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 493a 51 2008-1-30.jpg
Maud Allan 493a 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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Gakam The Times Mand mer олгох 0191 MISS MAUD ALLAN'S MATINEE . the To Feb 11/1911 As an introduction to her engagement in the evening entertainment at the Palace Theatre , Miss Maud Allan made a welcome reappearance yesterday after ber long tour at a matinée devoted chicfly to her performance . The bouse was crowded , and her dancing excited the same eathusiasm as when she first appeared , although , happily , the Salome dance is no longer given . She began with two valses by Chopin , the least interest ing of those in A flat and the beautiful one in O sharp minor , wbich was danced a few inonths ago by the famous couple of Russian dancers on the same stage . Their interpretation of the piece seemed a good deal more in the spirit of the romantic composition than Miss Allan's , although her translation of finger passages into dancing steps was more faithful to the music . A new dance followed , to Sibelius's . " Dryad , " in which an awakening nymph is represented and various preity emotions were reflected . In Grieg's * The Birds " an unusually conventional series of incllectual attempts to catch a bird was the pote " of the dance ; but the " Poetische Tonbild " in C sharp minor was free from all story , and this , like the two Following pieces , Brahms's little Waltz in A flat and Yest's Moment Musical in F minor , was pre ed in purely musical way . All three were exquisite , and the last two had to be repeated . It is worthy of note , as illustrating the spontaneity of the artist , that while the gestures and actual steps of the two repeated pleces were slightly different at the repetition from what they were at first , the plece by Scbubert was first danced with the accented benta given by the right foot , and on repetition by the lett , a change which must have been absolutely spontaneous . Ber steps for the little code were perhaps the most completely artistic thing in the afternoon . She also danced more or less elaborate memure to the “ Danse sacré et profane " of Debussy , In the course of which there was a very ingenious change of attire , the two moods being properly con . trusted . The foot of the Peer Gynt suites completed her part of the programme M Mary Grey sang nad Herr Knut ned played a horp solo , bellen taking tmportant harp part be Debut MAUD ALLAN IN LO ma An Audience More Enthusiastic Than She Had Ever Danced To LONDON , Feb. 11. - Maud Allan returned to the Palace , the birthplace of her fame , for a special matinée yesterday . To state that she met with an ovation would be putting it mildly , for the audience was more enthusiastic than on any previous oc casion when she has danced . Perhaps the finest thing she did was Debussy's " Danse Sacrée et Profane , " when she appeared clad in a Doric Chiton with violet drape ries which she held in either hand . She realized the old Greek spirit perfectly and showed that her art is progressing beyond the veils of “ Salomé . " Other items included Sibelius's “ Dryad , " a Brahms valse and march movement from a Schubert moment musicale . All these were given with the same naive feel ing and open - air freedom . 7 i MAUD ALLAN MILDLY RECEIVED . ( Special Cable to VARIETY ) / A London , Feb. 15 Headlining once again at the Palace , Maud Allan , the first “ Salome " dancer , a drawing attraction at that house for months upon her previous appearance , failed to attract on this return trip , and was but mildly received .