Dandré-Levitoff Russian Ballet. Repertoire and performance schedule for 1934–1935 tour

4 thoughts on “Dandré-Levitoff Russian Ballet. Repertoire and performance schedule for 1934–1935 tour”

1. It’s interesting to read in Michelle’s excellent article that Fokine was involved at the very early formation stage of this company in teaching and rehearsing Sylphides, Carnaval and the Polovtsian Dances. As we know, Fokine did not supervise any of De Basil’s productions of his works until 1938, so one presumes the Dandre Levitoff productions may have been closer to his wishes than the ones we saw during the first De Basil tour.

   A couple of the reviews of the first De Basil productions of these titles here, noted some differences between the Dandre Levitoff productions and the first De Basil ones. The decor of Carnaval for the former company was a park setting instead of the familiar ballroom ante-room with the 2 settees. Some references state that Fokine’s preferred setting when the ballet became part of Diaghilev’s repertoire would have been a park setting but it was given in Bakst’s ballroom set instead. However when the ballet entered the Maryinsky repertoire it was given in a park setting. The underpopulated Dandre Levitoff Polovtsian Dances is noted but the wildness and savagery seemed to be missing from the later production.

   In a review of the Covent Garden Co production of Sylphides [now under Fokine’s supervision] it is noted that the final leap of the danseur, which had presumably been in evidence during the first De Basil tour, has been eliminated. One wonders whether the leap was intact during the Dandre Levitoff performances.

   Another somewhat related issue is the presence of a pas de trois in Swan Lake Act 2. It is mentioned in reviews of the first De Basil tour but I can’t find mention during the other 2 tours and not in reviews of the Dandre Levitoff performances. Garcia Marquez has something to say about this in his Ballets Russes book but it is interesting to speculate what comprised the Dandre Levitoff Swan Lake Act 2

2. I can’t help with your comments about Sylphides and Swan Lake, although I must admit to being staggered at the costume Bojkovich wore as the Swan Queen (see the photos in my post about Ludmilla Schollar). I have never before seen a Swan Queen wearing such a brooch in the middle of the bodice.

   I have, however, seen in Anna Northcote’s archive one photo of Carnaval (which was always referred to as Carnival in their programs) that perhaps confirms that there was a park bench setting. Infuriatingly, the image is resisting all attempts at having itself added to this comment so I have attached it to the end of the post above. The background is quite unclear, I’m afraid, but the item in the background seems more like a park bench than a settee. And of course the image of Fille is interesting too as it is obviously not the same version as we are used to seeing today.

   I, like you, was interested to see that Fokine was involved. There were mentions of his involvement in other sources but I was suspicious of them as there were no references in them to source material. I believed what Anna Northcote wrote in the article mentioned in my text. She was there and, unlike Spessivtseva, Northcote was clearly articulate and thoroughly lucid. Those who wrote elsewhere of Fokine’s involvement were not there and comments from such people always need to be cross-checked where possible.

3. I am very much interested to receive any information that you may have on Elvira Rone, one of the Dandre- Levitoff Ballet Troupe. I am distantly related to Elvira and have visited her in Paris in 1969. I do have some papers and photographs pertaining to her.
   You may reply to my e-mail address or perhaps call me on 02 99137565.
   Many thanks, Juris Turmanis

4. Juris, I’m sorry but I can’t add anything to what I assume you already have. But someone who knows more may read this and follow up. Apologies.