Felix Cherniavsky - Maud Allan Australia Tour 1914

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

Maud Allan 666b 51 2008-1-35.jpg
Maud Allan 666b 51 2008-1-35.jpg
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Felix Cherniavsky - Maud Allan Australia Tour 1914

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Maud Allan Research Collection
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51.2008-1-35
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" The Vision of Salome ” enjoys fine stage setting , designed by Joseph Harker and painted by Harry Whaite and George Dixon . Bepeath the violet rays of moonlight , streaming in from a raised terrace with cypress trees at the back lifting towards the deep blue vault of an eastern summer night is revealed the ban queting hall of Herod Antipas . There it stands as if for all time with its formidable pillars , its shadowy spaces , and its antique brazierg with fearful flickering flames . As the or chestra creates the melodious atmosphere that belongs to Marcel Remy's eastern strains , Salome , daughter of that Herodiad who de manded of Herod the head of John the Baptist on & charger , descends the stane steircase in a rhythmle tread that keeps pace with the music . In gold - embroidered Oriental garb , bejewelled in amethyst and emerald colours , breast - discs of pearl and bead - dress of the same , the young princess repeats once more the dance by which she won from Herod the oath of gift " unto the half of his kingdom . " In this purely Oriental measure , with snake like writhings of the lithe body , and supple undulations of the hands , Miss Allan achieved ber triumph . The acceleration to a giddy climax , the gaze of guilty lear all around as she threw hersell upon the floor , and , with rustling garments , dragged hersell near to the gory head that had formed the focus of her levit joys - all this was delineated with thrilling touches . This wholly dramatic effort , the reasonable objections to which are presumably removed by the explanation , that it was no more than a dream of the night , gave a " body " and vitality to the entertainment evidently re Iquired by the audience ; and the actress was recalled again and again amidst enthusiasm . on the purely musical side the Cherniavsky Trio opened with an artistic rendering of a Hendelssohn Finale . The event of the evening at this point was Leo Cherniavsky's brilliant rendering of the first allegro from Tschaikow sky's amazingly Jimcult " Violin Concerto in D Major . " The player exhibited a resonant and sympathetic tone , fluency in the correct delivery of the chord - passages and barmonics , and feeling for the music . Jan Cherniavsku who played withi sentiment two pieces by Chopin , captured the audience in Liszt's bra Yura paraphrase on the vocal quartet from " Rigoietto , " rendered with power , and , where needed with much - lightness of touch . Mschet , the youngest of the brothers , shoved purity at tone and expression in Cesareul's “ Cantabile " for ' cetto , and proved adroitly skillful in Pope per's tricky but piquant “ Arlequin . All three artists were repeatedly encored . Mr. St. Leger accompanted readily and well at the plano . Maud Allan and the Cherniavsky Tho will appear every evening , including Friday nest ( matinee on Wednesday ) ; under the general direction of Mr. W. Angus Macleod , with Mr. Howard Edio a manager , An intorcating welcome was ortonded to tho famous dancer oz her arrival in Sydney , for when Miss Allen stepped out of the tra there was waiting & guard of honour of 25 little children , arrayed in white , with mauve ribbons , the dancer's favourite colour . An na Teleomo res Ilsped by Master Bubbles Harper , and a bouquet was presented by Ruby Carmen O'De Ar the dire , waited to the waiting car ' rose leaves were showered in her pathe by the children . 22

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