Felix Cherniavsky - Clippings 1900s 1

Added 18th Mar 2022 by Beth Dobson (Archives and Programming Assistant, DCD) / Last update 18th Mar 2022

Maud Allan 328a 51 2008-1-29.jpg
Maud Allan 328a 51 2008-1-29.jpg
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Felix Cherniavsky - Clippings 1900s 1

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Maud Allan Research Collection
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51.2008-1-29
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A few Press Tributes- ( continued ) . BIRMINGHAM GAZETTE , March 10th , 1908 , says : She may , almost be said to have invented a new art . She realises the poetry of motion , her limbs moving and her body gliding with admirable appropriateness to such music as Chopin's Marche Funebre , ' Mendelssohn's ' Spring Song , ' and Ruben stein's Valse Caprice . ' She realises in a curious , complete manner the classic pose and the classic movement . She is naive , unemotional , and yet obviously never without design . Her costumes are scanty , her feet are bare , but everything is appro priate , dignified and beautiful . Miss Allan's greatest performance was a representation of ' The Vision of Salome , more melodramatic and on the whole no less attractive than her Chopin and Mendelssohn dances . “ The Vision of Salome ' is all her own in idea and execution . Herodias's daughter is there , her dazzling radiance only enhanced by the sacred fires shim mering on the ropes of pearls and plaques of jewels which she wears . It is Salome herself , now eager for love , now furious with disappointment , pleading for the boon of devilish revenge ; and then , when the hideous crime has been committed to fulfill her whim , madly remorseful , fearfully cowed and terrified . Maud Allan pictures the drama of love and revenge , and it is her triumph . 66 ANCHESTER GUARDIAN , February 13th , 1909 , says : -- · The Theatre was crowded and contained many men and women eminent in their walks of life , who listened ( I use the word advisedly ) in the darkened Theatre in a solemn silence which suggested Bayreuth . Her programme was exacting and showed her versatility . With the illustrations of a dance from Tschaikowski's Nutcracker ' Suite and a Passe - pied of Delibes and Mendelssohn's ' Spring Song ' her admirers are familiar , but her miming ' of Grieg's ' Peer Gynt Suite was new - at any rate to us . The power of characterisation and the frenzied vigour of the Gnomes ' dance deservedly aroused the strongest outburst of applause . ' MANCHESTER COURIER , February 13th , 1909 , says : “ The crowded and fashionable house not only gave her a hearty welcome , but enthusiastically applauded her interpretations of nine masterpieces by Tschaikowsky , Delibes , Mendelssohn , Rubinstein and Grieg . " a MANCHESTER DISPATCH , February 13th , 1909 , says : For over four and a half hours people waited in the biting wind to gain admission to the cheaper parts of the House and the place was packed long before the curtain rose , Society being well represented . In all she gave nine short dances . In two items from Grieg's ' Peer Gynt ' Suite she proved herself a true artiste . • Anitra's Dance ' was an exquisite piece of work and the ' Dance of the Gnomes'a very riot of mad frolic . > BIRMINGHAM POST , February 13th , 1909 , says : Her re - appearance was heartily welcomed by a crowded and enthusiastic audience . She took the opportunity of introducing various new dances , the most ambitious being a representation of the whole of the four sections of Grieg's Peer Gynt ' Suite . In the ' Dance of the Gnomes ' and ' Ase's Death ' the talented artiste was at her best , the sombre and awe - inspiring strains of the latter being particularly well interpreted . " > 66 LIVERPOOL DAILY COURIER , February 13th , 1909 , says : Like a draped Greek statue , swaying in the ecstasy of some sublime inspiration . It was a wonderful performance ; an exquisite and apparently spontaneous expression of divine harmony , in rhythmetic classical movement , the very poetry of motion and the incarnation of song . She reduces with infallible grace classical melody to sculptured gesture . You seem to see the immortal figures of Keats ' Grecian urn stepping into life , and weaving before your eyes the forgotten ecstasies of the days when the World was young . 64 LEEDS MERCURY , February 13th , 1909 , says : She is a clever student of music , and of the character of the soul of various composers . She realises that music is an expression of human thought and feeling , and all she does is to enable the eye to receive the corroborative impressions that the music of the composer conveys to the educated ear . What Sarah Bernhardt does for art by means of the play , Maud Allan does through the vehicle of musical composition . .86 YORK TELEGRAPH , February 13th , 1909 , says : -- The Stage Dance has never been so much discussed as it has been since Miss Maud Allan created a new fashion for a particular phase of dramatic art . At the Palace Theatre it has been a cult , with Miss Allan as its high priestess . Whatever there is of art and poetry in her movements is portrayed with far more delightful effect in such a graceful dance , for example , as the Spring Song . It would probably be impossible to improve upon yesterday's programme . " & 6 IRISH INDEPENDENT , February 13th , 1909 , says : In Grieg's ' Peer Gynt . Suite , introduced for the first time , she was in turns joyful , dirgeful and weird . The undulating movements of the arms , the gliding action of her lithe , flexible higure , and the delicate manipulation of her feet , were responsive to every change in the music . Her rendering to Mendelssohn's ' Spring Song ' was a wonderfully rhythmical exercise of gladsome exuberance . " 13 .

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