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SEASON OF RUSSIAN BALLET, 1935

STORIES OF THE BALLETS

CARNAVAL

THERE is no story, in the usual sense, to the ballet that M. Fokine has founded upon Schumann's "Scènes Mignonnes" of the Carnaval, which are familiar to every music lover. Characters from the immortal "Commedia Dell'Arte": the wobegone Pierrot, the nimble Harlequin, the fickle Columbine, and their many companions, flit across the stage, alternating with the inventions of Schumann's phantasy; the romantic Eusebius, the impetuous Florestan, and others, all of whom seem to escape from the revelry of a masquerade to indulge in a sentimental or frivolous flirtation. For a moment the stage is invaded by the dancers for a Valse Noble. A little later Pierrot pursues a butterfly, which eludes him, as do all his sentimental visions. Harlequin and Columbine appear in a *pas de deux*. Pantalon's attempts at flirting become the sport of both. Episode follows episode, until the Philistines, the spoil-sports, appear and are dragged into the whirl of the dance.

LES CENT BAISERS

(The Hundred Kisses)

This is the story of a princess, fey and capricious, who, seeking material beauty, fails to see the treasure of a true love. The Princess is playing with her companions when the song of the nightingale attracts their attention. It heralds the entrance of a suitor, a young prince, whose retinue enters bearing a casket. She is all impatience to see its contents. It contains a rose, whose magic virtue, the gift of happiness, she cannot realise, and a cage with a singing bird, whose virtues also are not apparent. She scarcely conceals her disappointment. In her petulance she discards the gifts and makes mock of her suitor; her companions reflect her mood. The Prince, dismayed, is left alone with his sorrow, when presently the sound of strange music strikes upon his ear. It is a swinherd drawing melody from a magic crock of his own fashioning. The Prince, entranced, covets the toy, and the simple fellow yields it in exchange for a precious gift. The Prince, turned swinherd, names the price—of that the swinherd, who leaves the scene delighted with his bargain. The Prince then plays upon the instrument, the sound of which reaches the ears of the lovely denizens of the castle, who come tripping out to hear and dance to the strange new melody. The Princess follows in their train, and is herself entranced. Her curiosity is aroused. She wishes to possess herself of this instrument, the like of which she has never seen or heard. The Prince, turned swinherd, names the price—a hundred kisses. He will not bargain; she succumbs. While the forfeit is being paid the King appears, and in fury at seeing his daughter kissing a swinherd, dismisses them all. He retires into the castle, and as the Princess in obedience tries to follow, he bars the door in her face. She falls weeping to the ground, while the Prince reveals himself, picks up the discarded gifts, and waving a farewell, disappears into the night. Which only shows that some things that do not glitter are gold.

LE TRICORNE

(The Three-Cornered Hat)

This scenario is adapted by Martinez Sierra from a story by Alarcon (1833-1891), which has also supplied the basis of Hugo Wolf's opera "Der Corregidor." The scene is laid in eighteenth-century Spain.

In rustic quiet a miller and his wife amuse themselves by teaching their bird to pipe the hours of the day. Enamoured, both are jealous and inclined to flirt with passers-by, to test each other. The Corregidor, Governor of the province, passes with his wife and suite through the village. Attracted by the miller's wife, the amorous Corregidor seeks to pay her attentions. She amuses herself by flattering and leading on the ridiculous old man.

The miller appearing, his wife mockingly tells him of the Corregidor's advances. The Governor, incensed at his inquiry, departs threatening revenge. The miller and his wife mate their jest by dancing, drawing their neighbours into merriment. The revels are interrupted by the Corregidor's Officers, who arrest the miller and take him away. Alone, the miller's wife laments. The Corregidor, bent on achieving his aim, attempts to follow her into the mill. She eludes him and lures him on to the bridge, where she contrives to trip him. He falls into the mill stream, and, frightened by her act, the miller's wife runs for safety to extricate him. The Governor, however, gains the bank in her absence, and entering the mill, divests himself of his garments, hangs them out to dry and seeks refuge in the miller's bed.

Meanwhile, the miller returns, perceives the Governor, and determines to make a public fool of him in revenge. He exchanges his clothes for those of the Governor, leaving his own behind with a taunting message scribbled on the wall. The enraged Governor, to pursue him, is reduced to donning the miller's clothes; but the villagers, informed of the jest, intercept him and make public sport of him. While he makes his escape, the throng celebrate his discomfiture by a merry riot, dancing a "jota" as they toss his effigy in the air.

PROGRAMME

Monday Evening, August 5th

LES CENT BAISERS

L'OISEAU DE FEU

LE TRICORNE

Tuesday Evening, August 6th

COTILLON

LES FEMMES DE

BONNE HUMEUR

SCHEHERAZADE

Wednesday Matinée, August 7th

LE LAC DES CYGNES

CHOREARTIUM

LE BEAU DANUBE

Wednesday Evening, August 7th

CARNAVAL

LES CENT BAISERS

LE TRICORNE

Thursday Evening, August 8th

JARDIN PUBLIC

CHOREARTIUM

UNION PACIFIC

Friday Evening, August 9th

BEACH

LES FEMMES DE

BONNE HUMEUR

L'OISEAU DE FEU

VASCO

PELUQUERO O DE SENORA

DAMEN FRISEUR

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["PRICE OF PROGRAMME 3d.", "FINEST QUALITY\nCIGARS", "HAND-MADE IN\nHAVANA", "GSPERT", "ON SALE AT\nTHE BARS OF\nTHE ROYAL\nOPERA HOUSE", "Prices etc. obtainable at\n5 Princes St., Hanover Sq.", "BLÜTHNER", "The Piano with the\nGolden Tone", "21 WIGMORE ST.\nLONDON, W.I", "for OPERA at\nMUNICH &\nSALZBURG", "Detailed Information,\nTickets and Travel arrangements:\nDEAN & DAWSON, Ltd.\n81, PICCADILLY, W.I.\n(Gros. 2873-6) and 50 Branches", "On Sale at the Box Office", "BEECHAM\nAND PHARAOH", "by\nEthel Smyth, D.B.E.\n6/- net", "CHAPMAN & HALL", "Ballet-Creation, 1935", "LES CENT BAISERS\n(The Hundred Kisses)", "Libretto by Boris KOCHNO\nafter the Fairy Tale by Hans Andersen\nMusic by Frederic d'ERLANGER\nChoreography by Bronislava NIJINSKA\nScenery and Costumes by Jean HUGO", "Scenery executed by Prince A. SCHERVACHIDZE", "The Princess . . . . . . . . . . . . . . . . . . . .