.

Max Marceau hat aus diesem poetischen Hilferuf des russischen Ditchters die Scenen herausgegriffen, welche durch die kunst von Alexeyewa und Mehner zu warhaft erschutternder dramatischer Wirkung, gelangen. Die Musik der drei Episoden ist Werken bekannter russischer Komponisten entnommen. ...

Das "Grand Guignol," wie die Franzosen nach "Guignol," dem tragischen Charakter ihres Puppentheaters, kleine Tragödien und die theater, welche sie aufführen, nennen, kam in dem "Rote Schrecken" in so ergriefender Weise zur Darstellung, das die Bewunderung für Ayenara Alexeyewa, welche in der Personisizerung Russlands sie mit glänzender Gestaltungkunst wiedergab, eine allgemeine und überzeugte war. So etwas ist bisher in Philadelphia noch nicht gesehen worden.

Es ist in Kritiken der bedeutensten Zeitungen Berlins, Wiens, Budapests, Neapels und Roms sowie der sud und zentralamerikanischen Hauptstädte den russischen Tänzern Ayenara Alexeyewa und Holger Mehner nachgesagt worden, das sie zu den berufensten und berühmtesten Vertretern des klassischen Charakter-Tanze zählen.

Was sie auszeichnet, ist eine überlegene Kunst, ein rhythmisches Gefühl und eine Grazie, welche alles übertrifft, was wir bisher auf der Bühne gesehen haben. Die völkischen Charakter-eigenschaften der slawischen Rasse konnten nicht in echterer Werse zum Ausdruk gebracht werden, wie gestern Abend von Alexeyewa und Mehner in dem dramatischen Tanz-Epos "Der rote Schrecken." Vollendete Technik vereinigte sich mit glänzender Charakter-kunst und feinem Verständnis für das Dramatisch-Wirkungsvolle.

Es wurde eine Reihe von Szenen geboten, die wahre Kabinetts-stückchen in ihrer Art waren und durch Pantomime und Tanz das Leiden und Vergehen der "Maid Russland" darstellten, welche in ihrer Verzweiflung der alten slavischen Sage sich erinert, der zufolge von der schneeigen Steppe ein "weiser Prinz kommen soll, um sie zu erlösen und zu neuer Herrlichkeit emporzuführen.

"RUSSIA"

"THE TSAR"

Nur wer das russische Volk liebt, wer seine Leidensgeschichte kennt und daran glaubt, das ihm eine neue bessere Zeit in der Zukunft beschieden sein wird, kann das Tanzgedicht, das gestern in der "Academy" zur Aufführung gelangte, in seiner ganzen Bedeutung erfassen, und voll und ganz in seiner hohen Künstlerischen Wirkung einschätzen.

In der zweiten Tanzgedicht, "Der Schwarze Schwan und die Lilie" nach einem Gedicht von Kaia Heliostalakti mit zartem und durchgeistigem musik von Wladimir Bützow, waren beide Kunstler unübertrefflich.

Die vom Stürm gepeitschte Lilie, welche von dem Schwarzen Schwan begehrt wird, und verweht und zergeht, wodurch auch der Tod ihres wilden Bewebers herbeigeführt wird, fand in Alexeyewa eine so poetische Darstellung dass das Publicum von ihrer glänzender kunstlerischen Leistung wahrhaft begeistert wurde.

Als der "Schwarze Schwan" übertraf Holger Mehner sich selbst, und erinnerte in seiner Leistung besonders an den berühmten russischen Tänzer Nijinsky.

Das Tanzdrama erzielte lebhaften Beifall. Auch unser amerikanischen Publicum war ergriffen von der stummen und doch so beredten Kunst von Alexeyewa und Mehner.

M. H.—*Philadelphia Gazette-Democrat*.

I BALLI RUSSI AL R. MERCADANTE

ITRE quadri formanti il ballo allegorico "Terrore rosso" furono accolti favorevolmente dal numeroso pubblico, convenuto ierissima, nell' elegante teatro. Musica deiziosissima di celebri autori fu adattate ottimeamente ai diversi episodici. Questi quadri o scene tragicamente terrorizzanti ed interroge spesso da cori, furono mirabilmente interpretati da Alexeyewa e da Mehner, due insuperabili artisti della "danza," fusi insieme nella più armonica uniche. La Alexeyewa, infatti, è non solo una danzatrice agilissima, elegante, eccezionalmente stilizzata; ma anche una mima d'intuito mirabile. L'Mehner le sta degnamente a lato, como più su abbiamo accennato e quale ballerino provettissimo e signorile e quale mimo dalla più espressiva e sicura padronanza scenica. Segui il "divertissement" di Glazounow, graziosissimo nella sua tenuità e brevità, ravivata non poco dalla indemoniata esecuzione della coppia Alexeyewa e Mehner.
—Corriere di Napoli, Napoli.

ALEXEYEWA si rivelò subito quale mima acuta e perspicace, pronta a cogliere ogni sfumatura dell' azione e a renderla quindi più complessa e il meno esteriore e scheletrica possibile e quale danzatrice graziosa, abilissima e mirabilmente stilizzata. Il suo compagno Mehner è un mimo molto espressivo e un ballerino sicuro e provetto. Formano un'armonica coppia... Pieni di lestezza naturale, di vivacità colorita, d'impeto panico furono poi nel "Baccanale." Riscossero calorosi applausi e furono più volte chiamati alla scena.
—Il Mattino, Napoli.

TEATRO letteralmente gremito e gran successo della Compagnia di balli russi, diretta da Alexeyewa e Mehner. Si tratta di scene drammaticisime, terrorizzanti da vero "Gran Guignol" danzante, quelle tre, che compongono il ballo allegorico "Dal terrore rosso." A queste poche scene, o quadri che durano meno di un'ora—sono state, però, adattate musica stupende di celebri autori. La compagnia che è composta di trenta persone—merita sconfinate lodi per la inappuntabile esecuzione, Alexeyewa e Mehner, ossia, i due primi ballerini, sono due autentici e impressionanti artisti di danza classica, part in tutto alla grande rinomanza, da cui sono precedenti. La loro arte è sincera, fine, suggestionante.
—Il Giorno, Napoli.

IL teatro era gremitissimo. E di pubblico imponentemente mondano. La compagnia dei balli russi riassume i suoi pregi in due nomi degni d'aver conquistato fama: Alexeyewa—mirabile di "souplese," d'azione nitida e suggestiva, di bravura tecnica e Mehner, s notably, pronto nel gesto, ritmico nel sottolineare la musica adattata all'azione e tratta da danze, pezzi sinfonici e canti populari... due lodatissimi artisti.
—Il Mezzogiorno, Napoli.

SI è data la prima esecuzione dei balli russi che nelle caratteristiche movenza, nella ele- ganza delle figurazioni, nelle valentia dei componenti della Compagnia, specie di Alexe- yewa e Mehner, hanno interessato vivamente il pubblico. Molti applausi e meriti.

—Giorale di Roma, Napoli.

IERA si avemmo gli attessissimi balli russi, che non lasciarono delusi. Il pubblico elegantis- simo che gremiva il teatro applaudi calorosamente i valenti ballerini Alexeyewa e Mehner, che esplicarono la loro arte danzante e mimica, piena di sugestione, nel ballo allegorico "Dal Terrore Rosso."
—Giorale d'Italia, Napoli.

IL nuovo balletto rosso—"Il cigno nero e il giglio"—è rappresentato dalla signorina Alexe- yewa con una squisita vertiginosità, in un' immobile figurazione d'aiuola, traendo dal ges- to le immagini, per cosi dire, onomatopeiche del vento, ed è raffigurato dal valentissimo Mehner con la più drammatica frenesia nelle evoluzioni voluttuose del cigno... tutti compren- dono l'abrvura degli eccezionali ballerini russi. E gli applausi salutano i due artisti dell'espressione muta.
—Il Mezzogiorno, Napoli.

FU ripetuto il vivace, mosso, colorito Baccanale e quale nuovo numero da Alexeyewa e Mehner fu mirabilmente eseguito. "Il cigno nero e il giglio." L'armonica artistica coppia mimo-danzante rese con squisita e sfumata sensibilità ritmica le fasi di questo ballo.

Alexeyewa, tutta scossa da brevidi, fu molto espressiva in ispecie nelle contro-scene e Meh- ner, svolgendo la sua azione sempre sulle punte, ebbe modo di metter in relievio ancor meglio che negli altri balli tutte le sue cosi singolari qualità di mimo e di ballerino. La fusa, valentissima coppia fu applauditissima.

—Il Matino, Napoli.

MAGNIFICA esecuzione di Alexeyewa e Mehner, insuperabili anche negli altri "divertis- sements."

—Corriere di Napoli.

I NUOVO balli russi furono applauditi.

—Il Giorno, Napoli.

IBALLI RUSSI AL'ELISEO. La prima ballerina russa Zara (Ayenara) Alexeyewa fu applauditissima unitamente al suo compagno Mehner nel "Cigno nero e il giglio," su musica suggestiva originale, e nel "Baccanale."
—Il Piccolo, Roma.

IERA si preceduti dai "Pagliacci" sono stati rappresentati i promessi Balli russi con la insigne danzatrice Alexeyewa e il ballerino Mehner... La Alexeyewa èstata ammirata inten- tensamente per la sua grazia aristocratica di sifide evanescente e per l'agilità della sua per- sona tanto esile quanto leggiadra. Ella ha avuto atteggiamenti di infinito buon gusto nel "Cigno nero e il giglio"-produzione di raffinata eleganza e di squisita suggestione-e ha mostrato una giovanile spigliatezza nel Baccanale. Ottimo compagno le è stato il Mehner, ballerino di bravura incontestabile e mimo di vero talento... si sono chiusi fra gli applausi: taluno però ha lamentato che il Baccanale fosse così breve.
—La Tribune, Roma.

A BBIAMO visto ieri sera, Zara Alexeyewa, la gentile ballerina russa così ricca di estro è penetrata d'intimità... 'Il cigno nero e il giglio,' interpretato da Mehner in modo suggestivo e un poco transcendente, nella voluta profondità psicologica infusa nel giglio umanizzato, infranto dalla bufera.

Il Baccanale, musica fervida, piena e brillante, che, investendo i ballerini, li trascina qua e là per la scena, como drappi al vento. Alla fine, battimani; ma inutile attesa del pubblico il quale non riusciva a per- uadersi che lo spettacolo fosse terminato.

—Il Giornale di Roma.

“UNA innocente favola sentimentale, il quale mostra il virtuoismo di Alexeyewa e di Mehner. Rama e Sita sono due fratelli che si amano molto; Sita viene improvvisa- mente rapito per conto di un Rajah. Il fratello lo ritrova e si appresta a vendicarlo. Ma, riconoscuto, viene condannato a morte e liberato soltanto per intercessione di Sita, la quale farà il sacrificio di darsi al Rajah. Ma appena Rama è libero, Sita si avvelena e muere. ... Bello lo scenario e felice il giuoco di luci.
—Il Paese, Roma.

IN "Rama e Sita" la struttura del Balletto russo secondo la formula primitiva del Fokine, è più evidente: la musica del Liapounow ha forza e leggiadra, e risenta di quella della "Schéhérazade" del Rínsky-Korsakow... Bravura indiscutibile della danzatrice Alexeyewa, agile come una libellula e attraentissima nella sua magrezza di creatura aristo- cratica. Il Mehner, dal canto suo, ha dimostrato robustezza di musculatura, resistenza fisica ed arte non comune.
—La Tribuna, Roma.

AL METROPOLITAN. Ierisera un lieto intermezzo tersicore nonche russo. I balletti russi continuano ad esercitare un fascino particolare sul pubblico metropolitano e la compagnia apparsa ierisera e di cui sono astri maggiori Ayenara (Zara) Alexeyewa e Holger Mehner ha avuto accoglienze festossime.

Questa compagnia è reduce da una serie di tournies europea; ed anche in Italia ha avuto successi brilliantissimi.

I vari quadri danzanti sono messi su con molto buon gusto; dotati di musica deliziosa; e ne assicura il successo una esecuzione impeccabile.

—Il Progresso Italico-Americano, New York

IL GRANDE SUCCESSO DEL FAMOSI BALLERINI RUSSI ALEXEYEWA E MEHNER. Quantunque molto conosciuti in Europa l'apparizione di questi due 'amosi ballerini russi, destò l'altra sera al Metropolitan un senso di strana curiosità dovuto al fatto che essi erano perfettamente sconosciuti negli Stati Uniti.

Il loro programma di balli russi fu scelto fra quanto vi è di meglio nell'arte della danza russa. Tre sceni intitolati "The Red Terror" (il terrore rosso) di Max Marceau con musica presa da noti compositori russi, portarono addirittura in visibilio lo scelto pubblico che affolava il teatro. "Rama e Sita" un poema sinfonico orientale di Liapounov intercalato con danze appropriate, fece conoscere a coloro che si recarono a vedere questi danzatori eccezionali, che essi si trovavano in presencia di ballerini di non comune valore, di ballerini cioè che non danno soverchia importanza alla agilità delle proprie gambe, quando questa non è accompagnata da quella plastica indispensabile perché la danza possa aver un qualche significato ed una qualche attrazione.

La parte scenica e gli effetti di luce resero più suggestivo lo spettacolo. I cori perfettamente affiatati contribuirono a dare con maggiore perfezione quel significato allegorico di rara intuizione che i due ballerini russi seppero interpretare a meraviglia.

—Il Nuovo Mundo, New York.

THEATRO MUNICIPAL. Os dous bailarinos são precisos e graciosos em seus movimentos e julgamos dignos de todo o aplauso: "De la Terreur Rouge," dansado com alma e artística compreensão os símbolos que ambos interpretaram; no bailado do "Cysne e do Lyrio" o momento da tempestade, em que o lyrio se agita, contorce, desfolha, tomba e morre, execução da Sra. Alexeyewa, de alto merito artístico, valorizada pela sua gesti-culacao de bracos, que é expressiva e original; e no bailado final "Rama e Sita," a dansa guer-reira do Sr. Mehner, suggestiva e de uma grande belleza, pela sua galharda bravura.

—Jornal do Brasil, Rio de Janeiro.

ALEXEYEWA E MEHNER são dois artistas finissimos, dignos da fama que desfrutam na Europa.

—Correio da Manha, Rio de Janeiro.

SÃO artistas magníficos ... dotados de uma plastica admiravel, impressionaram desde que apparece. ...

Estava o immensamente pittoresca Municipal repleto. A's 21, presente o Sr. Presidente da Republica, a orchestra tocou o hymno nacional. ... Depois do "Cysne negro" e o "Lyrio," maravilhosa composição de Kaia Heliostalakti e Wladimir Bützow, de uma belleza inexcedvel e interpretada a rigor, applaudiram freneticamente os dois artistas, que pouco depois, animada, dava-nos a bacchanal com musica de Glazounow, um encanto de sons e attitudes.

—Rio Jornal, Rio de Janeiro.

TEATRO MUNICIPAL. "Una pareja que interpreta admirablemente las mas delicadas danzas."

—El Nacional, Chile.

BAILARON con mucho sentimiento aristocrático, son de una originalidad a prueba.”

—El Terapaca, Iquique, Chile.

TEATRO MUNICIPAL. Las referencias que traía esta pareja de la crítica extranjera no eran exageradas. La señorita Alexeyewa es una artista en el sentido estricto de la palabra, expresiva, flexible, con un sentido admirable del ritmo, y el señor Mehner, quizá el mejor bailarín que ha tenido oportunidad de admirar el público limpio ... forman una pareja que basta para sostener, ella sola, el interés del auditorio.”

—El Comercio, Lima, Peru.

IMPRESIONARON, por su plasticidad y perfecta escuela mimo-danzante ... Mehner en "Le guerrier," dominar al público completamente, con esa maravillosa danza guer-rera, toda actitudes y gedos en que se unen el ritmo y la expresión admirablemente. Las dos danzas con motivos griegos, ricas en arte y harmonia, como el delicioso minuet, todo elegancia y refinamiento, fueron objeto de los más calurojos aplausos, que se renovaron en las de carácter popular ruso, sencillas y rusticas. ... Alexeyewa tiene la flexibilidad de una flor y la riqueza euritmica más grande y Mehner, esplendidas condiciones de primer bailarín.

—El Tiempo, Lima, Peru.

TEATRO OLMEDO. "Hacen una pareja admirable ... danzan de manera consumada. Nos recordaron a la Pavlowa y Volinine y en tal concepto, son muy merecidas las ovaciones estruendosas con que el público premió sus trabajos."

—El Telegrafo, Guayaquil, Ecuador.

TEATRO NACIONAL. "Debuto ánoche en nuestra primer Coliseo dos de las más eminentes estrellas del arte de Terpsícore. ... El programa es una revelación. Es lo exclusivo que los Zares exigían, tan delicado, tan sutil, tan divino."

—La Tribuna, San José de Costa Rica.

TEATRO DEGOLLADO. "Fue suntuosa y exquisita la presentación de los bailarines rusos en nuestro primer coliseo. Espectáculos de esta naturaleza pocas veces se ven. El primero baile fue "Del Terror Rojo". En una novela de Leónidas Andreie se inspiró Max Marceau para producir esta obra potente, vigorosa y bien dibujada, con trozos de alta dramaticidad, y cuyas escenas se desarrollan al compás de épica y vibrante música rusa. ... Esta bella evocación fue finamente interpretada por Ayenara Alexeyewa y Holger Mehner; en ambos se reconocen encomiásticas cualidades artísticas, unen en perfecta armonía las partes del cuerpo y no contraen ni deforman la "línea".

Srta. Alexeyewa sabe "dibujar" su persona de una manera graciosa y variar ligeramente su actitud en cada reposo; porque, como decía Gardel, el mérito de un bailarín debe juzgarse observándole en los momentos de reposo, en sus elevaciones y movimientos difíciles.

Mehner hace gala de un arte seguro y delicadamente estilizado.

"El Cisne Negro y el Lirio" es un poema lírico de Heliostalakti, con música de Bützow, que tiene por escenario el borde de un lago silencioso.

No vimos ya las evoluciones rápidas, los movimientos briosos y precisos, trazados de un solo rasgo, que constituyen la potencialidad del "Terror Rojo"; aquí todo es sensible y delicado; los tonos discretos y amables; el ambiente, cordial, en medio del que pasa un hábito de melancolia.

La presentación escénica de este baile fue soberbia; los efectos de luz, muy bien logrados; se simuló la tempestad con mesura, sin alterar el curso de la representación.

Alexeyewa y Mehner siguieron al interpretar este baile las indicaciones que dejara Blasis.

Cerróse la velada con la exuberante "Bacanal", que nos transportó a los buenos tiempos de Grecia, cuando las multitudes frenéticas se entregaban a las fiestas orgiásticas del culto dionisíaco.

La de anoche merece llamarse una función de verdadero arte.

—El Informador, Guadalajara, Mexico.

Photo, Cudia.

NOCTURNE

T
EATRO COLON. Anoche en el Colón, presenciamos un espectáculo par-
ticularmente edificante: el estreno de los bailarinos rusos, Señorita Alexey-
ewa y Señor Mehner, en dos interesantes dramas mimo-coreográficos.

La tragedia danzante "Del Terror Rojo"—un verdadero poema épico en miniatura—fue inspirado en la novela "S. O. S.", de Leonid Andrejew, en la cual el autor ruso hace un llamamiento apasionado al mundo civilizado para que acuda a salvar a su patria perdida.

Ya se ve que no se trata aquí de un sencillo baile clásico cualquiera. En "El Terror Rojo", la danza se aparta de las tradiciones convencionales del baile clásico. Aprovecha ampliamente la ayuda eficaz del arte decorativo y de la música coral ... poesía del color, de la luz, de la línea, del movimiento y del sonido. Así completada, la danza se presta con gran felicidad a la deliniación alegórica de un tema. Y en "El Terror Rojo," no es tampoco un tema cualquiera que se interpreta, es profundamente ruso, un tema teórico, tenso y, más que todo, humano, por el realismo implacable con que pinta el inaudito martirio de un pueblo que sufre, que sangre, que muere y que resurge.

El drama empieza con una obertura, especie de leit-motif, que se toca desde
un principio la nota semibárbara impregnada de tragedia que ha de saturar toda
la pieza. Con el primer acorde, evocan las vastas estepas del Asia central, pob-
ladas por tribus eslavas salvajes, por esos mujiks apenas emergidos del paganismo.

Llegamos al primer episodio "El Albor de la Tirania" en el cual encontra-
mos al zar sentado sobre su trono. No habría sido posible hacer escogencia más
feliz que el glorificación del zarismo en esta grandiosa aleluya. La patria rusa,
personificada por la bailarina acepta del zar el preferido cetro, que se convierte
en maneota. Entonces surgen, como un grito profundo de desesperación, trascen-
dentales coros ... pasan sin fin las procesiones ed los desterrados.

Llegámos al segundo cuadro, verdadero tema estilo "Grand Guignol". Se evocan todos los horrores del reino de la sangre. El bailarín personifica el Terror Rojo, la bailarina, la Rusia que implora misericordia.

El tercer cuadro nos muestra el día siguiente del terror, la patria rusa pos-
trada, somnolente, sobre la nieve. Qué maravilla de evocación! Sentimos las
vastas extensiones blancas del invierno ruso. El tema se hace más amplio, más
grandioso. Aparece la visión del Príncipe Blanco, realización de la vieja leyenda
eslava del profeta dinástico que debe surgir al trono, tomar el mando de la Iglesia
y salvar para siempre al Imperio de todas las Rusias.

A la interpretación de este tema épico, así como también del drama simbólico "El Cisne negro y el Lirio" con música excesivamente tenua y delicadamente sugestiva de Vladimír Bützow, los artistas rusos trajeron importantes recursos técnicos y en la Alexeyewa, los concurrentes anoche estuvieron conformes en reconocer capacidades mimicas altamente encomiables, y particularmente un sutil encanto espiritual muy personal que infundió en todos sus interpretaciones. En Mehner, vimos un mimo y un bailarín excelente, de arte seguro y bien estilizado. Fácilmente sostiene comparaciones con los más renombrados "primeros". Su estilo, de una belleza a la vez varonil y feminina, se asemeja al arte del famoso Nijinsky.

Para terminar la funcion se presentara la "Bacanal", música férvida, opa-
lina, un canto de loca exuberancia oriental, que trae la danza a muy remotos
origenes. Los dos bailarines empezaron ese cuadro dionisíaco con gestos sober-
bios que evocan las parejas de la Pavlowa.

—Raimundo de Sala, *El Espectador*, Bogota, Colombia.

## SEASON 1926-1927 AS PREMIERES AND BALLET DIRECTORS OF THE

(Complete charge was taken of the arranging and costuming of the ballets in "Aida," "Rigoletto," "Faust," "Carmen," and the original Russian ballets, "The Red Terror," "The Black Swan and the Lily," and Divertissements.)

SENSATIONAL feature of the production. Their dancing was extremely artistic and beautiful, the entire ballet with effective and colorful costumes bringing round after round of applause.

—The Philadelphia Record.

NUSUAL talents and ability . . . ballet did some excellent dancing.

—Public Ledger, Philadelphia.

ROUSED great admiration . . . distinguished themselves by superlative grace and perfect Dance-Art. Will certainly know how to hold the goodwill of the Public, so enthusiastically manifested last evening.

—Philadelphia Gazette-Democrat.

ALLET divertissements . . . admirably danced and received with much enthusiasm.

—Public Ledger.

NUSUAL feature. . . . Original ideas and the knowledge and ability to interpret them with picturesque and telling effect.

—The Evening Bulletin.

TREAT for audience . . . each an artistic creation.

—The Philadelphia Record.

PARTICULARLY charming feature . . . enthusiastic applause for the artistry and originality displayed in these offerings.

—Philadelphia Inquirer.

THE Ballet-Divertissements showed the artists to be past Masters in theirs, the most beautiful and expressive of all Arts.

—Gazette-Democrat.

## PHILADELPHIA GRAND OPERA COMPANY AT THE ACADEMY OF MUSIC

THE ballet was very gay and sprightly . . . incidental dances, graceful and enjoyable.

—Philadelphia Record.

THE dancing was unusual.

—Public Ledger.

OUTSTANDING number. The artists bring out the most characteristic points of each period of history to the best advantage.

—Gazette-Democrat.

IN Lillas Pastia Inn scene the ballet came to the front, dancing with a good deal of animation, a special feature being the work of the Premiers who in elaborate Spanish costumes danced with dash and abandon.

—The Evening Bulletin.

AUDIENCE ready to applaud particularly the dancers whose beautiful work had added materially to the brilliancy of an immensely successful second act, burst into quite rapturous handclapping . . . dancing unusually fine.

—Philadelphia Record.

ALLET elaborately mounted . . . plastic beauty . . . imaginative treatment . . . well done and warmly applauded.

—The Evening Bulletin.

HYTHMS admirably suited to ideas portrayed. . . . Staging simple but supremely effective . . . combination of color, music, song and dance made striking appeal . . . elements of novelty and drama.

—The Philadelphia Record.

DMIRABLY performed . . . exceedingly well done.

—Public Ledger.

NOVELTY so filled with grace and unsurpassable Character-Dance-Art that even the Opera habituee's of the Academy of Music showed they had never yet seen anything so perfect and original. . . . Superb technique blended with brilliant characterization and fine feeling for the dramatic effect.

Photo, Cudia.

ORIENTALE

RUSSIAN DANCERS AT THE METROPOLITAN OPERA HOUSE

DANCERS of experience . . . vigor, agility and litheness in their spirited work.
—New York Herald Tribune.

A pleasure to see Glazounov's "Bacchanale" revived by the youthful pair . . . good physique and evident technical training.
—New York Times.

Terpsichorean technique admirable . . . moved about with easy flowing gestures that conveyed charm and conviction.
—New York Sun.

Very dramatic and at the same time extraordinarily poetic and artistic . . . both young and beautiful . . . admirable in their Art, a thoroughly enjoyable performance.
—New York Volkszeitung.

Exceptional dancers . . . Program of Russian Ballets chosen among what is best in the Art of Russian dance . . . allegory of rare intuitiveness interpreted to perfection. Brought the select public which filled the Opera House to a high pitch of enthusiasm.
—Il Nuovo Mundo, New York.

Success insured by an unimpeachable execution. . . . The various dance scenes most artistic . . . adapted to delightful music.
—Il Progresso Italo Americano.

Original conception . . . beautiful production . . . superb interpretation . . . entirely successful.
—Russian Daily, New York.

Repertoire

THE RED TERROR

An Epic of Russia in three scenes with choral interludes, founded on Leonid Andreiev's S. O. S. Music by Borodin, Glinka, Moussorgsky, Saint-Saëns and Tschaikowsky.

THE BLACK SWAN AND THE LILY

Story by Antigone Heliostalakti. Music specially composed by Wladimir Bützow.

THE BRIDE OF DEATH

Romantic tragedy of Venice in two acts. Music by old Italian Masters and Sibelius.

IN A RUSSIAN VILLAGE

Arranged from folk dances and folk songs. Music by Ippolitow Ivanow, Kocian, Moussorgsky and Gretchaninow.

NAUOLLIN

Feast of the Sun God. A romantic ballet in two acts founded on an Aztec Legend.

EGYPTIAN FESTIVAL

Founded on the ballet in "Aida."

A SPANISH NIGHT

Founded on the ballet in "Carmen." Music by Bizet.

RAMA AND SITA

Legend of India in three scenes. Music by Liapounow with incidental dances by Terenghi, Ilynsky and Rubinstein.

THE NIGHTINGALE AND THE ROSE

Founded on Oscar Wilde's celebrated fairytale. Music specially composed by Wladimir Bützow.

KING OF THE MIST

Founded on a Norse folk tale.

THE POLONAISE

From "Boris" by Moussorgsky.

SACRED FIRE

Indian ballet of barbaric splendor.

THE WILD HUNTSMAN

A fantastic ballet in one scene. Music by Liszt.

DANCE OF THE HOURS

From "La Gioconda." Music by Ponchiello.

Divertissements

<table><tr><td>BACCHANALE</td><td>Glazounow</td></tr><tr><td>LE GUERRIER</td><td>Rubinstein</td></tr><tr><td>SERENATA</td><td>Terenghi</td></tr><tr><td>ADAGIO CLASSIQUE</td><td>Schubert</td></tr><tr><td>MINUET</td><td>Paderewsky</td></tr><tr><td>DANSE CHARACTERISTIQUE</td><td>Rubinstein</td></tr><tr><td>DANSE ESPAGNOLE</td><td>Salvador</td></tr><tr><td>VALSE</td><td>Chopin</td></tr><tr><td>CZARDAS</td><td>Delibes</td></tr><tr><td>ORIENTALE</td><td>Ilynsky</td></tr><tr><td>VALSE DE LA MORT</td><td>Sibelius</td></tr><tr><td>AMOR AND PSYCHE</td><td>Liszt</td></tr><tr><td>PAUL AND VIRGINIA</td><td>Gretchaninov</td></tr></table>

<table><tr><td>"LA PRINCESSE ENCHANTE"</td><td>Reyer</td></tr><tr><td>BARCAROLE</td><td>Glazounow</td></tr><tr><td>REVERIE INTERROMPUE</td><td>Tschaikowsky</td></tr><tr><td>VALSE</td><td>Moszkowski</td></tr><tr><td>GOPAK</td><td>Moussorgsky</td></tr><tr><td>TOREADOR ET ANDALOUSE</td><td>Rubinstein</td></tr><tr><td>PAS DE DEUX EGYPTIEN</td><td>Verdi</td></tr><tr><td>MAZURKA</td><td>Chopin</td></tr><tr><td>NOCTURNE</td><td>Liszt</td></tr><tr><td>DREAM OF A PEACOCK</td><td>Caesar Cui</td></tr><tr><td>PROMETHEUS</td><td>Liszt</td></tr><tr><td>APOLLO AND DAPHNE</td><td>Wurmser</td></tr></table>

Program of old fashioned dances:

Waltz, Polka, Gavotte, Minuet, Schottische, Mazurka, etc.

INTERNATIONAL COPYRIGHT ON ALL ORIGINAL BALLETs. ALL RIGHTS RESERVED.

MANAGEMENT HERMAN GANTVOORT

1482 Broadway, NEW YORK

WEDNESDAY MORNING

ZARA DEAR:

WE HOPE THAT YOU ALL ARE FARING WELL.
MOTHER IS JUST BEGINNING TO PULL OUT OF HER PROTRACTED
EXHAUSTION, SO THAT MY HEART IS LIFTING, BUT THE
ANXIETY HAS BEEN GREAT.

I AM SURE THAT YOU AND HOLGER WILL WISH ME
TO TELL YOU, IN ORDER THAT YOU CAN AT ONCE RECTIFY
THE MATTER, THAT THE CHEQUE WHICH WAS SENT IN PAYMENT
OF THAT DENTAL WORK AND X-RAYS DONE IN PHILADELPHIA
FOR HOLGER WAS RETURNED FROM YOUR BANK, SO I UNDER-
STOOD, AS UNPAYABLE ON ACCOUNT OF INSUFFICIENT FUNDS.

FORGIVE THIS TYPEWRITTEN LETTER -- I AM IN A
WILD RUSH WITH ACCUMULATED THINGS THIS MORNING.

AFFECTIONATELY

LAURA

To the Public

What European and South American Art Centres Thought of
ALEXJEVA and MEHNEN

Who have just appeared at the Metropolitan

"THE PERFORMANCE OF THE RUSSIANS WAS SENSATIONAL."

—Pester-Lloyd, Budapest.

"DISPLAYED A SUPERIOR ART . . . BEYOND ALL THE DANCERS WE HAVE EVER SEEN."

—Nemzeti-Ujsag, Budapest.

"CREATE A PROFOUND IMPRESSION . . . WORTHY IN ALL OF THE GREAT RENOWN WHICH PRECEDED THEM."

—Il Glorso, Naples.

"RICH IN POETIC INSPIRATION."

—Gloriale di Roma, Rome.

"FLAWLESS AND GRACEFUL IN THEIR MOVEMENTS . . . VERY EXPRESSIVE AND ORIGINAL . . . OF HIGH ARTISTIC MERIT."

—Journal do Brazil, Rio de Janeiro.

"TWO SUPERLATIVELY FINE ARTISTS . . . WORTHY OF THE FAME WHICH PRECEDED THEM."

—Boa Noite, Rio de Janeiro.

"DOMINATED THE PUBLIC COMPLETELY . . . GREATEST EURYTHMIC RICHNESS."

—El Commercio, Ilima, Peru.

"A WONDERFUL TECHNIQUE . . . A REMARKABLE VIRTUOSITY . . . COMMANDS AN INTERPRETATIVE POWER THROUGH WHICH THESE DUMB SCENES BECOME BRIEF TRAGIC DRAMAS."

—Neues Wiener Journal, Vienna.

"BUT THEIR ABILITY FOR DRAMATIC INTERPRETATION FELL SOMEWHAT SHORT OF THE DEMANDS OF A DIFFICULT PROGRAM."

—Herald Tribune, New York.

(Comment) A CURIOUS DISCREPANCY OF OPINIONS

## Two European Dancers
Make New York Debut

### Three Major Numbers Given to
Russian Music at Metropolitan
Opera House

*(Reprinted from yesterday's late editions)*

Zara Alexejeva and Holger Mehnen, two young dancers who have been appearing in Europe and lately in South America, made an ambitious New York debut last night at the Metropolitan Opera House, giving three major numbers and a divertissement to music, mostly Russian, played by fifty members of the Philharmonic Orchestra directed by H. Maurice Jacquet. Pro-

fulla Kumar Ghoshal also took a dancing part, and fifty others completed the visible ensemble in the first number, "The Red Terror," in which fifty unseen singers, mostly of the Oratorio Society, were heard.

This first number had an allegorical Russian theme, with "The Red Terror" overcoming Czardom, and holding sway, but Russia (Mme. Alexejeva) is finally redeemed by The White Prince, represented by Mr. Mehnen, who previously had figured both as Czard and Terror; Mr. Ghoshal miming a boyar. "The Black Swan and the Lily," with Mr. Mehnen and Mme. Alexejeva in the respective title roles, followed, then a Bacchanale, then "Rama and Sita," an Eastern number, with Mr. Mehnen and

Mme. Alexejeva again in the title roles, Mr. Ghoshal as the Rajah and Messrs. Guerrero, Black and Toran in other parts.

Mme. Alexejeva and Mr. Mehnen seemed dancers of experience; there were vigor, agility and litheness in their spirited work, grace in a varying degree. But their ability for dramatic interpretation fell somewhat short of the demands of a difficult program. There were effective places in "The Red Terror," by Max Marceau, with music by several composers, especially in tableaus showing the plodding exiles, while the chorus chanted from the orchestra pit; "The Black Swan and the Lily," with music of a melodious but not particularly distinctive character,

by Wladimir Buetzow, called for more effort of the imagination by the spectator; the divertissement, "Bacchanale" went well, and the closing number, "Rama and Sita" proved quite effective. But the dancers' abilities seemed better suited to a program of a less dramatic type. The orchestra also had a number of its own, a Moussorgsky piece.
R. D. P.

Tirhme Feb. 18 1926 **

["METROPOLITAN OPERA HOUSE", "TUESDAY EVENING, FEBRUARY 16TH, AT 8.30 O'CLOCK", "FIRST APPEARANCE IN AMERICA", "The Famous Young Russian Dancers", "Zara ALEXEJEVA and Holger MEHNEN", "IN", "ORIGINAL RUSSIAN BALLETs", "Direct from the Opera Houses of Europe and South America", "Conductor: H. MAURICE JACQUET", "(From the Opéra Comique, Paris)", "PART I.", "\"THE RED TERROR\"", "Opera-Ballet in Five Tableaux by Max Marceau", "Inspired by the S. O. S. of Leonid Andreieff", "Music by Borodine, Glinka, Moussorgsky, Saint-Saëns and Tschaikowsky", "The Symbolic figures pass before the dome of the sky", "Against a background of blue sky stands a golden throne. The Tsar, symbolizing the autocrats of all the ages, stands upon the steps of the throne, his hand resting upon the sceptre.", "Out of the dawn of emperor's power crept the shadow of tyranny. Golden were the promises which brought the people captive to their sovereign's throne. Bitter the awakening to a broken pledge. The song of praise which rose from the heart of a mighty people who trusted, becomes a song of martyrs—wary the way of the thousands across the trackless wastes—a pitiful protest against the living wrong. And from this martyr's song gathers the tempest, a threat of vengeance—a cry of menace. The cry of a people ignorant, martyred and betrayed, which goes out into the night and echoes over the vast spaces of Russia, even to the world outside, and upon this world bursts the frenzy, the passion of the terror.", "\"The cry of starving and mangled Russia was strangled by its executioners before it could reach the world—a country transformed into a vast channel house. And yet the sun rose and sank, the hand of time moved on unheeding, and indifference remained an insurmountable wall, through which the truth could not penetrate. Eyes filled with longing gazed across the sea for the promised aid, which never came, and these myriad eyes of a mighty people glazed, for the only merciful Prince to answer their prayer was the \"Prince of Death.\"", "The Red Terror triumphant is the embodiment of a phantastic cruel joy—an elemental passion. What is it to him that the people become a grey wraith fleeing from the spectre of starvation, haunted by the horror of a soulless grotesque power. What is it to him that, in his power, gazing up into the masked face with the frenzy of horror, she tries to free herself—to break away—that in the last agony she sinks in appeal. There is no appeal. Merciless—for is he not slave to an idea?—he plunges a knife into her heart and holds aloft the symbol of his power. A change comes over him. This being with the idea which has obsessed him, with hands steeped in blood, becomes a thing of loathing. The forces of evil gather round him and over the land crushed beneath his heel sweep famine and pestilence. Christ is crucified anew. Where are the Christians whose love should heal these wounds? In the hearts of men faintly burns the light of love—the divine heritage which makes them children of God.", "Cold in the light of the dawn, Russia lies sleeping. But the rising sun caresses her and slowly she raises her head. Glorious, beautiful and inspired stands the White Prince with arms outstretched, the Prince of Light, the Resurrection. The song of the people rises—a paeon of joy.", "First Tableau—\"The Dawn of Tyranny\"", "THE TSAR........................

PART III.
“RAMA AND SITA”

Legend of the East

Oriental Symphonic Poem by Liapounow with incidental Dances by Terenghi, Illynsky and Rubinstein

Once upon a time in a far-away principality bordering on India, lived a Prince called Rama and his sister, Sita.

In all the world they had only each other, for their mother was long since dead, and their father had been killed in battle by the neighboring Rajah, who wished to seize their realm. Prince Rama, though so young, had heroically defended it. Then the Rajah had seen Sita and desired to make her his bride, but Rama would not hear of it. So the Rajah thought to possess himself treacherously of what otherwise seemed to elude his grasp.

One day, when Rama and Sita were playing in the forest, Sita noticed one of her birds had escaped from the palace, and begged her brother to recapture it.

In the joy of their innocent youth they dreamed not that in this enchanting place where nature itself seemed to smile, a secret danger lurked—that like unto serpents which glide unperceived among the leaves, from time to time, shadows among the shadows, appeared the dark faces of the Rajah's slaves—the Rajah who desired the death of Prince Rama to possess himself of his throne, but who above all, desired Sita. Hardly had Rama disappeared when the slaves approached Sita, and in spite of her resistance, seized and carried her off.

And Rama on his return found her gone! Desperate—he searched for some trace—the trampled ground too plainly told its tale. He vows to find his loved one, his playmate.

In the pursuit, outstripping his followers, Rama, traversing the desert, comes upon an oasis, where he is attacked by two Nubians in ambush. One of the slaves he kills. The other, who implores his mercy, he spares, forcing him to tell where Sita has been taken.

In a small palace, hidden away in the oasis, a casket for a stolen jewel, Sita, determined to die rather than to yield to the Rajah, awaits her brother's coming. Through the bars of her prison she gazes, chilled by despair, when Rama, exhausted, at last reaches her. Hardly able to believe her eyes, she gazes at him, joy and terror struggling for mastery.

Where, how to escape? The Rajah is heard approaching! Hardly is Rama concealed without the doorway than he enters. He calls for Sita. Quickly she comes at his bidding, but shrinks from his embrace. He would pass on, approaches the portal. Sita is terrified. Proud and haughty as her demeanor had been to her captor, it now undergoes a change. She offers to dance. The Rajah, amazed, hesitates, then accedes. She bids him be seated—then dances. The Rajah has forgotten all save Sita, when slaves enter with Rama captive. In a flash the Rajah understands that he has been her dupe. Not for him Sita smiles—her proud spirit is untamed—she danced hoping to save her brother. Furious, he condemns Rama to die and he is dragged away. Sita is frantic—she will consent to anything. Vowing fidelity so long as life shall last, she bids him return to her when Rama is free, when Rama is on his way.

So the Rajah orders the slaves to return the captive his arms and allow brother and sister to say farewell. Rama, fearing to leave his sister even to go for aid, would rush upon the Rajah and force the issue, but the princess prevents him. With what difficulty she restrains her tears and tries to smile, knowing too well it is the last adieu.

He is gone! Sita is left alone! Alone with her sad thoughts, with her grief.

In a sacred dance she consecrates herself to Death—then raises to her lips the cup which for her contains liberty.

And the Princess Sita, pale as the pale reflection of the Moon, awaits the Rajah.

On the shadowy threshold he stops—the lamp in his hand goes out—he shivers—is it a zephyr, or the soul of the Princess, that passes?

<table><tr><td>PRINCE RAMA</td><td>HOLGER MEHNEN</td></tr><tr><td>PRINCESS SITA</td><td>ZARA ALEXEJEVA</td></tr><tr><td>THE RAJAH</td><td>PROFULLA KUMAR GHOSHAL</td></tr><tr><td>INDIAN SLAVE</td><td>GERRY GUERRERO</td></tr><tr><td>CHINESE SLAVE</td><td>ARTHUR BLACK</td></tr><tr><td>A EUNUCH</td><td>ALPHONSO TORAN</td></tr></table>

NUBIAN SLAVES, ETC.

Scene I. In the Forest of Joy.

Scene II. The Desert.

Scene III. The Rajah's Palace.

INTERNATIONAL COPYRIGHT

<table><tr><td>CHORUS MASTER</td><td>WALTER GOLDE</td></tr><tr><td>Master Mechanic</td><td>F. HOSLI</td></tr><tr><td>Chief Electrician</td><td>J. BUCHTER</td></tr><tr><td>Master of Properties</td><td>PHILIP CRISPANO</td></tr></table>

METROPOLITAN OPERA HOUSE, Tues. Eve., Feb. 16, at 8:30

First Appearance in America—Famous Russian Dancers

ZARA
ALEXEJEVA

THE NEW, THE BEAUTIFUL, THE
PRESENTED IN THE OPERA HOUSE

A RUSSIAN EPIC.
My Life by BORODINEICHESKAYA SORGSKY, CLINKA, TCHAIKOWSKY.

ZARA ALEXEJEVA, HOLGER MEH-NEN, Russian dancers, Metropolitan Opera House, 8:30 p. m. (first Ameri-can appearance), with orchestra of 50 Philharmonic players, chorus of 50 from Oratorio Society, and 50 others.

The Red Terror, Opera-Ballet by Max Mar-ceau, in three Tableaux, The Dawn of Tyranny; The Red Terror; The White Prince; Music by Borodin, Glinka, Saint-Saens and Tchaikovsky.

The Black Swan and the Lily, Occult Dance-Poem; Poem by Kala Heliosta-lakti. Music by Vladimir Buetzow.

Rama and Sita, Legend of the East, Ori-ental Symphonic Poem with incidental dances by Terenghi and Rubinstein, in three scenes, In the Forest of Joy; The Desert; The Rajah's Palace.

"RAMA and SITA," an Eastern Legend Oriental Poem by Liapounov.

PHILHARMONIC ORCHESTRA ORATORIO SOCIETY CHORUS

(50 MEMBERS)

(50 MEMBERS)

PANTOMIMISTS AND PROCESSIONS

Seats Now on Sale at Box Office, $1.10 to $5.50. Boxes $22 to $55

METROPOLITAN OPERA HOUSE, Feb. 16, 8:30

ARTISTIC EVENT!!

FIRST APPEARANCE IN AMERICA
FAMOUS YOUNG RUSSIAN DANCERS

ZARA HOLGER
ALEXJEVA and MEHNNEN
IN
OPERA-BALLET and SYMPHONIC DANCE POEMS

PHILHARMONIC ORCHESTRA
(50 MEMBERS)

CHORUS

TICKETS $1.10, $5.50 AT BOX OFFICE NOW.

Russian Dancers at
Metropolitan, February 16

Mlle. Zara Alexejeva and Holger Mehnen, Russian dancers, who have been successful in the principal cities of Europe and South America, will make their bow to the New York public at the Metropolitan Opera House on the evening of February 16.

This event is looked forward to with much pleasure by art lovers, as the program offered is very unusual and will have the accompaniment of the Philharmonic Orchestra, composed of seventy-five musicians and a large chorus.

METROPOLITAN OPERA HOUSE

FIRST APPEARANCE IN AMERICA

Tuesday Evening, February 16

THE FAMOUS YOUNG RUSSIAN DANCERS

Zara ALEXEJEVA and Holger MEHNEN

"The effect produced by the Russians was sensational. After but a few moments the crowded house was under the spell of a surprising pantomimic and choreographic performance."—Pester Lloyd, Budapest.

Symphonic Orchestra

Chorus

"The immensely picturesque Municipal was crowded with a brilliant audience. The two celebrated dancers, Zara Alexejeva and Holger Mehnen were worthy of the fame which preceded them.

Their first ballet was a Russian allegory. "The Red Terror."
With the first chord of the overture, the vast steppes of Central
Asia were evoked, populated by savage slavic tribes, by mujiks
hardly emerged from Paganism. Then a grand choral in a hymn
of glorification to the Tsar. Before the attentive eyes of the spec-
tators passed the barbaric splendor of the Russian race, all the tragedy
of its desperation, up to the modern conception of life imbued with
the same violent passions for expression, and armed by its fatal
incorporation in the maze of a life that Europe only talked of but
never realized.

We were transported, when the curtain was barely raised, to
the country of the mujiks, of pale and heroic women, of all the
work, today universal, of Gorky, Kuprin, Chemelov. A theme
profoundly Russian, theoretic, tense, and more than all human, for
the implacable realism with which is painted the inaudible martyr-
dom of a people who suffer, who bleed, who die, and who resurrect.

The performance of the Russians was sensational. After but
a few moments the audience was under the spell of a surprising
pantomimic and choreographic performance—the poetry of color, of
light, of form, of movement and of sound.

In the exquisite dance poem, "The Black Swan and the Lily," which followed, one felt transported to some realm beyond this earth. There was a subtle spiritual charm, very rare indeed. Something quite unlike anything I had ever felt before. This dance poem by Kaia Heliostalakti was set to music by Wladimir Bützow, a to me unknown genius. His music is of a tenuous and unearthly beauty, and it was as though the souls of the dancers had actually become the Swan and the Lily. 'The Black Swan with the beak red, red as blood, in whom lived the soul of a poet dead long since, and the White Lily with the heart of gold in whom dwelt the soul of a Princess who had been drowned and who, regarding her image in the lake, thought ever of the past. The poet who loved as only a poet can love a Princess, who sought for the mystery of his existence—become a swan, a black swan with a beak red, red as blood, and found the answer to the enigma in a night of tempest, in which a storm-tossed and broken lily met his gaze at dawn.'

In the symphonic oriental poem, "Rama and Sita," the structure of the ballet, according to the primitive formula of Fokine, is more evident. Unlike "The Red Terror," in which the dance departs from the conventional traditions of classical ballet and is an art conceived according to the most accepted ultra modern Russian ideas.

The warrior dance of Prince Rama is of great beauty for its
heroic power, and the scene of the sacred dance entrappingly beauti-
ful, where, after moving through the mysterious romance of the
East, 'The Princess Sita, pale as the pale reflection of the moon,
awaits the Rajah. On the shadowy threshold he stops—the lamp
in his hand goes out—he shivers. Is it a zephyr, or the soul of the
Princess that passes?'"

GALA PERFORMANCE

PROGRAM

PART I

“THE RED TERROR”

OPERA-BALLET

By Max Marceau
In Three Tableaux

Scene I. THE DAWN OF TYRANNY

Scene II. THE RED TERROR

Scene III. THE WHITE PRINCE

Voice of the Russian People

Music by

Borodin, Glinka, Moussorgsky, Saint-Saens and Tschaikowsky

PART II.

“THE BLACK SWAN AND THE LILY” Occult Dance-Poem

Poem by Kaia Heliostalakti

Music by Wladimir Bützow

BACCHANALE

PART III.

“RAMA AND SITA”

LEGEND OF THE EAST

Oriental Symphonic poem with incidental dances by Terenghi and Rubinstein

Scene I. IN THE FOREST OF JOY

Scene II. THE DESERT

Scene III. THE RAJAH'S PALACE

PRESENTED IN THE OPERA HOUSES OF
EUROPE AND SOUTH AMERICA

Mail orders to Metropolitan Opera House now. Seats on sale at Box Office February 6th, 1926.
$1.10 to $5.50. Boxes $38.50 and $55.00, including tax.

Dancers in Début

Zara Alexejeva and Holger Mehnen, billed as "the famous Russian dancers," appeared at the Metropolitan Opera House on Tuesday evening, Feb. 16, surrounded by an ostentatious company which included a chorus from the Oratorio Society and a section of the Philharmonic Orchestra. The evening was one of complete mystery, as the locality in which the votaries of Terpsichore achieved their fame, remained undisclosed, and no manager's name appeared on program or ticket. There was a definite rumor, however, that the young lady, at least, was a perfectly good American.

The program included three complicated ballets and a series of twenty minute intermissions. The "opera ballet" which began the performance was called "The Red Terror," and despite the explicit synopsis on the program, it seemed to mean nothing at all. The outstanding scene was that in which silhouettes of crosses formed the background. The orchestra began the "Danse Macabre" of Saint-Saëns, and Mr. Mehnen appeared in a white satin Pierrot costume, masked, and tripped gaily about the stage. The second ballet was a poetic effusion about "The Black Swan and the Lily." The music was credited to Wladimir Butsow. Its most impressive feature seemed to be a lightning change effect. Mr. Mehnen in a feathered Chantecleer costume, went off the stage in red slippers. While he was away, the Lily, Miss Alexejeva, drooped, and when he came back, he wore black slippers!

In the Glazounoff "Bacchanale," the two dancers did a not very effective imitation of Pavlowa's interpretation. An oriental ballet, a "legend of the East," called "Rama and Sita," completed the program. H. Maurice Jacquet conducted the performance with skill and seemed to be the only professional artist in the company. Walter Golde was down on the program as chorus master, and he seemed to have managed his singers effectively. The dancing was amateurish and the poetic symbolism often verged on the ridiculous.

H. M.

### Josephine Martino's List

* A most agreeable lyric soprano voice was disclosed by Josephine Martino in a recital in Aeolian Hall on Wednesday

[Continued on page 28]

THE HOME BY THE SEA

MARCH 3, 1926.

DEAREST LADY MAYAN:

THE WHOLE THING HAS MADE ME FAIRLY ILL. ALSO BECAUSE I AM DISTRESSED AND PRESSED WITH SOME BATTLES FOR MY BELOVED THAT I AM ENDEAVORING TO CARRY THROUGH. I DO NOT THINK YOU QUITE REALIZE THE STRESS I AM CONSTANTLY UNDER, OR THE BIG THINGS I AM SINGLY TRYING TO ACCOMPLISH.

I DO APPRECIATE YOUR CONFIDENCE IN MY ABILITY, BUT I DO NOT FEEL QUALIFIED TO WRITE THE ONLY KIND OF LETTER THAT WOULD DO GOOD. ONE FROM ME MIGHT IN THE END DO HARM, AND I AM SURE WOULD BE CLASSED BY ANY EDITOR AS INSPIRED THROUGH GRANDEX FRIENDSHIP. WHAT IS NEEDED IS SOME ONE LIKE MR. SAENGER WHO CAN SPEAK TECHNICALLY AND WITH AUTHORITY. THIS REVIEW IS GRANDEX CRUEL, UNPEAKABLY SO; BUT THAT SEEMS THE POSE OF THE YOUNG CRITICS TO PROVE THEMSELVES SMART AND IRRELEVANT. I DOUBT IF THEY EVER REALIZE THE REAL EFFECT OF THEIR WORDS, AND I DOUBT IF THE PUBLIC HEEDS ANY MORE. I DO NOT FIND MUSICAL AMERICA ON THE STANDS HERE; BUT THEY ALL CARRY THE MUSICAL COURIER. I HAVE CLIPPED THE ENCLOSED FROM THE LAST ISSUE, AND I STILL THINK THAT ZARA HAS PURE GOLD IN HER EUROPEAN NOTICES TO PROVE THAT SHE HAS BEEN ENTHUSIASTICALLY RECEIVED, HAS APPEARED AS STATED, AND WHICH COUNTERACTS THE OTHER IMPRESSION WITHOUT STARTING THE CHANCE OF CONTROVERSY, WHICH ON ACCOUNT OF HER IDENTITY WHICH SHE WISHED TO GUARD, WILL SURELY BRING HER REGRET. MY OWN FEELING IS THAT I WOULD BIDE MY TIME ABOUT THAT MUSICAL AMERICA MATTER, IGNORE IT FOR THE TIME, AND INSERT SOMEWHERE THAT YOU CONSIDER REACHES THE WIDEST AUDIENCE, SUCH A STATEMENT AS THE ENCLOSED WITH ONLY FOREIGN COMMENTS, IGNORE THE NEW YORK ONES. IT SEEMS TO ME THAT IF SOME MANAGER, SUCH AS THOSE IN CONTROL AT THE HIPPODROMZ, COULD BE SHOWN HER FOREIGN NOTICES, AND BE MADE AWARE OF HER BELIEFS OF THE UNDERLYING REASONS FOR ADVERSE LOCAL REVIEWS, AND IF HE WOULD PUT HOLGER AND HER ON FOR ONE OF THEIR SYMBOLIC DANCES -- THAT WOULD BE GOING RIGHT OVER THE HEADS OF THESE NOBODIES. I HAVEN'T HAPPENED TO READ A WORD AS TO THE FOKINE RECITAL, THOUGH I LOOKED FOR IT; BUT I CAN'T SEE THAT ANYTHING IS EXCEPT THE ESTABLISHED GETS EVEN GENTLE HANDLING. BUT I AM VERY SURE THAT IF YOU AROUSE TOO MUCH ANTAGONISM WITH THE NEWSPAPERS THE WILL RETALIATE IN SOME WAY THAT WILL MAKE ZARA FEEL PERHAPS WORSE WHEREAS I THINK I UNDERSTAND HER ROMANTIC IMPULSE, I STILL THINK CHANGING HER IDENTITY IS A MISTAKE, AND MY PRECIOUS

-2-

MUCH DEPLORED IT, BECAUSE PEOPLE SEEM TO RESENT BEING
FOOLED, AS THEY CHOOSE TO CALL IT, BY THAT; WHEREAS
IF THE PUBLIC KNEW HER REAL HUMAN INTEREST STORY THEY
WOULD RISE TO HER PLUCK, HER REMARKABLE ORGANIZING
ABILITY, HER CREATIVE TALENTS, ETC.

I AM SUFFERING WITH YOU, I KNOW YOU MUST FEEL THAT.
AND I AM TRYING TO THINK OUT SOMETHING. BUT SOMETHING
SEEMS TO INHIBIT ME. PERHAPS I AM SIMPLY TIRED, AND
OVER SENSITIVE; BUT I DON'T WANT THE DEAR CHILD TO SUFFER
MORE; AND I DO FEEL THAT CONTROVERSY WILL DO HARM, THOUGH
I FULLY UNDERSTAND HOW YOU FEEL. THE WHOLE MATTER OF
CRITICISM NEEDS AIRING, AND SHOULD BE UNDERaken BY
SOMEONE QUALIFIED TO DO SO. THE MACHINATIONS THAT I
AM DISCOVERING IN MY LINE OF WORK WOULD EQUALLY APPAL
YOU. BUT IN CRITICISMINg, ONE MUST COME INTO COURT WITH
CLEAN HANDS, AND ALAS THOSE ANTAGONIZED WILL SURELY
TRY TO USE JUST WHAT YOU DON'T WANT USED TO ANTIATE. WOLLS
AGAINST HER. I FEEL THIS VERY POWERFULLY, AND WOULD NOT
BE JUST IF I DID NOT VOICE TO YOU MY FEELING. THE
FACT OF HER IDENTITY IS THE CONCEALED WEAPON, THEY WILL
TRY IF THEY CAN TO TURN AGAINST HER. AS FOR ME THERE
IS THIS ASPECT, IF ON ACCOUNT OF MY NAME THE EDITOR
SHOULD HAPPEN TO WRITE ME PERSONAL QUESTIONS -- YOU CAN
SEE THAT MUST NOT BE; FOR THE SAKE SIMPLY OF WHAT I AM
ENDEAVORING TO PUT THROUGH FOR MY BELOVED, I CAN NOT BE
PUT IN THAT DILEMMA. ZARA'S IDENTITY IS THE REAL
STUMBLING BLOCK, ALTHOUGH THAT IS NO EXCUSE FOR WRETCHED
ILL CONSIDERED CRITICISM. OF COURSE I UNDERSTAND YOU
MEAN TO TREAT THE MATTER SIMPLY FROM THE ARTISTIC SIDE;
BUT CONTROVERSY STARTED, AND SOME OF THE TABLOID SHEETS
WILL START UP THAT PART.

FORGIVE MY WRITING ON MY MACHINE -- BUT IT IS THE
BEST I CAN DO TO-OAY, DEAR.

I DO SO FEEL THAT TO SOAR OVER THE PRESENT INJUSTICE
UNTIL YOU CAN SETTER FIGHT IT WILL BE THE FAR WISER COURSE,
AND I BELIEVE THAT WAY SHE WILL WIN; AND WILL HUMBLE THEM
ALL IN THE END.

METROPOLITAN OPERA HOUSE

Tuesday Evening, February 16, 1926

FIRST APPEARANCE IN AMERICA
THE FAMOUS YOUNG RUSSIAN DANCERS
Zara ALEXEJEVA and Holger MEHNEN

PHILHARMONIC ORCHESTRA
(Fifty Members)

ORATORIO SOCIETY CHORUS
(Fifty Members)

Conductor: H. MAURICE JACQUET

["METROPOLITAN OPERA HOUSE", "TUESDAY EVENING, FEBRUARY 16TH, AT 8.30 O'CLOCK", "FIRST APPEARANCE IN AMERICA", "The Famous Young Russian Dancers", "Zara ALEXEJEVA and Holger MEHNEN", "IN", "ORIGINAL RUSSIAN BALLETs", "Direct from the Opera Houses of Europe and South America", "Conductor: H. MAURICE JACQUET", "(From the Opéra Comique, Paris)", "PART I.", "\"THE RED TERROR\"", "Opera-Ballet in Five Tableaux by Max Marceau Inspired by the S. O. S. of Leonid Andreieff", "Music by Borodine, Glinka, Moussorgsky, Saint-Saëns and Tschaikowsky", "The Symbolic figures pass before the dome of the sky", "Against a background of blue sky stands a golden throne. The Tsar, symbolizing the autocrats of all the ages, stands upon the steps of the throne, his hand resting upon the sceptre.", "Out of the dawn of emperor's power crept the shadow of tyranny. Golden were the promises which brought the people captive to their sovereign's throne. Bitter the awakening to a broken pledge. The song of praise which rose from the heart of a mighty people who trusted, becomes a song of martyrs—weary the way of the thousands across the trackless wastes—a pitiful protest against the living wrong. And from this martyr's song gathers the tempest, a threat of vengeance—a cry of menace. The cry of a people ignorant, martyred and betrayed, which goes out into the night and echoes over the vast spaces of Russia, even to the world outside, and upon this world bursts the frenzy, the passion of the terror.", "\"... The cry of starving and mangled Russia was strangled by its executioners before it could reach the world—a country transformed into a vast charnel house. And yet the sun rose and sank, the hand of time moved on unheeding, and indifference remained an insurmountable wall, through which the truth could not penetrate. Eyes filled with longing gazed across the sea for the promised aid, which never came, and these myriad eyes of a mighty people glazed, for the only merciful Prince to answer their prayer was the \"Prince of Death.\"", "The Red Terror triumphant is the embodiment of a phantastic cruel joy—an elemental passion. What is it to him that the people become a grey wrath fleeing from the spectre of starvation, haunted by the horror of a soulless grotesque power. What is it to him that, in his power, gazing up into the masked face with the frenzy of horror, she tries to free herself—to break away—that in the last agony she sinks in appeal. There is no appeal. Merciless—for is he not slave to an idea?—he plunges a knife into her heart and holds aloft the symbol of his power. A change comes over him. This being with the idea which has obsessed him, with hands steeped in blood, becomes a thing of loathing. The forces of evil gather round him and over the land crushed beneath his heel sweep famine and pestilence. Christ is crucified anew. Where are the Christians whose love should heal these wounds? In the hearts of men faintly burns the light of love—the divine heritage which makes them children of God.", "Cold in the light of the dawn, Russia lies sleeping. But the rising sun caresses her and slowly she raises her head. Glorious, beautiful and inspired stands the White Prince with arms out-stretched, the Prince of Light, the Resurrection. The song of the people rises—a paean of joy.", "First Tableau—\"The Dawn of Tyranny\"", "THE TSAR................................

PART III.

"RAMA AND SITA"

Legend of the East

<table>
  <tbody>
    <tr>
      <td>PRINCE RAMA</td>
      <td>HOLGER MEHNEN</td>
    </tr>
    <tr>
      <td>PRINCESS SITA</td>
      <td>ZARA ALEXEJEVA</td>
    </tr>
    <tr>
      <td>THE RAJAH</td>
      <td>PROFULLA KUMAR GHOSHAL</td>
    </tr>
    <tr>
      <td>INDIAN SLAVE</td>
      <td>GERRY GUERRERO</td>
    </tr>
    <tr>
      <td>CHINESE SLAVE</td>
      <td>ARTHUR BLACK</td>
    </tr>
    <tr>
      <td>A EUNUCH</td>
      <td>ALPHONSO TORAN</td>
    </tr>
  </tbody>
</table>

NUBIAN SLAVES, ETC.

Scene II. The Desert.

INTERNATIONAL COPYRIGHT

CHORUS MASTER WALTER GOLDE

Master Mechanic F. HOSLI

Chief Electrician J. BUCHTER

Master of Properties PHILIP CRISPANO

AMUSEMENTS. X

3

To the Public:

What European and South American Art Centres thought of

ALEXJEVA AND MEHNEN

who have just appeared at the Metropolitan

"DISPLAYED A SUPERIOR ART—BEYOND ALL THE DANCERS WE HAVE EVER SEEN,"—Nemzeti-Ujsag, Budapest.

"A WONDERFUL TECHNIQUE—A REMARKABLE VIRTUOSITY—COMMANDS AN INTERPRETATIVE POWER THROUGH WHICH THESE DUMB SCENES BECOME BRIEF TRAGIC DRAMAS,"

"CREATE A PROFOUND IMPRESSION—WORTHY IN ALL OF THE GREAT RENOWN WHICH PRECEDED THEM,"—Il Giorno, Naples.

"RICH IN POETIC INSPIRATION,"—Giorนา di Roma, Rome.
"FLAWLESS AND GRACEFUL IN THEIR MOVEMENTS—VERY EX- PRESSIVE AND ORIGINAL—OF HIGH ARTISTIC MERIT,"

—Journal do Brazil, Rio de Janeiro.
"TWO SUPERLATIVELY FINE ARTISTS—WORTHY OF THE FAME WHICH PRECEDED THEM."—Boa Noite, Rio de Janeiro.

"DOMINATED THE PUBLIC COMPLETELY—GREATEST EURYTHMIC RICHNESS."—El Commercio, Lima, Peru.

"WHILE TREMBLING FROM FRIGHT OR FATIGUE SHOWED AMPLE ENDURANCE AS A TOE DANCER,"—N. Y. Times.

(Comment) THE LILY IS AGITATED, CONVULSED, BROKEN BY THE TEMPEST. DID THE WRITER MEAN TO REFER TO THE LILY WHEN HE SAID, "TREMBLING FROM FRIGHT OR FATIGUE"?

More Russian Dancers.

The Metropolitan Opera House was the scene last evening of another special terspichorean entertainment. This was advertised as the first appearance in America of the "famous young Russian ddancers, Zara Alexejeva and Holger Mehnen." Fifty musicians from the Philharmonic orchestra, fifty choristers from the Oratorio Society and a conductor named H. Maurice Jacquet and attributed to the Paris Opera Comique participated in the evening's doings. Three ballets were presented—"The Red Terror," "The Black Swan and the Lily" and "Rama and Sita." It may be interesting to know that according to the official program Zara Alexejeva and Holger Mehnen come "direct from the opera houses of Europe and South America." The performance offered, however, does not invite further discussion than the record provides.

TWO FOREIGN DANCERS
IN AMERICAN DEBUT

Young Zara Alexejeva and Holger Mehnen Present Novelties at

the Metropolitan, '26

—Feb. 17.

Two dancers, Zara Alexejeva and Holger Mehnen, who have toured abroad in the Russian type of ballet and more recently would seem to have found in South America a veritable gold mine, gave a joint début elaborately staged at the Metropolitan Opera House last night. They were assisted by an orchestra of fifty from the Philharmonic and an equal chorus trained by Walter Golde and recently heard in Stravinsky's "Les Noces." The conductor was H. Maurice Jacquet of Paris.

On this, their only performance, the dancers were said'to have put enough personal hard work in directing rehearsals to have exhausted a less devoted pair of artists. They presented as novelties "The Red Terror," symbolizing a post-revolutionary Russia on 'tiptoe awaiting rescue by her white prince: "The Black Swan and the Lily," a slender affair of a poet and princess reincarnate to music by Vladimir Butzow, a Russian exile in Paris, and finally "Rama and Sita," on the more familiar order of Oriental dances.

It was a pleasure to see Glazounov's "Bacchanale" revived by the youthful pair just before the only long intermission last night. The male dancer, a Scandinavian of good physique and evident technical training, lacked something of imagination supplied by his partner. She, in turn, while trembling from fright or fatigue, showed ample endurance as a toe dancer. Miss Alexejeva was said by some to be a New Yorker, by others a foreigner, but she had taught the American chorus its words, which were understood by Russians in the house, in the "Red Terror" finale.

# REALM OF MUSIC

By Paul Morris

IN A STRICTLY classical program the Philadelphia Orchestra and its strenuous conductor, Leopold Stokowski, made an appearance last night at Carnegie Hall. Beethoven and Bach were the only composers represented. The principal soloist was Harold Samuel, heretofore known as a specialist in the music of Bach. Last night he proved to be equally proficient as a Beethoven interpreter. In the "Emperor" concert of Beethoven he played with rare beauty and style.

He is not a sensationalist. He did not, as many pianists do, try to make a "superman" concerto of this work, which refers only to an Emperor. His performance was distinguished for its beauty of line and of style and its emotional appeal, not for its heroism. Mr. Samuel had the good taste to play only a simple cadenza in the first movement. Even the most serious pianists take it upon themselves to introduce extraneous matter whenever a composer gives them an opening, and many an Emperor concerto performance has been ruined by too long and too ambitious cadenzas. Mr. Samuel did not make the common mistake of putting personal variations into his cadenzas.

A Bach concerto for piano, flute and violin, played by Mr. Samuel, W. M. Kincaid and Thaddeus Rich, the Toccata and Fugue in D minor of the same composer and Beethoven's overture, "Leonore," No. 3, completed the program.

## A LA RUSSE

Zara Alexejeva and Holger Mehnen, advertised as "famous young Russian dancers," appeared last night at the Metropolitan Opera House in a

program of alleged Russian dances. Miss Alexejeva is said, by some, to be a California girl, and by others to be the daughter of the well-known New York vocal teacher, Oscar Saenger. Mr. Mehnen is said to be Danish. Their recital was elaborate, picturesque, sprightly and diverting. But, except for the music, which was taken for the most part from the land of Trotzky, there was very little Russian spirit about the entertainment. There were pretty tableaus, "The Red Terror," with music by Leonid Andreeff, and "Rama and Sita," with a score by various Russian composers. But there was very little Russian dancing, as it is known here.

## ELMAN'S QUARTET

Mischa Elman's String Quartet gave its second concert of the season last night in Aeolian Hall, and if any four players of stringed instruments have given a better performance, this season of any work than these musicians did of Mozart's Quartet in C major, I missed hearing it. Mr. Elman and his associates have perfected their ensemble to such a degree that they can give performances of amazing beauty and finish.

M. P. New Russian Dancers

Ld. 1917

As far as the composers represented last evening at the Metropolitan Opera House were concerned, it was interesting. Moussorgsky, Saint-Saens and Tchaikovsky fared well under the spirited baton of M. Jacquet from the Opera Comique of Paris. But the sincerity of fifty members of the Philharmonic Orchestra failed to mitigate the dullness inflicted upon a fairly patient audience by two newcomers to our ever-receptive shores.

Zara Alexejeva and Holger Mehnen indulged in some commonplace choreographic posturing, some fairly good ballet work and some unbelievably bad dancing. "The Red Terror"—so it is understood from, in this case, an indispensable program—expressed the passionate soul of Russia. A merciful review can safely comment on the staging of the first scene—pictorially effective with its cluster of minarets silhouetted against a blue void!

M. Mehnen redeemed himself in part in "The Black Swan and the Lily." He has a certain ease, smoothness and grace, but lacks the ability necessary in this type of dancing to express emotion. Unfortunately a callow, leaping and amateurish "Bacchale" quickly followed this number. The second twenty-minute intermission preceded "Rama and Sita," a legen daf the East.

5

APOUT

ALEXJEVA-MEHNEN

PERFORMANCE

... Too familiar music played by a poor orchestra." —N. Y. Sun.

(COMMENT)—An original symphonic Dance-Poem by Wladimir Butzow, never given in the United States, was presented; played by New York's foremost orchestra—The Philharmonic. Was the writer perhaps asleep?

"Stage management and lighting effects were a little better than the dancing." —N. Y. Sun.

YET we read from Pesti-Naplo, Budapest: "It is already time to place these two among the most celebrated classic dancers."

"The performance of the two Russians was sensational." —Pester Lloyd, Budapest.

"Displayed a superior Art, beyond all the dancers we have ever seen." —Nemzeti Ujsag, Budapest.

"Create a profound impression . . . worthy in all of the great renown which preceded them." —Il Giorno, Naples.

"But the fire in her work was seldom forced into flame." —N. Y. Sun.

"Commands an interpretative power through which these dumb scenes become brief tragic dramas." —Neues Wien Journal, Vienna.

"Storms with the frenzy of joy." —Berliner Zeitung am Mittag, Berlin.

"Mr. Mehnen seldom ranged beyond the borderland inhabited by able members of any well drilled ballet." —N. Y. Sun.

YET we are told by "El Espectador." Bogota, Colombia: "That he is more aesthetic than Mordkin, more virtuoso than Vollinine, his style resembles most the art of the famous Nijinsky."

"Mehnen, a dancer of undisputable virtuosity and an artist of real talent, . . . great virility and most exceptional art." —La Tribuna, Rome.

"Zara Alexjeva and Holger Mehnen showed great virtuosity." —Il Passo, Rome.

" . . . no undue strain by the sum of their collective efforts." —N. Y. Sun.

YET eleven dances and two big pantomimic and interpretative ballets—two people playing twelve characters in one evening.

Mme. Alexejeva and
M. Mehnen in Russian Ballets

From a tour through balmy lands under the Southern Cross came two dancers, Mme. Zara Alexejeva and M. Holger Mehnen, to the Metropolitan Opera House last night. Their program of Russian ballets was an ambitious one and they enjoyed the audible support of a large orchestra and an oratorio chorus trained for the occasion by Walter Golde.

According to some rather poignant program notes the ballets, three in number, were entitled "The Red Terror," by Max Marceau, with music supplied from the repertoires of various well known Russian composers; "The Black Swan and the Lily" and "Rama and Sita," an Oriental symphonic poem by Liapounav, with incidental dances by Terenghi, Illynsky and Rubinstein.

On the whole the stage management and lighting effects were a little better than the dancing—and that is no severe reflection upon the latter art. Mme. Alexejeva's terpsichorean technique was admirable, and she moved about with easy, flowing gestures that conveyed charm and conviction. But the fire in her work was seldom forced into flame. Indeed even its glow occasionally waned perceptibly. And Mr. Mehnen, although a figure of supple ease and grace, who danced well, seldom ranged beyond the borderland inhabited by able members of any well drilled ballet. In short, both these artists would appear to much greater advantage presented in a program more condensed, more varied and wider in its opportunities for the display of their respective talents. The scenes and the chorus were well managed last night and H. Maurice Jacquet as conductor wrought wonders with his collection of musicians.

But why does the Russian's conception of an evening's entertainment, in this town at least, invariably consist of five parts intermission, three parts of too familiar music played by a poor orchestra, and two parts of actual dancing by a pair of performers who are certainly put to no undue strain by the sum of their collective efforts during the course of a leisurely evening?

TO THE EDITOR OF THE *NEW YORK TIMES*:

ALMOST A MIRACLE HAPPENED THE OTHER NIGHT. THE YEARS ROLLED BACK: ONCE AGAIN YOUTH AND GRACE AND BEAUTY AND CLEAN HIGH POETIC ART HELD A BLASE METROPOLITAN AUDIENCE. THE LURE WAS NOT MODERN YOUTH WITH ITS BOBBED HAIR, JAZZ, AND TIRESOME SEX APPEAL; BUT VERITABLY A LOVELY PAGE FROM A THEOCRITIAN IDEAL. ONE SAW THE NYMPH AND THE FAUN, AND HEARD SOME DELICIOUS NEW MUSIC BY PAN HIMSELF -- AND WAS REFRESHED.

IT WAS THE AMERICAN APPEARANCE OF THE YOUNG DRAMATIC RUSSIAN DANCERS, ALEXEJEVA AND MEHNEN, STRAIGHT FROM THE APPLAUSE OF TWO CONTINENTS. FROM PUBLISHED REPORTS, CRITICS FROM OLD WORLD ART CENTERS WERE KEENLY AWARE OF THEIR CHOICE OFFERING, WHICH INCLUDED AN EPIC OF RUSSIA, A POIGNANTLY BEAUTIFUL FANTASY, AND AN ORKANOR oriental tragedy. THE WORK OF THESE ARTISTS IS ORIGINAL, DIFFERENT, VIBRANTLY SPIRITUAL, AND IN VERY REMARKABLE UNITY WITH THE MUSIC.

FROM THE RECEPTION GIVEN BY NEW YORK PAPERS, IS ONE TO JUDGE THAT THE NERVES OF SOME OF OUR CRITICS ARE A BIT TOO JADED TO RESPOND TO AN ART SO DELICATE AND RARE?

AN OLD NEW YORKER.

FEBRUARY 23, 1926.

Announcement

A MOVEMENT in which Mrs. Joseph Leidy and other prominent Philadelphians became interested about five years ago, and which had for its principal object the presentation of grand opera of the highest artistic standards at prices which could be met by all classes of music lovers, will reach its culmination during the coming fall and winter, when the Philadelphia Grand Opera Company will present a series of six performances of grand opera, under the auspices and sponsorship of the Philadelphia Grand Opera Association, which includes in its list of members, some of the most prominent names in the social, musical and financial circles of our city.

That the success of the projected season is assured will be evident from the fact that the FOUNDERS of the PHILADELPHIA GRAND OPERA ASSOCIATION have subscribed for all the boxes for the entire series.

The management desires to announce that for this first season, the repertoire will consist of what are popularly known as "standard" operas, the works which will be presented, and the dates of their performance being as follows:

AIDA (In Italian)........Thursday evening, October 28, 1926.
RIGOLETTO (In Italian)........Tuesday evening, November 16, 1926.
FAUST (In French)........Tuesday evening, December 21, 1926.
I PAGLIACCI (In Italian)........Tuesday evening, February 22, 1927.
THE RED TERROR (Russian Ballet)........Tuesday evening, February 22, 1927.
OTELLO (In Italian)........Thursday evening, March 31, 1927.
CARMEN (In French)........Tuesday evening, April 19, 1927.

It will be the constant endeavor of the management to give to the music loving public of Philadelphia tangible and concrete evidence that the works of the great masters can be presented upon a scale of artistic excellence which will meet the most exacting demands of the critics and public alike, and, at a ticket tariff which will not be burdensome to any class of opera patrons and supporters.

A brilliant galaxy of stars of the lyric firmament has already been engaged and negotiations with other artists of distinction are now in progress. Among the artists who will appear this season with the company are the following:

JOSEPHINE LUCCHESE (coloratura soprano). This young and beautiful singer, known as the "American Nightingale," who has delighted Philadelphia audiences upon many occasions, will return from her European tour especially to appear on November 16th in "Rigoletto," as Gilda, her favorite role.

FANNY COLE (lyric soprano). From leading opera houses of Italy and Germany,

EUPHEMIA GIANNINI (lyric soprano). Although Miss Giannini is a native of Philadelphia, this engagement will mark her operatic debut in America. Her beautiful voice and dramatic gifts, which are of the highest order, have gained for her many successes in European opera houses.

IRENE WILLIAMS (lyric soprano). The beautiful voice and charming personality of Miss Williams have won for her many admirers, not only in Philadelphia, where she is well known, but also in the musical centers of Europe and Latin America.

VERA CURTIS (dramatic soprano). Miss Curtis enjoys the distinction of having gone directly from the studio to the stage of the Metropolitan Opera Company as one of its leading singers; as a member of that great organization Miss Curtis has had a brilliant career.

MARTA WITTKOWSKA (mezzo-soprano). A singer unusually gifted, whose Carmen at Covent Garden, London, elicited from the critic of the London *Times* this tribute: "Her voice is full of music and beauty."

JOHN DWIGHT SAMPLE (dramatic tenor), from La Scala, Milan. Mr. Sample is the first American tenor to sing "Otello" in Italy; he also had the honor of having been invited by Maestro Arturo Toscanini and the composer, to create the leading role, at La Scala, in the world's premier production of Pizzetti's opera "Deborah e Jaele"; the success of this work was so great that it was presented ten times at La Scala during the season, under the direction of Maestro Toscanini, with Mr. Sample in the role which he created. After considerable negotiation, the management has succeeded in securing this superb artist, and feels confident that his appearance here as Radames in "Aida," on October 28th, will create a sensation.

VICENTE BALLESTER (baritone). This internationally famous artist, whose work as a member of the Metropolitan Opera Company and of the Chicago Civic Opera Company, has established him as one of the most eminent singers of our time, will appear as Rigoletto, in Verdi's opera of that name, on November 16th.

EMILE BARRANGON (CHIEF CAUPOLICAN) (baritone). This South American Indian artist, in addition to possessing a voice of unusual power and sonority, is noted for his exceptional histrionic ability. As a member of the Metropolitan Opera Company he made a brilliant success as the creator of the principal role in "The Polish Jew."

ROBERT STEEL (baritone). This young artist, recently a member of the Chicago Civic Opera Company, has just returned to America after a season of notable successes at the San Carlo, Naples and other famous opera houses of Europe. Mr. Steel's appearance as Tonio in "I Pagliacci," on February 22nd, will reveal an interesting and unusual interpretation of this role.

JEROME UHL (bass-baritone). Formerly of the Chicago Civic Opera Company.

IVAN STESCHENKO (bass). Formerly of the Petrograd Opera and lately of the Chicago Civic Opera Company; this great Russian singer will appear as Mephistopheles in Gounod's "Faust," on December 21st. His character delineation of this role has been acclaimed by critics as "a model of singing and acting."

Among other artists who have been engaged are: MARIE ZARA, lyric soprano; MARGARET EBERBACH, dramatic soprano; BERTA LEVINA, contralto; AUGUSTO OTTONE, bass; LUIGI DALLE MOLLE, bass-baritone; ENRICO GURNEI, tenor.

DR. LEOPOLD STOKOWSKI, the distinguished conductor of the Philadelphia Orchestra, will co-operate with us as Honorary Musical Director.

MAESTRO FULGENZIO GUERRIERI, the celebrated "batonless" conductor, whose work needs no introduction to Philadelphia opera goers, will have the co-operation of an orchestra of artist musicians, composed of fifty members of the Philadelphia Orchestra, and a chorus of fifty voices.

A special feature of the season will be the appearance of the famous Russian dancers, MILLE, AYENARA, ALEXEYEWZA and MONSIEUR HOLGER MEHNER, who have been engaged as premiere danseuse and premier danseur and directors of the corps de ballet. These superlative artists have just arrived in this country after unparalleled triumphs in the leading opera houses of Europe, Central and South America and Mexico. They will present a number of novelties, which will be given for the first time in America, at these performances, with especially designed costumes and scenery by George Salter, of the Royal Opera of Berlin and Professor Bordoni, of Rome.

The stage direction will be in charge of Karl T. F. Schroeder, for many years a member of the staff of the Metropolitan Opera Company.

The costumes and scenery will be in keeping with the high standards of the company.

Plans have been made and are now being perfected to give at least twelve performances during the season of 1927-1928, and to gradually increase our repertoire so that, within five years, the Philadelphia Grand Opera Company will present a schedule of two operas per week for a season of approximately twenty weeks. It is proposed to give each year as many novelties and works of the more modern schools as possible. As Philadelphia is rapidly becoming, if, indeed, it has not already become, the center of real musical culture in this country, the management feels confident that, with the support and co-operation of the music loving people of Philadelphia and vicinity, these comprehensive plans can be carried forward to successful completion.

WM. C. HAMMER, General Manager,

THE HOME BY THE SEA
SATURDAY MORNING

AYENARA DEAR:

EVER SINCE YOUR HANDSOME AND IMPRESSIVE ANNOUNCEMENT CAME, I HAVE BEEN WANTING TO THANK YOU; BUT, MY DEAR, SO MUCH PRESSES UPON ME ALL THE TIME, THAT I JUST HAVE TO KEEP SWIMMING HARD AGAINST THE SWIFT AND STRONG TIDE. SO MANY DEMANDS AND SO MUCH TO BE DONE -- BUSINESS, WORK, PROBLEMS, BESIDES THE WORK TO WHICH MY LIFE IS CONSECRATED -- YOU KNOW WELL HOW IT IS. AND ONE PAIR OF HANDS, AND ONE HEAD IS NOT MUCH AFTER ALL. BUT, THANK GOD, MY PRECIOUS LITTLE MOTHER IS SO MUCH BETTER. THAT IS EVERYTHING. I THINK NOW THAT IF SHE WILL STAY WITHIN HER TEMPO, AND NOT OUTDISTANCE HER STRENGTH, NOT PERMIT HERSELF TO BECOME FATIGUED (IF I CAN STEEL MYSELF MYSELF NOT TO PERMIT ANY CIRCUMSTANCES THAT WILL MEAN THAT), SHE WILL KEEP WELL. BUT SHE IS SO UNSELFISH, AND SO ACTIVE IN EVERY URGANCE, THAT IT IS DIFFICULT TO DENY HERSELF.

HOW SORRY WE ARE THAT YOUR DEAR MOTHER -- YOUR ANGEL -- HAS NOT BEEN WELL. I THINK WE ALL WANT TO GIVE OUT MORE THAN WE ARE ABLE TO GIVE, BECAUSE LIFE AND DEMANDS PRESS SO CONSTANTLY WE CANNOT GET THE PEACE AND CHANCE TO BECOME RECHARGED WITH DIVINE ENERGY. IN SUCH MAJORVELOUS WAYS LIFE KEEPS OPENING OPPORTUNITIES OF SERVICE, AND I HAVE TO TURN ASIDE, JUST BECAUSE I SIMPLY CANNOT CARRY SO MUCH. SOMETIMES I JUST LONG TO FLY TO SOME DISTANCE LAND, LIKE YOUR IMMORTAL CHAPALA, WHERE I CAN REEK MYSELF ON THE ONE DIVINE WORK, AND GET IT FULFILLED. BUT IF I DON'T WRITE, BECAUSE I MAY NOT, ALWAYS KNOW THAT I AM PRAYING FOR YOUR FULFILMENTS, AND WISHING YOU ALL THAT IS TRUE AND BEAUTIFUL.

I WAS ESPECIALLY INTERESTED TO SEE THAT YOU AND HOLGER ARE TO INTRODUCE THE OLD FASHIONED DANCES WITH THEIR INFINITE CHARM AND GRACE AND SURCHARGED AS THEY ARE WITH THE OLD SENSIBILITIES AND UNDYING VALUES. PERHAPS OUT OF ALL THIS MODERN HORROR OF UPHEAVAL SOMETHING FINE WILL YET COME; BUT I STAND INFLEXIBLY BY GRACE, AND REAL THUMBER TRUTH, AND WOMANLY CHARM.

IT IS SWEET TO THINK OF YOU ALL IN A LOVELY SPOT, THOUGH AS YOU MAY HAVE HAD TO DESCEND TO THE TURMOIL, I AM SENDING THIS LETTER -- NO, I WILL RISK IT TO THE MERMAID BERKSHIRE, FOR NO DOUBT THIS MIRACULOUS WEATHER HAS DETAINED YOU. MY HEAD BECAME UTTERLY MULISH THIS SUMMER FROM NOISE, AND TRYING TO WORK AGAINST AGAINST IT, AFTER SHATTERED SLEEP, THAT I FLEW TO A FAR CATSKILL HILL TOP, AND SOAKED IN THE SUNSHINE AND PEACE, AND FOUND THAT WAS RIGHT. OUR LOVE AND HOPES TO YOU ALL.

215 ATLANTIC AVENUE
ATLANTIC CITY, N.J.

NOVEMBER 12TH.

DEAR, DEAR LADY NAYAN:

YOUR LETTER IS A GREAT SHOCK,
FOR I HAD NOT THE LEAST KNOWLEDGE OF MR. SAENG ER'S
SERIOUS ILLNESS, THOUGH I DID HAVE A FEELING THAT ALL
WAS NOT QUITE AS YOUR HEART WANTED THINGS, AND I SENT
A LITTLE LETTER TO AYENARA SOME WEEKS AGO, WHICH I HOPE
REACHED HER. IT WAS JUST A WORD OF BEST WISHES FOR
YOU ALL. THE LAST THAT I HAD PREVIOUSLY HEARD WAS
HER LETTER OF LAST SPRING, OR WINTER, WHEN SHE SPOKE
OF THE POSSIBILITY OF SEEING THE HOME OF SO MANY MEMO-
RIES. I WROTE THEN THAT IF I COULD GET OVER, I SHOULD
GET IN TOUCH WITH YOU ALL. BUT I DID NOT GET OVER,
SAVE ONE DAY THIS AUGUST TO GO OUT TO THE CEMETERY.
IT IS QUITE IMPOSSIBLE TO THINK OF YOUR VERY VITAL
MAN AS ILL -- OH, I AM SO VERY SORRY, AND FOR ALL THE
ANXIETY ON YOUR HEART. BUT I KNOW YOUR PLUCK AND
STRENGTH, AND I KNOW THAT YOU WILL BRING HIM THROUGH
TO SMILING SKIES AGAIN, AND TO GIVE OUT SO MUCH TO SO
MANY. I CAN APPRECIATE JUST HOW MUCH IT MEANS TO HIM
TO HAVE YOUR MINISTERING CARE.

All the love from your友

THE WANTED NAME AND ADDRESS IS MR. & MRS. THOMAS
M. COLLIGON, FAUNCE ROAD, ABSECON, NEW JERSEY. THEY
WERE OVER HERE IN ATLANTIC CITY FOR THE MONTH OF OCTOBER,
BUT ARE NOW AT THEIR ABSECON COTTAGE, WHICH IS JUST
ACROSS TO THE MAINLAND. I THINK THEY ARE PLANNING TO GO
TO XXX PETERSBURG, AGAIN IN THIS WINTER, SOMETIME IN DECEM-
BER. I HAVE OFTEN HEARD IT SPOKEN OF AS A DELICIOUSLY
SUNNY PLACE.

WILL YOU FORGIVE MY WRITING THIS ON THE MACHINE,
BUT I WANTED TO GET WORD TO YOU AT ONCE, AND I AM IN A
JAM TODAY.

WE ARE STILL FORCED TO HOLD THE FORT HERE, AND
IT TAKES ALL MY NERVOUS STRENGTH EVERY DAY KEEPING UP
WITH EVERY THING. MY ONE ACCOMPLISHMENT HAS BEEN THAT
LITTLE MOTHER IS NOW (KNOCK WOOD) PRETTY WELL, BUT IT
IS A CONSTANT STRUGGLE TO KEEP HER SO, AND TO GUARD HER
AGAINST FATIGUE, ETC., YOU KNOW HOW IT IS. YOU ARE
ALWAYS A MARVEL, WITH YOUR SECRET FOUNTS OF INEXHAUSTIBLE
STRENGTH. TWO NEW EDITIONS OF THE DICTIONARIES ARE
OUT, AND ACCLAIMED, AND THAT MAKES ME SO HAPPY THAT MY
GREAT ONE'S LEXICOGRAPHIC NAME IS SO LIVING. HOW GOOD
IT WOULD BE TO HAVE A TRAMP ALONG THE SANDS TOGETHER,
AND TO TALK OF ALL THE DAYS BETWEEN. DO, WHEN YOU GET
A CHANCE, TELL ME MORE ABOUT YOU ALL. MY BOOK GROWS,
GROWS, BUT MY HEART FRETS AND BREAKS THAT IT HAS TO BE
SO SLOW. IT IS AN IMMENSE JOB, AND OFTEN