The intoxication of Nijinsky’s solo is succeeded more sedately by new groupings and posings of the corps de ballet, which serve as foil to the graceful movements of Ludmila Schollar. In the valse which follows Karsavina and Nijinsky are seen, if not in a display of such virtuosity as their previous dances have occasioned, in a partnership of conjoint motion most exquisitely attuned to the inspiring and directing strains. The passage includes a brief pas seul by Karsavina, some charming poses, and a concluding duet which is, perhaps, the supreme perfection of the many perfect things the suite of dances has presented.
The end must needs be hastened after such a climax, and the valse brillante performed by the entire troupe of dancers ends the spectacle fittingly upon a lively note. Karsavina, Nijinska, Schollar—all the principals in turn are thrown into relief against the rhythmically moving background of the white-robed Sylphides, among whom, embodiment of a poet’s dream, leaping, swaying, rocking with a vigour no less than a grace of body to the music’s impelling lilt, “papillone le jeune Nijinsky.”
SCHEHERAZADE.
Choreographic Drama by Léon Bakst and Michel Fokine.
Music by Rimsky-Korsakov.