CLÉOPÂTRE.
Choreographic Drama in One Act by Michel Fokine.
Music by Arensky, Taneiev, Rimsky-Korsakov, Glinka and Glazounov.
Scenes and Dances by Michel Fokine.
Scenery and Costumes Designed by Léon Bakst.
IT is the supreme merit of “Cléopâtre” that it is of an even and sustained excellence throughout. All concerned in its production and performance have surpassed themselves, but since each has risen equally to the occasion there are no outstanding features to distract the balance of the whole. The result is merely the elevation of the latter to a very high artistic level.
It will be agreed that few subjects more suggestive and inspiring could be found than Cleopatra. For colour, movement and dramatic intensity the legend of the Egyptian queen affords opportunities which have in no wise been allowed to slip. Léon Bakst has done nothing more largely fine than the spacious temple in the desert by the Nile, the deep tawny grandeur of which, broad and simple, provides a proper setting for the splendid, gem-like brilliance of Cleopatra’s train. Here is enacted, against a background of choric dances that have more than a conventional significance, one of those fierce passionate episodes which the Russians so vividly present.
Beyond the tall columns which enclose the sacred precinct we see the desert sand and the waters of the Nile. Hither, as the dusk of an Eastern night is enveloping the scene, comes Ta-hor, a young princess, in quest of her lover Amoûn, to whom she has been promised by the high priest of the temple. She is first at the tryst, but in a moment Amoûn comes leaping to meet her. The bow he carries in his hand seems symbolic of his manly youth and virile strength. The lusty vigour of his agile bounds, the impetuous onrush of his approach to his beloved, are eloquent of his careless abandon to the joy of life and love.