Zara Alexjeva
AND
Holger Mehner

European and South
American Tournee

BUDAPEST

VAROSI SZINHAZ

In the Varosi Szinhaz, "Cavalleria Rusticana" was
performed under the splendid direction of Maestro
Abranyi, after which followed the guest appearance of
Zara Alexejewa and Holger Mehnen, whose splendid
reputation had already reached us from Vienna and Berlin.

The performance of the Russians was sensational. After but a few moments the crowded house was held in the spell of a surprising pantomimic and choreographic performance.

The artists produced at first a dance poem, "The
Red Terror," a Russian allegory. The music comprised
compositions of Borodin, Moussorgsky, Tschaikowsky,
Glinka and Saint-Saens. Race characteristics and perfect
technique here attained finest expression.

In the dance-poem, "The Black Swan and the Lily,"
with music by Vladimir von Butzow, Zara Alexejewa
symbolized a storm-swept and then broken lily, whilst
her partner portrayed a loving and dying swan. One saw
a study in movements of so high an order that there
arose a general desire for a prolongation of the gastspiele.

When the Russians closed the program with the
rhythms of Glazounow's tempestuous "Bacchanale," they
were enthusiastically acclaimed.—"Pester Lloyd,"—
Budapest.

AT THE VAROSI SZINHAZ

Last evening we had the opportunity to applaud two
of those Russian Dancers who now dominate with their
art the entire world. It was the young Zara Alexejeva
and Holger Mehnen, in their program. "The Russian
Fantasy," a little romance of Leonid Andreiev, was trans-
formed into an allegorical poem, of which the music was
by Borodine, Glinka, Moussorgsky, Saint-Saens,
Tschaikowsky.

The Ballet was represented with sentiment and
technique. It was the true kind of Russian tragedy,
romantic and hopeful. The second number was "The
Black Swan and the Lily," with original music by
Valdimir Von Butzow, in which Zara Alexejeva dis-
played a superior art, a rhythmic sentiment and lightness,
beyond all the dancers we have ever seen.—"Nemzeti
Ujsag."—Budapest.

RUSSIAN DANCERS AT THE VAROSI SZINHAZ

Thursday evening, after the performance of "Cavalleria Rusticana," two Russian artists danced. Their program was short and varied and their success instantaneous.

The first number was an allegorical poem, entitled
"Out of the Red Terror," by Leonid Andreiev, music by
Tschaikowsky and other great Russian composers. The
pantomime is intensely interesting, with song and other
features, producing splendid effects. Afterwards they
performed "The Black Swan and the Lily," and for the
last number danced the "Bacchanale" of Glazounow.

The two highly gifted artists danced with fine senti-
ment and finished style. They are very original and
produced great effects. The death of the swan is rendered
with an art equal to that of Anna Pavlowa. Their
technique demonstrates a profound schooling. Zara
Alexejeva danced on the toes continuously for more
than ten minutes.

They are very picturesque in the "Bacchanale"—the
leaps with colored veils creating enormous effects. It
is already time to place these two amongst the most
celebrated classic dancers.

The public of Budapest applauded with enthusiasm
their guest dancers.—"Pesti Naplo."—Budapest.

4

VIENNA

JOHANN STRAUSS THEATRE

In the art of dancing the Russians cultivate the old
tradition, which has its roots in virtuosity. Add to
this the characteristics of the Slav, a strong national
element which portrays itself in the dance in a peculiar,
soulful manner which leads to tremendous effects. All
this was wonderfully shown at the performance of Zara
Alexejewa and Holger Mehnen.

The two appeared in the allegorical dance poem,
"Out of the Red Terror," after the story of Leonid Andreiev.
In this ballet the tragedy of the Czaristic and revolutionary
epochs is symbolized.

Alexejewa impersonates here a number of symbolic
characters. This young Russian artist, who exteriorly
resembles Asta Nielsen, is the possessor of not only a
wonderful technique and graceful flexibility, but also
commands an interpretative power through which these
dumb scenes become brief tragic dramas.

A remarkable virtuosity is also part of Herr Mehnen's
equipment. There is a flowing grace in the dancing of
this young artist, of delicate art and beauty.

The dance-drama received powerful atmosphere through
the interpretation of the music by the conductor, Dr. Knoell,
music by the most celebrated composers—stirring national
choruses and plastic stage management. Also in the
dance scenes and solo dances the two artists created great
effects, especially at last, in the "Bacchanale" of Glazounow.

They received enthusiastic applause after all their
performances.—"Neues Wiener Journal,"—Vienna.

BERLIN

The production in the New Theatre with Zara Alexejewa, Holger Mehnen and Kaia Heliostalakti, was composed of dances based upon Poems and Tales. An allegorical Dance-Poem by Max Marceau inspired by Leonid Andreieff, represents the fate of the Maiden "Russia" thrown into the arms of the demoniac "Red Terror." Amidst changing scenes, pass soul-weary exiles and the dying—the Empire falls, death holds sway—the light of Hope shines resplendent.

5

To this end all technical resources are brought into
play, all light effects made use of, and in Kaia Helios-
talakti's "The Black Swan and the Lily," there are moon-
light and storm.

Zara Alexejewa is most winning. A blooming flower-
like head, with an unwonted charm of the passionate
mouth; from the slender fingers to the shoulders quivers
a swaying rhythm; the graceful figure trembles like a
virginal lily shaken by the wind, and storms in Glazounow's
"Bacchanale" with the frenzy of joy.

Her partner, Holger Mehnen, is also superb and a
technical master.

The Philharmonic Orchestra under Dr. Arnold Olewski
and the Russian Chorus augmented the good impression—
"B. Z. Am Mittag,"—Berlin.

NAPLES

R. MERCADANTE RUSSIAN BALLET'S

After "Boheme" were given the announced Russian
Ballets.

They began with an allegorical ballet divided into
three tableaux, or rather episodic summaries, put together
by Max Marceau, with music by celebrated Russian masters,
to represent, and project plastically in pantomime and
dancing "The Red Terror."

Amidst the almost straight and bare simplicity of the
subject, and the beautiful music, at times clear and at
times confused, of these scenes, Zara Alexejewa immediately
revealed herself as a subtle and discerning pantomimist,
ready to gather every nuance of the action and then
render it the most complex and least external and sketchy
possible—and what a graceful, able and admirably
equipped dancer.

Her partner, Holger Mehnen, is a very expressive
pantomimist and a sure and experienced dancer. They
form a harmonious couple.

It is a question, let it not be forgotten, of a Russian
ballet, not of large proportions, but consisting of a pan-
tomimic-dancing Duo, assisted at times by the voices
of a chorus.

Afterwards in the "Bacchanale" of Glazounow,
Alexejewa and Mehnen were full of natural lightness, of

6

colorful vivacity, of passionate impetuosity. They were
warmly applauded and many times recalled to the stage.

Tonight "Tosca" will be given, and a repetition of
"The Red Terror" and the "Bacchanale." There will
surely be another elegant and full house like that of
last night.—"Il Mattino,"—Naples.

THE RUSSIAN BALLET'S AT THE
MERCADANTE THEATRE

The three tableaux comprised in the allegorical
ballet "The Red Terror," were favorably received by a
large audience gathered last night in the elegant theatre.
They deal with a theme of interest, belonging to the most
exciting "Grand Guignol" style, although treated with
great simplicity. They have perhaps heen called "Russian
Ballets" on account of the character of the "dances"
introduced therein by the author, Max Marceau; "dances"
taken ad libitum from the most delightful music of cele-
brated composers, and superbly adapted to the various
episodic moments of the subject. Thus we heard the
Overture "Prince Igor" of Borodine, two choruses from
"Boris" of Moussorgsky, the dances of Tschaikowsky and
the famous "Danse Macabre" of Saint-Saens.

These tableaux, or scenes, tragically terrifying and
often interrupted by choruses, were admirably interpreted
by Zara Alexejewa and Holger Mehnen, two unsurpassable
artists of the "Dance," who blended in the most harmonious
union.

Zara Alexejewa, indeed, is not only a most agile,
elegant dancer, having exceptional style—but also a
pantomimist of such admirable intuition as to bridge the
numerous gaps in the action with the most varied
resources.

Holger Mehnen is a worthy partner, as has been indicated
above—what an experienced and polished dancer—what
an expressive pantomimist—what mastery of the stage.

They were well supported by the first mime, Ferdin-
and Bruno, and by the latter's father, Luigi, for years
director at the San Carlo; by the orchestra, efficiently
led by young Maestro Roberto Giovannini, and by the
chorus, splendidly coached by the excellent Maestro
Giuseppe Papa.

The Divertissement by Glazounow followed, exquisitely
graceful in its tenuousness and brevity, animated to no

7

slight extent by the infuriated execution of the Alexejewa-
Holger couple.

The Ballets were preceded by "La Boheme." To-
night "Tosca" will be given, followed by the Russian
ballets.—"Corriere di Napoli,"—Naples.

THE RUSSIAN BALLETs AT THE MERCADANTE

The theatre was literally filled to over-flowing and
the Russian Ballet Company directed by Alexejewa and
Mehnen met with great success.

More than of Russian Ballets in the strict sense of
the word, these treat of intensely dramatic and terrifying
scenes, a veritable dancing "Grand Guignol," these three
which compose the allegorical Ballet with the strong title,
"Out of The Red Terror. To these few scenes, or pictures.
which last less than an hour, has been adapted stupendous
music of a celebrated composers, Borodin, Moussorgsky,
Tschaikowsky and Saint-Saens—of course, secondary to
the subject of the dance, to which we have referred.

The company which is composed of thirty persons,
merits unstinted praise for the splendid work.

The two Ballet Stars, Zara Alexejeva and Holger
Mehnen, are two authentic artists of classic dancing who
create a profound impression, worthy in all of the great
renown which preceded them. Their art is sincere, fine
and suggestive.

The large chorus trained by the excellent Maestro
Giuseppe Papa, of the San Carlo, sang superbly the
"Boris" choruses, which form a part of this Ballet. Excel-
lent also was the first mime, Ferdinand Bruno of the San
Carlo. The orchestra was harmonious and colorful under
the young Maestro Roberto Giovannini. Graceful the
short Divertissement "Bacchanale," by Glazounow.

This evening "Tosca" followed by the Russian Ballet.—
"Il Giorno,"—Naples.

THE RUSSIAN BALLETs AT THE
ROYAL MERCADANTE

Last evening after "Boheme" we had the eagerly
awaited Russian Ballets and they did not disappoint
expectations.

The extremely elegant public which packed the house
warmly applauded the splendid dancers, Zara Alexejeva

8

and Holger Mehnen, who displayed their dancing and
pantomimic Art, so full of suggestion, in the Allegorical
Ballet in three tableaux, "The Red Terror,"—with musical
adaptations from "Prince Igor" of Borodin, from "Boris"
of Moussorgsky, the dances of Tschaikowsky and the
"Danse Macabre" of Saint-Saens.

The choruses were capitally executed by the San
Carlian personelle directed by Maestro Papa. Ferdinand
Bruno, Premier Mime of San Carlo and the young and
valiant orchestral conductor, Roberto Giovannini, also
received much applause.

Performance full of imagination, which in its re-
petition will again draw a large public.

This evening the Russian Ballets preceded by
"Tosca."—"Giornale d'Italia,"—Naples.

MERCADANTE THEATRE

Last evening with "La Boheme" was given the first
performance of the Russian Ballets, which in the charac-
teristic movements, in the elegance of the groupings, in
the excellence of the members of the company, especially
of Zara Alexejeva and Holger Mehnen, obtained the
lively interest of the public. Much applause and merited.

Tonight "Tosca" and the second performance of the
Russian Ballets.—"Giornale di Roma,"—Naples.

"Boheme" was given—preceding the Russian Ballet
troupe. The theatre was crowded with a public largely
composed of high society.

The company of Russian Ballet reasserted its rights
in two names worthy to have won the fame of excellent
pantomimic dancers; Zara Aleczjewa—admirably supple,
clear cut and suggestive in action, Menher Holger, splendid
technically, facile in gesture, rhythmical in delineating the
music adapted to the action dances, symphonic pieces
and folk songs of Borodin, Moussorgsky, Tschaikowsky
and—for a Macabre stroke—Saint-Saens.

The story of "The Red Terror" evokes the actual
"Bolshevik" Russia, with the persecutors, the executioner,
the condemned: A sombre theme, which the imaginative
art of the two highly praised artists reproduced in sym-
bolic figures. The hurried preparation made the lighting
function to the evident disgust of the Protagomists, who

9

require from the mechanical side the best effects. The
curtain descended in contretemps in the "Bacchanale"
which ended the performance and which with its Dionysian
rhythm takes the dance back to its most remote origins.

The Signorina Aleczjewa—after the applause of the
public, who showed that they had fully comprehended
where the deficiencies lay, denounced this fault in an
Italian as child-like as it was explicit.

We hope that tonight the performance will be disciplined with the perfection indispensable.

It will be preceded by "Tosca."—"Il Mezzo-Giorno,"—Naples.

## MERCADANTE

The performance of the Russian Ballets last evening
was better disciplined and most cordially welcomed.

The two superb Russian pantomimic dancers, Zara
Aleczeiwa and Holger Mahner, know how to render in
rhythmical gesture, in the imaginative action, the diverse
scenes with music adapted from compositions of Borodin,
Moussorgsky, etc. The performance received much
applause.

Tonight "The Black Swan and the Lily" and other
Divertissements.—"Il Mezzo-Giorno,"—Naples.

## THE FAREWELL OF THE LYRIC SEASON AT THE ROYAL MERCADANTE

The new Russian Ballet, "The Black Swan and the Lily," is a pathetic allegory culminating in a vortex of unattainable love through the spasms of desire.

When the tempest ceases which agitates on its slender
stem the flower of chastity and the ardent bird, the
symbol of innocence has been broken by death.

The minute poem was performed by Miss Alexejeva
with exquisite dizzy whirling in an immobile circumambient
conveying to the imagination by her gestures, we might
say, onomatopoetic images of the wind, and represented
by the highly accomplished Holger Mehnen with the most
dramatic frenzy in the voluptuous evolutions of the swan.
It is not easy for all to follow the literary ingenuity of
these pantomimes set in rhythms of a descriptive character,
but all recognize in spite of the inadequacy of the scenario,
the excellence of the exceptional Russian Dancers. And

10

general applause—especially after the capricious "Bacchanale," which expresses the Dionysian spirit of Glazounow's music—greeted the two artists of the silent drama.

Tonight "Tosca" will be given. The Russian ballets,
the new and the old, will follow.—"Il Mezzogiorno,"—
Naples.

## ROYAL MERCADANTE THEATRE

After "Traviata" and the recalls of Conductor De
Angelis and the singers, the Russian Ballets followed.

The animated, moving, colorful "Bacchanale" of
Glazounow was repeated and the number by Zara Alexe-
jeva and Holger Mehnen, "The Black Swan and the Lily,"
was admirably performed. The harmonious, artistic,
pantomimic-dancing couple rendered the phases of this
Ballet with exquisite and variegated rhythmic sensitive-
ness.

Zara Alexejeva, all aquiver, was very expressive,
especially in the side play, and Holger Mehnen, develop-
ing his action constantly on tip-toes, managed to bring
out into relief, even better than in the other ballets, all
his rare qualities as a mime and dancer. The harmonious
and most skillful pair were greatly applauded.

Tonight, a gala performance in honor of the exhibitors
of the "Fiera Campionaria."

"Tosca" will be given, followed by the Russian
Ballets.—"Il Mattino,"—Naples.

## THE OPERA AND RUSSIAN BALLET AT THE MERCADANTE

Yesterday a crowded house for the second performance
of "Traviata" and the new Russian Ballets—ballets so
termed—treating of rapid pantomimic and plastic pictures,
one of which was "The Black Swan and the Lily," a
characteristic tale of a native type, were applauded.

This evening at eight-thirty will be the gala per-
formance in honor of the exposition of the "Fiera
Campionaria,"—"Tosca" will be given, followed by the
Russian Ballets.—"Il Giorno,"—Naples.

Large audience for the performance of "Traviata"
and the new program of Russian Ballets. "The Black
Swan and the Lily," executed magnificently by Zara

11

Alexejeva and Holger Mehnen, unsurpassable also in the "Bacchanale" of Glazounow and in the other two Divertissements which followed.

Tonight "Tosca" followed by the Russian Ballets.— "Corrier di Napoli," —Naples.

ROME

THE RUSSIAN BALLET AT THE ELYSEE

Last night, preceded by the "Pagliacci" of Leoncvallo, the promised "Russian Ballets" were performed, with the famous dancers, Zara Alexejeva and Holger Mehnen.

However, the promise was only partially fulfilled, because, on account of a derailing of the train, the scenery for the Ballet, "The Red Terror," did not arrive in time; which for its amplitude, being in three scenes, and its significance, constituted the chief number of the program.

Instead, "The Black Swan and the Lily" was performed; a production of refined elegance and of exquisite suggestion, and "Bacchanale," a Dionysian scene, based upon music of Glazounow, splendid for vehemence and translucent with melodic inspiration. Alexejeva was intensely admired for her aristocratic grace of an evanescent Sylphide and for the suppleness of her body, as fragile as it is ethereally light.

She gave evidence of infinite good taste in the "Black Swan and the Lily" and displayed a youthful gayety in the "Bacchanale."

Mehnen was a splendid partner, a dancer of indisputable virtuosity and an artist of real talent.

The two small Divertissements ended amidst applause, some lamenting that the "Bacchanale" was too short.

The scenic effect was successful and the musical direction good under Maestro Sigismondo.

Tonight the entire program will be repeated and tomorrow two performances.—"La Tribuna," —Rome.

12

ZARA ALEXEJEVA AT THE ELYSEE

We saw last evening at the Elysee, Zara Alexejeva, the charming Russian Ballet star, so rich in poetic inspiration and endowed with the gift of bringing herself into intimate relation with the audience.

It was a real pity that the chief part of the program was not performed, as the new scenery had not arrived; therefore, the audience had to be satisfied with only two numbers.

First number, "The Black Swan and the Lily," a musical composition a little complex; a sort of "Grand Guignol" transferred to a botanical garden, interpreted by Zara Alexejeva and Holger Mehnen in a manner evocative and somewhat transcendental in the psychological profundity infused into the humanized lily broken by the storm.

Second number, the "Bacchanale," with music by Glazounow, fervid, intense and brilliant, which possessing the dancers, impels them hither and thither about the stage, like draperies in the wind.

At the end applause, but useless expectation of the audience which could not be convinced that the performance was ended.

Tonight Paglicci and the Russian Ballets—"Il Giornale di Roma," —Rome.

On account of the non-arrival of the scenic material last night at the Elysee only two ballets were given instead of the three announced.

The Russian ballet star, Zara Alexejeva, was heartily applauded, together with her partner, Holger Mehnen, in "The Black Swan and the Lily" and the "Bacchanale" based upon original and suggestive music.

Tonight the entire last night's program will be repeated, that is, "Pagliacci," and the three Russian Ballets, including "The Red Terror," performed by the famous Alexejeva.—"Il Piccolo Roma," —Rome.

13

## "RAMA AND SITA" AT THE ELISEO

This is a native tale full of sentiment. Rama and Sita are brother and sister who adore each other. A Rajah abducts Sita. The brother finds her and attempts to save her, but recognized is condemned to death and liberated only by the intercession of Sita, who sacrifices herself—promising herself to the Rajah. Barely, however, is Rama liberated, than Sita poisons herself and dies. In this Ballet, Zara Alexejeva and Holger Mehnen showed great virtuosity.

The scenery for the third act, by Prof. Bordoni, was beautiful and the play of lights most felicitous—"Il Paese,"—Rome.

## THE NEW RUSSIAN BALLETS AT THE ELISEO

In "Rama and Sita" the structure of the ballet, according to the primitive formula of Fokine, is more evident and the musical score recalls Scheherezade.

The excellence of the ballerina, Zara Alexejeva, was indisputable—agile as a libelula and fascinating in the slenderness of her aristocratic being. Mehnen, for his part showed great virility, physical resistance, and most exceptional art.

14

## RIO DE JANEIRO

### THE MUNICIPAL

#### THE DANCERS, ZARA ALEXEJEVA AND HOLGER MEHNEN

The two dancers, flawless and graceful in their movements, we judge worthy of all the applause.

In the second scene of "The Red Terror" they danced with soul and artistic comprehension of the symbols which both interpreted; in the "Swan and The Lily," at the moment of the tempest, when the lily is agitated, convulsed, broken, falls and dies, the execution of the Signorita Zara Alexejeva was of high artistic merit, enhanced by her gesticulation of the arms which is very expressive and original; and in the final ballet, "Rama and Sita," the Warrior Dance of Signor Mehnen, in the second scene, was suggestive and of great beauty for its heroic power.—"Journal of Brazil,"—Rio de Janeiro, Brazil.

## THE RUSSIAN DANCERS AT THE "MUNICIPAL"

According to the announcements there appeared before the public the two celebrated Ballerines, Zara Alexejeva and Holger Mehnen, who did not belie the fame with which they were preceded.

About the performance of these artists, which took place amidst much external disturbance and intrigues, a well-known organ of the press thus sums up: "Before concluding this brief notice, it is incumbent upon us to recognize that Zara Alexejeva and Holger Mehnen are two superlatively fine artists, worthy of the fame which preceded them from Europe and America."—"Boa Noite"—Rio de Janeiro, Brazil.

## RUSSIAN DANCERS AT THE "MUNICIPAL"

### ZARA ALEXAJEVA AND HOLGER MEHNEN

The immensely picturesque "Municipal" was crowded with a brilliant audience.

15

At nine-fifteen, on the arrival of the President of the
Republic, the orchestra struck up the National Hymn, which
was followed by the first ballet, "Out of the Red Terror."
This was greatly marred by the failure of the lights, and
the uncertainty of the chorus.

After "The Black Swan and the Lily," marvelous com-
position of Kaia Heliostalakti and Wladimir von Butzow,
of unsurpassable beauty and interpreted to perfection, the
two artists were applauded frantically, and soon after gave
us, with great animation, a Bacchanale with music of
Glazounow, an enchantment of songs and attitudes.—"Rio
Journal"—Rio de Janeiro, Brazil.

IQUIQUE

THE RUSSIAN DANCERS

Last evening in the "Municipal Theatre" was the debut
of the Russian dancing partners, Zara Alexejewa and
Menher Holger.

The program rendered was varied and interesting.

These unapproachable children of Terpsichore danced
with much aristocratic sentiment, and are of an originality
to bear any test—they create a great effect.

We think worthy of special mention, "The Enchanted
Princess," "The Warrior Dance," and especially the "Bac-
chanale." "El Taracapa"—Iquique, Chile.

RUSSIAN DANCERS

The debut of the two notable Russian dancers, Zara
Alexejewa and Mehner Holger, took place last night with
great success.

The entire program was rendered amidst the applause
of the select gathering.

We call special attention to this pair, who interpreted
admirably the most exquisite dances. They are in truth
worthy of the fame which has preceded them.

This afternoon they will offer their second performance
with an entirely different program.—"El Nacional,"—
Iquique, Chile.

16

LIMA

THE RUSSIAN DANCERS ARE GREATLY

APPLAUDED

Last night was the debut in the "Municipal," before a
select and numerous public, of the pair of classic dancers,
Alexejeva-Mehnen, who are in Lima on their way to
New York.

The eulogiums of the foreign press which this pair
brought with them were not exaggerated.

The Senorita Alexejeva is among dancers an artist in
the strictest sense of the word, and Senor Mehnen is the
best Ballerino that the public of Lima has had the oppor-
tunity to admire.

Expressive, flexible, with an admirable sense of rhythm,
the Senorita Alexejeva won applause without much effort
in practically all her numbers. She and the Senor Mehnen
from a pair sufficient in itself to sustain the unflagging
interest of the public.

The audience which assisted last night at the "Muni-
cipal" could have been larger, but the recent failures of
several dancers who have passed themselves off as cele-
brities, have deprived these two of a portion of their pub-
lif. Probably they will give another performance
before continuing their journey to the North.—"El Co-
mercio"—Lima, Peru.

AT THE MUNICIPAL

ZARA ALEXEJEW A AND MEHNEN HOLGER

Last night was offered a performance by the Russian
Dancers of the old Imperial Court. Of all those we have
seen lately, they are the best, and Holger is superior to all
the partners of the Anna Pavlowa combinations.

From the Bacchanale, magnificent with the music of
Glazounow, making an impression because of its plasticity
and perfect exposition of pantomine dancing, to "Le Gue-
rier," Holger dominated the public completely in his
marvelous Warrior Dance, all attitudes and gestures of
which are united with rhythm and admirable expression.

Of the second part, the two dances with Greek motifs,
rich in art and harmony, and the delicious minuet, all

17

elegance and refinement, were the object of the most enthusiastic applause, which was renewed for the popular Russian Character Dances, scintillating and rustic.

Zara Alexejeva has the flexibility of a flower and possesses the greatest eurhythmic richness, and Holger, the splendid qualities of a Primo Ballerino. Both were warmly applauded in the individual numbers and in the Ballets.—"El Tiempo"—Lima, Peru.

## GUAYAQUIL

### TONIGHT IN THE OLMEDO

#### THE RUSSIAN DANCERS

A large audience filled the Olmedo to-night attracted by the announcement of the presentation of the Russian dancing partners, Alexejeva-Mehner.

It is impossible for us to expand into a detailed account of their performance, from lack of space, but we cannot allow to pass unnoticed the work of these notable Muscovite artists, who without great reclame are now visiting Guayaquil.

They form an admirable pair and as they are at the apogee of their career, they dance in a consummate manner. It recalls to us Pavlowa and Volinine, and in this conception, the hearty ovations with which the public recompensed their work were highly merited.

If they give a second function, we permit ourselves to recommend these gifted artists to our public, since this is an exceptional opportunity to admire two legitimate Ballerines of the Court of the former Czars.—"El Telegrafo,"—Guayaquil, Ecuador.

## BOGOTA

### ALEXEJEVA AND MEHNEN

Tonight was the debut in the "Theatre Colon"—the best in South America, given the value of its curtain, mouldings and ceiling of Italian workmanship, and accompanied by thirty-six Professors of our Conservatory—of the Russian Dancers.

The first part—"The Red Terror" of Leonid Andreiev, caused to pass before the attentive eyes of the spectators, all the barbaric splendor of the Russian race, all the

18

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.

A violent force transported us, when the curtain was barely raised, to the country of the Mujiks, of pale and heroic women, of all the Russian work today universal—of Gorky, Kuprin, Chemelov.—"The Republic,"—Bogota, Colombia.

## COLON THEATRE

### THE PERFORMANCE OF THE RUSSIAN DANCERS

Last night in the "Colon" a performance was presented, particularly edifying for two reasons; the performance of the competent Russian Dancers, Senorita Alexejeva and Senor Holger Mehnen, in two interesting mimo-Choreographic dramas; and a lucid rendering by the musical circle of Bogota. We will treat these points separately.

First, the art of Alexejeva and of Mehnen. The most striking number of the program, as much for its amplitude as for the transcendentalism of its theme, was the dance-tragedy entitled "The Red Terror." This ultra-dramatic fragment—a veritable epic poem in miniature—was conceived by a Frenchman, Max Marceau, inspired by the S. O. S. of Leonid Andreiev, in which the Russian author makes a passionate appeal to the whole civilized world, for their aid to save his lost country.

Marceau has taken for his lyrical and rhythmical foundation, various episodes of high dramatic quality, set amidst the most typical Russian music, and in certain cases has adapted them especially to the exigencies of the choreographic representation.

Already it is evident that it is no longer a question of any ordinarily brilliant classical ballet. In "The Red Terror," the dance departs from the conventional traditions of classical ballet. Large use is made of the efficacious aid of the decorative art and of choral music, and combining these elements, particularly the former, in an art composed of the sensuous and complex, at the same time that it scintillates, lineal and graphic, an art conceived according to the most accepted ultra modern Russian ideas. Thus reinforced and completed, the dance lends itself with great felicity to the allegorical delineation of a theme, by means of luminous and colorful plastic pictures,

19

ever changing, subtle rhythms, configurations, kaleidoscopic contrasts of lights and the highly suggestive harmonies of the orchestra and of human voices—the poetry of color, of light, of form, of movement and of sound. And in “The Red Terror,” neither is it any ordinary theme which is interpreted—it is a theme profoundly Russian, a theme theoretic, tense, and more than all, human, for the implacable realism with which is painted the inaudible martyrdom of a people who suffer, who bleed, who die, and who resurrect.

To the interpretation of this ethical theme, as also in that of the symbolic drama which followed (and which we have not time to commentate upon today), the Russian artists brought important technical resources, and in Alexejeva the audience of last night were unanimous in recognizing pantominic capacities worthy of the highest praise, and in particular, a subtle, spiritual charm, most personal, which is infused into all her interpretations. In Mehnen we see an excellent dancer, secure, and good in style, easily sustaining comparison with the most renowned Premiers; more esthetic than Mordkin, more virtuoso than Volinine, his style, of a beauty both masculine and feminine, resembles most the art of the famous Nijinsky.

The ultra modern music of the young Russian composer, Wladimir von Buetzow, Debussien in character, music extremely tenuous and delicately suggestive, the orchestra played with difficulty, nor did they play well the “Bacchale” of Glazounow, music fervid, opalescent, with a charm of oriental exuberance that takes the dance back to its most remote origins, and whose dionysiac scene, the two dancers invested with superb gestures, evoking the Pavlowa couples.—“El Espectador”—Bogota, Colombia.

## SAN JOSE

### RUSSIAN DANCERS AT THE NACIONAL

Because of the illness of one of the artists, who were to have had their debut Saturday night in the Nacional Theatre, the performance was postponed and the debut did not take place until the following day.

These artists had a big success the day of their presentation, but as they can only remain a few days in

20

San Jose, possibly they will not give another performance. Notwithstanding this, it is hoped that they will give at least one more, as many persons are desirous of admiring again the work of these Russian Dancers.—“La Tribuna”—San Jose, Costa Rica.

## ALEXEJEVA AND MEHNEN

Yesterday was the second performance of two of the most eminent stars of the Art of Terpsichore.

Two eminent dancers, torn violently from the Court of the Czars, travel in Latin America, showing the excellencies of their divine art.

Zara Alexejeva, who recalls to us that famous dancer, who carried her great art into all the Courts of Europe, after captivating a thousand publics, has now come to Costa Rica, and offers to us the most excellent which exists in ballet. This star of the ballet brings back to our memory those delicious nights in which we gathered to admire Pavlowa.

The program is a revelation. It is the perfection which the Czars demanded, so delicate, so subtle, so divine.

And what shall we say of Holger Mehnen who accompanies La Alexejeva? That in the matter of classic dancing he is the best we have seen. Mehnen comes preceded by a universal fame, acquired under the severe and exigent judgment of the most refined publics of Europe and South America. All pay him the tribute of the highest eulogiums and honors for the perfection of his art.

Be welcome the pair, Alexejeva-Mehnen, in this country, where they know how to appreciate the delicate and refined, and where the palms are not withheld from true artists.

Triumphing in Costa Rica as they have triumphed in South America, and continuing their march amidst the tornadoes of applause of the public which have the good fortune to admire them.

It is a gala occasion for our first “Coliseo,” and also for us, for that which these notable artists bring us we cannot see every day.—“San Jose De Plaemes”—San Jose, Costa Rica.

21

PHILADELPHIA GRAND OPERA COMPANY

WILL PRESENT

AYENARA
ALEXEYEW A

HOLGER
ALEXEYEV-MEHNER

IN THEIR
ORIGINAL RUSSIAN BALLETSC
"THE RED TERROR" AND "THE BLACK SWAN AND THE LILY"

By MAX MARCEAU

By HELIOSTALAKTI AND BUTZOW

(Presented in the Opera Houses of Europe and South America)

WITH
"PAGLIACCI"

TUESDAY EVENING, FEBRUARY 22ND, AT 8 O'CLOCK

ACADEMY OF MUSIC

ACCLAIMED AS THE HIGHEST ART

In the Varosi Szinhaz, "Cavalleria Rusticana" was performed under the splendid direction of Maestro Abranyi, after which followed the guest appearance of Zara (Ayenara) Alexeyewa and Holger Mehner, whose splendid reputation had already reached us from Vienna and Berlin.

The artists produced "The Red Terror," a Russian allegory. The music comprised compositions of Borodin, Moussorgsky, Tschaikowsky, Glinka and Saint-Saens. Race characteristics and perfect technique here attained finest expression.

In the dance-poem, "The Black Swan and the Lily," with music by Vladimir Butzow, Zara Alexeyewa symbolized a stormswept and then broken lily, whilst her partner portrayed a loving and dying swan. One saw a study in movements of so high an order that there arose a general desire for a prolongation of the gastspiele.

When the Russians closed the program with the rhythms of Glazounow's tempestuous "Bacchanale," they were enthusiastically acclaimed.—"Pester Lloyd"—Budapest.

Last evening we had the opportunity to applaud two of those Russian Dancers who now dominate with their art the entire world. It was the young Zara Alexeyewa and Holger Mehner in an allegorical poem.

The Ballet was represented with sentiment and technique. The second number was "The Black Swan and the Lily," with original music by Vladimir Von Butzow, in which Zara Alexeyewa displayed a superior art, a rhythmic sentiment and lightness, beyond all the dancers we have ever seen.—"Nemzeti Ujsag"—Budapest.

The first number was an allegorical poem entitled "Out of the Red Terror," by Leonid Andreiev, music by Tschaikowsky and other great Russian composers. The pantomime is intensely interesting, with song and other features, producing splendid effects. Afterwards they performed "The Black Swan and the Lily," and for the last number danced the "Bacchanale" of Glazounow. The two highly gifted artists danced with fine sentiment and finished style. They are very original and produced great effects. The death of the swan is rendered with an art equal to that of Anna Pavlowa. Their technique demonstrates a profound schooling. Ayenara Alexeyewa danced on the toes continuously for more than ten minutes.

—"Pesti Naplo"—Budapest.

In the art of dancing the Russians cultivate the old tradition, which has its roots in virtuosity. Add to this the characteristics of the Slav, a strong national element which portrays itself in the dance in a peculiar, soulful manner which leads to tremendous effects. All this was wonderfully shown at the performance of Alexeyewa and Mehner.

Alexeyewa impersonates here a number of symbolic characters. This young Russian artist is the possessor of not only a wonderful technique and graceful flexibility, but also commands an interpretative power through which these dumb scenes become brief tragic dramas.

A remarkable virtuosity is also part of Mehner's equipment. There is a flowing grace in the dancing of this young artist, of delicate art and beauty.

The dance-drama received powerful atmosphere through the music by the most celebrated composers—stirring national choruses and plastic stage management.

—"Neues Wiener Journal"—Vienna.

The production with Alexeyewa, Mehner and Heliostalakti was composed of dances based upon Poems and Tales.

Alexeyewa is most winning. A blooming flower-like head, with an unwonted charm of the passionate mouth; from the slender fingers to the shoulders quivers a swaying rhythm; the graceful figure trembles like a virginal lily shaken by the wind, and storms in Glazounow's "Bacchanale" with the frenzy of joy.

Her partner, Mehner, is also superb and a technical master.

The Philharmonic Orchestra under Dr. Arnold Olewski and the Russian Chorus augmented the good impression.—"B. Z. Am Mittag"—Berlin.

After "Boheme" were given the announced Russian Ballets. They began with an allegorical ballet, "The Red Terror."

Alexeyewa immediately revealed herself as a subtle and discerning pantomimist, ready to gather every nuance of the action and then render it the most complex and least external and sketchy possible—and what a graceful, able and admirably equipped dancer.

Her partner, Mehner, is a very expressive pantomimist and a sure and experienced dancer. They form a harmonious couple.

Afterwards in the "Bacchanale" of Glazounow, Alexeyewa and Mehner were full of natural lightness, of colorful vivacity, of passionate impetuosity. They were warmly applauded and many times recalled to the stage.—"Il Mattino"—Naples.

The three tableaux comprised in the allegorical ballet, "The Red Terror," were favorably received by a large audience gathered last night in the elegant theatre. They deal with a theme

BY PRESS AND PUBLIC OF

of interest, belonging to the most exciting "Grand Guignol" style, although treated with great simplicity. The most delightful music of celebrated composers is superbly adapted to the various episodic moments of the subject.

These scenes, tragically terrifying and often interrupted by choruses, were admirably interpreted by Alexeyewa and Mehner, two unsurpassable artists of the "Dance," who blended in the most harmonious union.

Ayenara Alexeyewa, indeed, is not only a most agile, elegant dancer, having exceptional style—but also a pantomimist of admirable intuition.

Holger Mehner is a worthy partner, an experienced and polished dancer—an expressive pantomimist.

The Divertissement by Glazounow followed, exquisitely graceful in its tenuousness and brevity, animated to no slight extent by the infuriated execution of the Alexeyewa-Mehner couple.—"Corriere di Napoli"—Naples.

The theatre was literally filled to overflowing and the Russian Ballet Company directed by Alexeyewa and Mehner met with great success.

More than of Russian Ballets in the strict sense of the word, these treat of intensely dramatic and terrifying scenes, a veritable dancing "Grand Guignol," these three which compose the allegorical Ballet with the strong title, "Out of the Red Terror." To these few scenes, or pictures, which last less than an hour, has been adapted stupendous music of celebrated composers, Borodin, Moussorgsky, Tschaikowsky and Saint-Saens.

The two Ballet Stars, Alexeyewa and Mehner, are two authentic artists of classic dancing who create a profound impression, worthy in all of the great renown which preceded them. Their art is sincere, fine and suggestive.

The large chorus trained by the excellent Maestro Giuseppe Papa, of the San Carlo, sang superbly the "Boris" choruses, which form a part of this Ballet. The orchestra was harmonious and colorful under Maestro Giovannini.—"Il Giorno"—Naples.

Last evening after "Boheme" we had the eagerly awaited Russian Ballets, and they did not disappoint expectations.

The extremely elegant public which packed the house warmly applauded the splendid dancers, Zara Alexeyewa and Holger Mehner, who displayed their dancing and pantomimic Art, so full of suggestion, in the Allegorical Ballet in three tableaux, "The Red Terror."

Performance full of imagination, which in its repetition will again draw a large public.

—"Giornale d'Italia"—Naples.

The two superb Russian pantomimic dancers, Alexeyewa and Mehner, know how to render in rhythmical gesture, in imaginative action, the diverse scenes. The performance received much applause.—"Il Mezzogiorno"—Naples.

"The Black Swan and the Lily" was performed by Miss Alexeyewa with exquisite dizzy whirling in an immobile circumambient conveying to the imagination by her gestures, we might say, onomatopoetic images of the wind, and represented by the highly accomplished Holger Mehner with the most dramatic frenzy in the voluptuous evolutions of the swan. General applause greeted the two artists of the silent drama.—"Il Mezzogiorno"—Naples.

The animated, moving, colorful "Bacchanale" of Glazounow was repeated and "The Black Swan and the Lily" was admirably performed. The harmonious, artistic, pantomimic-dancing couple rendered the phases of this Ballet with exquisite and variegated rhythmic sensitiveness.

—"Il Mattino"—Naples.

"The Black Swan and the Lily" was executed magnificently by Ayenara Alexeyewa and Holger Mehner, unsurpassable also in the "Bacchanale" of Glazounow.

—"Corrieredi Napoli"—Naples.

Last night, preceded by "Pagliacci" of Leoncavallo, the promised "Russian Ballets" were performed, with the famous dancers, Alexeyewa and Mehner.

"The Black Swan and the Lily" was performed; a production of refined elegance and of exquisite suggestion, and "Bacchanale," a Dionysian scene, based upon music of Glazounow, splendid for vehemence and translucent with melodic inspiration. Alexeyewa was intensely admired for her aristocratic grace of an evanescent Sylphide and for the suppleness of her body, as fragile as it is ethereally light.

Mehner was a splendid partner, a dancer of indisputable virtuosity and an artist of real talent.

The musical direction was good under Maestro Sigismondo. Tonight the entire program will be repeated and tomorrow two performances.—"La Tribuna"—Rome.

We saw last evening at the Elysee, Zara Alexeyewa, the charming Russian Ballet star, so rich in poetic inspiration.—"Il Giornale di Roma"—Rome.

The Russian ballet star, Alexeyewa, was heartily applauded, together with her partner, Holger Mehner, in "The Black Swan and the Lily" and the "Bacchanale," based upon original and suggestive music.

Tonight "Pagliacci" and the three Russian Ballets, including "The Red Terror," performed by the famous Alexeyewa.—"Il Piccolo"—Rome.

Alexeyewa and Mehner showed great virtuosity.—"Il Paese"—Rome.

The excellence of the ballerina, Zara Alexeyewa, was indisputable—agile as a libelula and fascinating in the slenderness of her aristocratic being. Mehner, for his part, showed great

EUROPE AND SOUTH AMERICA

virility, physical resistance, and most exceptional art.—"La Tribuna"—Rome.

The two dancers, flawless and graceful in their movements, we judge worthy ot all the
applause. They danced with soul and artistic comprehension of the symbols which both inter-
preted; in the "Swan and the Lily," at the moment of the tempest, when the lily is agitated,
convulsed, broken, falls and dies, the execution of the Signorita Alexeyewa was of high artistic
merit, enhanced by her gesticulation of the arms, which is very expressive and original; and in
the final ballet, "Rama and Sita," the Warrior Dance of Signor Mehner, in the second scene,
was suggestive and of great beauty for its heroic power.

—"Journal of Brazil"—Rio de Janeiro, Brazil.

Alexeyewa and Holger Mehner are two superlatively fine artists, worthy of the fame
which preceded them from Europe.—"Boa Noite"—Rio de Janeiro, Brazil.

At nine-fifteen, on the arrival of the President of the Republic, the orchestra struck up
the National Hymn.

After "The Black Swan and the Lily," marvelous composition of Kaia Heliostalakti and
Wladimir von Butzow, of unsurpassable beauty and interpreted to perfection, the two artists
were applauded frantically, and soon after gave us, with great animation, a "Bacchanale" with
music of Glazounow, an enchantment of songs and attitudes.

These unapproachable children of Terpsichore danced with much aristocratic sentiment, and
are of an originality to bear any test.—"El Taracapa"—Iquique, Chile.

The Senorita Alexeyewa is among dancers an artist in the strictest sense of the word. and
Senor Mehner is the best Ballerino that the public of Lima has had the opportunity to admire.
Expressive, flexible, with an admirable sense of rhythm, the Senorita Alexeyewa won applause
without effort. She and Senor Mehner form a pair sufficient in itself to sustain the unflagging
interest of the public.—"El Comercio"—Lima, Peru.

A large audience filled the Olmedo tonight, attracted by the announcement of the presenta-
tion of the Russian dancing partners, Alexeyewa-Mehner.

They form an admirable pair, and as they are at the apogee of their career, they dance in
a consummate manner. It recalls to us Pavlowa and Volinine, and in this conception the
hearty ovations with which the public recompensed their work were highly merited.

—"El Telegrafo"—Guayaquil, Ecuador.

The most striking number of the program was "The Red Terror."

To the interpretation of this ethical theme, as also in that of the symbolic drama which
followed, the Russian artists brought important technical resources, and in Alexeyewa the
audience of last night were unanimous in recognizing pantomimic capacities worthy of the
highest praise, and in particular, a subtle, spiritual charm, most personal, which is infused into
all her interpretations. In Mehner we see an excellent dancer, secure, and good in style, easily
sustaining comparison with the most renowned Premiers; more esthetic than Mordkin. more
virtuoso than Volinine, his style, of a beauty both masculine and feminine, resembles most the
art of the famous Nijinsky.

The ultra-modern music of the young Russian composer, Wladimir Butzow, is Debussien
in character, music extremely tenuous and delicately suggestive, the "Bacchanale" of Glazounow,
music fervid, opalescent, with a charm of oriental exuberance that takes the dance back to its
most remote origins, and whose dionysiac scene, the two dancers invested with superb gestures,
evoking the Pavlowa couples.—"El Espectador"—Bogota, Columbia.

The program is a revelation. It is the perfection which the Czars demanded, so delicate,
so subtle, so divine. . . . —"San Jose De Plaemes"—San Jose, Costa Rica.

Sumptuous and exquisite was the presentation of the Russian dancers in our Capitol.

One seldom sees performances of such enchantment. The first ballet was "The Red Terror."
Leonid Andreiev inspired Max Marceau to produce this powerful, vigorous and well-arranged
work, whose scenes unfold to epic heights, with highly dramatic moments and vibrant Russian
music. This beautiful evocation was finely interpreted by Avenara Alexeyewa and Holger
Mehner; in both one recognizes the highest artistic qualities united with perfect harmony, sym-
metry and flexibility of body.

Srta. Alexeyewa knows how to dispose her person in a graceful manner and delicately vary
her attitudes in each moment of repose; for, as says Gardel, "the merit of a dancer should be
judged by observing the moments of repose, of poise and of technical difficulty."

Mehner rejoices in a secure art and a delicately defined style.

"The Black Swan and the Lily" is a lyric poem of Heliostalakti, with music of Butzow,
that has for its setting the shore of a silent lake. No longer do we see the rapid evolutions, the
fiery and precise movements, carried along by a single impulse which constitutes the poten-
tiality of "The Red Terror," here all is sensibility and delicacy; the tone discreet and charming;
the surrounding in time, through which passes a breath of melancholy.

The scenic presentation was superb; the light effects very well modulated; the tempest well
simulated.

The evening closed with the exuberant "Bacchanale" of Glazounow.

Tonight's performance merits being called a function of true Art. The two Russian dancers
received much applause, being many times recalled before the curtain.

—"El Informador"—Guadalajara, Mexico.

The dance-tragedy, "The Red Terror," begins with an overture, a kind of leitmotif, let us say, which sounds from the beginning the semi-barbaric note impregnated with tragedy which permeates the whole piece. With the first chord the vast steppes of Central Asia are evoked, peopled by savage slavic tribes, by mujiks hardly emerged from paganism. After the overture we come to the first episode of the drama, "The Dawn of Tyranny," in which we find the Tsar seated on his throne. It would not have been possible to have made a happier choice than the grand choral of glorification to Tsarism from the master work of Glinka, "the father of Russian music."

Russia, personified by the ballerina, accepts from the Tsar the proffered sceptre, which is transformed into fetters. Then surge up, like a profound cry of desperation, transcendant choruses.

What theme so appropriate as this majestic lament of the slavic people rendered by Moussorgsky, the "Russian Beethoven."

Without end passes a procession of exiles.

In the second picture, "The Red Terror," a veritable grand Guignol style of theme, all the horrors of the reign of blood are evoked. The ballerina personifies the spirit of the reign of blood, the ballerina, Russia, who implores mercy.

The third picture shows us the day following the terror. Russia asleep on the snow. What a marvel of evocation, this theme of Tschaikowsky. We feel the vast white expanse of Russian winter, magic capture by onomatopoetic means, we see the snow glittering beneath the brilliant rays of the sun. The theme becomes more grandiose. The vision of the White Prince appears, realization of the old slav legend of the prophet who should arise to throne and church and save forever the empire of all the Russias.

This ultra-dramatic fragment—a veritable epic poem in miniature—was conceived by a Frenchman, Max Marceau, inspired by the S. O. S. of Leonid Andreiev, in which the Russian author makes a passionate appeal to the whole civilized world for their aid to save his lost country.

Already it is evident that it is no longer a question of any ordinarily brilliant classical ballet. In "The Red Terror" the dance departs from the conventional traditions of classical ballet. Large use is made of the efficacious aid of the decorative art and of choral music, the poetry of color, of light, of form, of movement and of sound. And in "The Red Terror" neither is it any ordinary theme which is interpreted—it is a theme profoundly Russian, a theme theoretic, tense, and more than all, human, for the implacable realism with which is painted the inaudible martyrdom of a people who suffer, who bleed, who die, and who resurrect.

—"Raimundo de Sala"—Bogota, Colombia.

In the exquisite dance poem, "The Black Swan and the Lily," one felt transported to some realm beyond this earth. There was a subtle spiritual charm, very rare indeed. This dance poem by Kaia Heliostalakti was set to music by Wladimir Butzow, a new Russian composer of 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."

—"El Sol"—Guadalajara, Mexico.

JOHANN-STRAUSS THEATER. In der Tanzkunst kultivieren die Russen die ältere tradition, die in technischer virtuosität wurzte. Dazu gesetzt sich die unmittelbarkeit des Slaven, ein starkes nationales Element, von ihn auch der Tanz in einer ganz eigenen Weise besselt und zu wirksamstem Ausdrucksmittel benutzt.

Das kam am Tanzabend von Alexeyewa und Mehner zum Vorschein. Die beiden traten zunächst in einem allegorischen Tanzgedicht "Aus dem roten Schrecken" nach einer erzählung von Leonid Andrejew auf. Hier wird das russische Schicksal der zaristischen und revolutionären Epoche simbolisiert. Fräulein Alexeyewa verkörpert hier einige dieser simbolischen-Gestalten. Die junge russische kunstlerin verfugt nicht nur über eine bravourose Technik und grazile Geschmeidigkeit, sondern auch über mimische Ausdrucksfähigkeit, wodurch diese stummen Scenen zu kleinen tragischen Dramen umgestaltet wurden. Eine nicht gewöhnliche Bravour ist auch Herrn Mehner eigen. Es ist webeweiche Anmut in den Tänzen dieses jungen Künstlers von femininer Art und Schönheit. Sie fanden nach allen produktionen herzlichsten Beifall.

—Neues Wiener Journal, Wien.

DIE Tänzerin Alexeyewa hat ein blühend sinnlicher Kopf mit einem-ungewöhnlichen Charme des leidenschaftlichen Mundes, von den schlanken Fingern bis zu den Schultern flutet ein schwender Rhythmus; die Grazie der Gestalt zittert als vom Wind erschütterte, jungfräuliche Lilie, stürmt in Glazounow's 'Bacchanale' den Rausch der Freude. Ihr Partner Mehner ist ein technischer Konner.

—B. Z. am Mitag, Berlin.

VAROSI SZINHAZ. Nach der Vorstellung von "Cavalleria Rusticana" tanzten zwei russische Tänzer. Sie hatten sofort Erfolg. Im "Der rote Schrecken" mit Musik von berühmten russischen Komponisten, die Pantomime war überaus interessant und rief in Verbindung mit Gesang und anderem Beiwerk eine glänzende Wirkung hervor. Darauf führten sie "Die schwarze Schwan und die Lilie" auf, und zum Schlusse tanzten sie das "Bacchanal."

Die beiden hochtalentierten Künstler tanzten mit feinem Gefühl und in vollendeter Art. Sie waren sehr originell und verstanden es, grosse Wirkungen zu erzielen. Der Tod des Schwans wurde mit einer Kunst dargestellt, welche der Anna Pavlowa's gleichkam. Ihre Technik deutet auf sorgfältige Schulung. Zara Alexeyewa tanzte laenger als zehn Minuten bestaendig auf den Zehen.

Sie waren sehr pittoresk im "Bacchanal" Die Sprünge mit farbigen Schleiern erzielten wunderbare Effekte.

Die beiden können jetzt schon den berühmtesten klassischen Tänzern an die Seite gestellt werden.

Das Budapester Publikum zollte den Tanz-Gästen Begeisterten Beifall.

—Pesti Naplo, Budapest.

VOLKSOPER. Wir hatten gestern Abend Gelegenheit, zweien von jenen russischen Tänzern zu applaudieren, welche jetzt mit ihrer Kunst die ganze Welt beherrschen. Es waren die jung Zara (Ayenara) Alexeyewa und Holger Mehner.

Das Ballet wurde mit Gefühl und vollendete Technik wiedergegeben. Es war die echte Sorte russischer Tragoedie, romantisch und verheissungsvoll. Die zweite Nummer war 'Der schwartze Schwan und die Lilie' mit Original-Musik von Wladimir von Bützow, worin Zara Alexeyewa, eine überlegene Kunst, ein rhythmisches Gefühl und eine Grazie entfaltete, die alles überragte, was wir bisher von Tanzern geschen haben.

—Nemzeti Ujsag, Budapest.

STADTTHEATER. Das Auftreten der Russen wirte sensationell. Schon nach wenigen Minuten stand das dichtbesezte Haus in Banne einer überragenden mimischen und choreographischen Leitung.

Die Künstler führten zunächst eine Allegorie Ruslands vor: die Rassenwesen und vollendete Technik gelangten hier zu feinstem Ausdruck. In dem Tanzpoem "Der schwarze Schwan und die Lilie," man sah eine Bewegungsstudie von so hohem Range, das allgemein der Wunsch nach einer Verlängerung des Gats auskam. Als die beiden Russen schließlich auf die Rhythmen Glazounows ein hinreiszendes Bacchanal getanzt hatten, wurden sie enthusiastisch gefeiert.

—Pester Lloyd, Budapest.

IM METROPOLITAN OPERNHAUS traten die beiden jungen russischen Tänzer Ayenara Alexeyewa und Holger Mehner zum ersten Male in New York, auf. Sie hatten grosse Erfolge in Süd-Amerika und in europäischen Städten und auch New York haben sie rasch erobert durch ihre feine Kunst.

Die Aufführungen waren sehr dramatisch und zugleich ausserordentlich poetisch und geschmackvoll. Beide Tänzer sind jung und schön und vorzüglich in ihrer Kunst.

Die erste Darbietung hiess "The Red Terror." Die Unterdrückung des Volkes unter dem Zarismus wurde gezeigt, dann allerdings der Schrecken und Tumult der Revolutionen, und dann der Friede —der Aufstieg nach freien Höhen. Musik von Borodine, Glinka, Saint-Saëns und Tschaikowsky wurde zu diesem symbolischen Ballet in fünf Szenen gespielt.

Es folgte dann ein sehr poetisches und sehr schön dargestelltes Märchen "The Black Swan and the Lily" und zuletzt "Rama und Sita," eine orientaisch-symphonische Dichtung von Liapounow, in die Tänze eingefügt waren.

Es war eine sehr genussreiche Vorstellung.

—New Yorker Volkszeitung.

AIDA WURDE MIT EINEN RUSSISCHEN BALLET GEBOTEN, DAS GROSSE BEWUNDERUNG ERREGT. Das Russische Tänzerpaar, das gestern nach gläzenden Triumphen in den Hauptstädten Europa's und Sud-Amerika's in der Academy of Music sein Debut machte, Frl. Alexeyewa und Herrn Mehner, zeichnete sich durch unendliche Grazie und vollendete Tanzkunst aus. Es wirt sich-erlich sich die Günst des Publikums, die ihm gestern Abend im reichsten Masse zuteil wurde, zu erhalten wissen.

—Philadelphia Gazette-Democrat.

EINE der Glanznummern der gestrigen Ausführung der Oper "Faust" war das Ballet unter Leitung Frl. Ayenara Alexeyewa und Holger Mehner. In der Volks- und Jahrmarkts-Scene des zweiten Akts führte das aus sechzehn Tänzerinnen bestehende "Corps de Ballet" in altdeutschem Kostüm einen "Kirmess-Walser" auf, der sehr geschickt arrangiert war und lebhaften Beifall fand. Selbstverständlich erhielt der Tanz durch den charakteristech ausgeführten "Pas de Deux" der beiden Solo-Tänzer, erst das volkesche und zeitliche Gepräge. Die sind nicht allein Meister ihre graziösen Kunst, sondern wissen auch durch Arrangierung und Kolorit das Charakteristische von Tänzen einer jeden Zeitperiode in das richtige Licht zu setzen.

—Gazette-Democrat.