Felix Cherniavsky - News Clippings 1910s 1

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

Maud Allan 440 51 2008-1-30.jpg
Maud Allan 440 51 2008-1-30.jpg
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Felix Cherniavsky - News Clippings 1910s 1

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Maud Allan Research Collection
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ll Maud Allan in Chopin's " Funeral March " Jan 29 1910 Amenca ' place an effect created by a highly devel oped artifice -- an effect bearing a similar relation to direct tragedy that the work of Mme . Bernhardt might be regarded as bearing to the work of Eleanora Duse . The Russian Symphony Orchestra ga able assistance , and , incidentally , gave very moving performance of the famoul andante from Tschaikowsky's Quartet in one of the interludes . At Miss Allan's second performance at Carnegie Hall , on Saturday afternoon , Jan uary 29 , she will dance , by special request . the " Vision of Salomé , " which she created in London , Berlin , Paris and St. Peters burg A F Musical de renessance of the dance has received stest metropolitan impulse through the DeCET Vaud Allan , who , assisted bu Run Symphony Orchestra . Modest t - char conductor , appeared at Carnegie Hall New York , on Thursday afternoon . Viss sans personality is distinctis dii ferent from the other dancers who have heretojot appeared . Similar as i her gen eral method and ideal to those other pre il the detailed caring out 01 her work she presents mark i duferences , omitting some qualities which others have exhibited and presenting others not before observed . Above all , she is an extremely striking and unforsetiable personality as a dancer having a Conception of motion which except in so far as all dancing must be based on iundamental natural principles , is distinctly her ovu . As regards grace in itself , she leares little to be said . She ha : reduced grace to its last subtle ies , to the point where at ments , it is almost uncanny Particularis i mark able are her slow movements , in which she makes an extraordinary use of her arms . The Velody in F of Rubinstein , with which she began the program , exemplified this . Her arms and hands move and turn through the air as through some denser medium as ribbons of seaweed move beneath the surface of a slow tide . Just as far as she succeeds in the con sciousxhibition of subtle and alluring Dace , so far she falls in the expression of nie aud spontaneous happiness . She is a kind of latter - day nympli . In everything thich he does -- and she is never for an in stant without beauty -- there dwells a spirit fosthung exotic . This exists not only in her dance . but persists as well in her Drame of leaving the stage at the close of each dance and in making her bow to the audience Viss Allan dances in bare feet . She makes much of facial e pression , and also makes • point of clising each dance with a pose , w she hoids in the manner in which the Granatic scene in the curtain calls of plays trade continuous with the action of the drama . Miss Allan gave the following pro rat , Scoal Overture . " Merry Wives of Wind 2. Rubinstein ( a ) Melody 11 F Chopin ( ) Taise , A Ninor , Op . 34. ( C ! Ma 2 the C Sharp Minor , Op . 33. ( d ) Mazurka , E Fat Ma 01.07 . ( e ) " Spring Song , " Miss Allar chestra Tschaikowsky , Andante tatue Saint - Saëns , Synphonic Poem , * Routdophale , Orchestra 4 Gries . Pee : Gyi Site . Vorning , " ( b ) " Ace's Death , * Anitra's tance . " ( d ) " Trolltanz , Miss an Testa 5. Ippolitow - Ivanow , two Caucasian Sketches , ( a ) " In the Aul . " ( b ) March Sardar , Orchestra . ( a Chopin , Marche Fune lire , ( 1 ; Rubinstein Valse Caprice , Miss Allan and Orchestra . The subtle and sudden changes in the music of the Chopin mazurkas were no more delicate than Miss Allan's apprecia tion and representation of them in the Miss Allan as " Salomé " dance . The “ Spring Song , " with its mo tions of picking flowers , was particularly charming . In the Rubinstein Miss Allan wore a long lavender drapery and a shorter , buff - colored one for the other numbers of this group . gate Cier 1001011 SO The Peer Gynt Suite revealed Viss Al lan's great power of characterization . The gentle pastoral pipes of the " Morning " she with charming grace . " Astra's Dance " breathed bizarre vivacity in Ibsen might well have found his ideal of this dance realized in Viss Allan's performance . The “ Trolltanz " was wholly extraordi nary . As the whirl of this dance became more rapid Miss Allan's arms appeared like writhing and twisting snakes , and it seemed as if she had about twenty of them . At the close she falls prostrate . This dance calls for a tremendous physical exertion , but Viss Allan nevertheless repeated it , as well as the preceding one . The tragic element of Miss Allan's inter pretation oi Chopin's Funeral March , while of the greatest artistic interest . was not wholly convincing from the purely human standpoint Artistically , it an abso lutely finisied exhibition , but the peculiar and subtle exotic aura which surrounds all that Miss Allan does took away something of the direct tragic appeal and put in its 3 . 2 6 . Was