ESSAY: 2:0220A LINDSAY
For biographical information see Acc. no. 1:1049 'Additional information'.
The execution of 'Baronova bowing' demonstrates Daryl Lindsay's assurance as a draftsman. This drawing depicts the famous Russian prima ballerina, Irina Baronova (b.1919), curtseying at the end of one of her performances for the 'Ballets Russes' in Melbourne. The Australian tours of de Basil's ballet company created enormous excitement during the 1930s and inspired a new era for Australian ballet. The enthusiasm for ballet developed a new audience while former members of the company established dance schools in Australia (Helene Kirsova settled in Sydney in 1937 and Edouard Borovansky settled in Melbourne in 1939 (see Acc. no. 1:1048)).
Edward Pask, in his book 'Enter the colonies dancing...' (1979), outlines this influence. Following the success of the Monte Carlo Russian Ballet which toured Australia in 1936-37, the J.W. Williamson group organised a tour of Colonel de Basil's main London-based company, known as de Basil's Educational Ballet, to tour Australia and New Zealand in 1938-39. Its name was changed to the Convent Garden Russian Ballet under the management of Victor Dandré (previously Anna Pavlova's manager). The company of more than one hundred members was headed by prima ballerinas Irina Baronova and Tatiana Riabouchinska. Edouard Borovansky, who had previously toured with Anna Pavlova in her second trip to Australia in 1929, was also included.
Michel Fokine created 'Cendrillon' for Convent Garden with decor and costumes by Natalia Goncharova. It became the centrepiece of a program which opened at Her Majesty's Theatre, Melbourne on 28 September 1938. Riabouchinska (1917-2000) led the cast in this version of the famous story of Cinderella. Baronova took the lead in 'Swan Lake' and 'La Concurrence'.
There were at least five separate programs in the Melbourne season before the final performance on 21 November 1938 when the company departed for Sydney. After performances there, and a short tour to New Zealand, the company returned to Melbourne for another short season, 25 March to 12 April 1939. The company performed in Adelaide before a final gala performance at the Theatre Royal, Sydney on 27 April. Apart from Helene Kirsova and Edouard Borovansky, six other members of the ballet decided to remain in Australia.
The outbreak of World War Two stranded many dancers in the Americas and they took the opportunity to tour out of the conflict zone. The Original Ballet Russe, with Colonel de Basil in charge, opened its Australian tour at the Theatre Royal, Sydney on 30 December 1939 and toured Australia and New Zealand until 21 August 1940. The decor and costumes for the Australian season of Serge Lifar's 'Icare' were designed by Sidney Nolan. The ten week Melbourne season opened at His Majesty's Theatre on 14 March 1940 ending 4 June. After a season at His Majesty's Theatre, Brisbane, the company returned to Sydney.(1) The principal association of the Ballets Russes is with Melbourne, as is, indeed, the history of classical ballet in Australia.
Irina Baronova, born Petrograd in 1919, was another of the company's 'baby ballerinas'. She started her career with the Ballets Russes de Monte Carlo, continuing with the company under its various changes of name. She danced with the famous choreographer Georg Balanchine in a production of 'Serenade' in 1934. After she retired from performance she took a role in teaching - in 1999 Baronova was still lecturing with the Yorkshire Ballet Seminars. Lindsay sketched this work at the completion of one of Baronova's performances, perhaps of her signature leading role in 'Swan Lake'.
Essay by Glenn R. Cooke, Research Curator, Queensland Heritage, Mar. 2004.
1. Edited extract from: Pask, Edward H. 'Enter the colonies dancing: A history of dance in Australia 1835-1940'. OUP, Melbourne, 1979, pp.55-6.
Note: acute over e in Dandre in 'Additional information'.
The execution of 'Baronova bowing' demonstrates Daryl Lindsay's assurance as a draftsman. This drawing depicts the famous Russian prima ballerina, Irina Baronova (b.1919), curtseying at the end of one of her performances for the 'Ballets Russes' in Melbourne. The Australian tours of de Basil's ballet company created enormous excitement during the 1930s and inspired a new era for Australian ballet. The enthusiasm for ballet developed a new audience while former members of the company established dance schools in Australia (Helene Kirsova settled in Sydney in 1937 and Edouard Borovansky settled in Melbourne in 1939 (see Acc. no. 1:1048)).
Edward Pask, in his book 'Enter the colonies dancing...' (1979), outlines this influence. Following the success of the Monte Carlo Russian Ballet which toured Australia in 1936-37, the J.W. Williamson group organised a tour of Colonel de Basil's main London-based company, known as de Basil's Educational Ballet, to tour Australia and New Zealand in 1938-39. Its name was changed to the Convent Garden Russian Ballet under the management of Victor Dandré (previously Anna Pavlova's manager). The company of more than one hundred members was headed by prima ballerinas Irina Baronova and Tatiana Riabouchinska. Edouard Borovansky, who had previously toured with Anna Pavlova in her second trip to Australia in 1929, was also included.
Michel Fokine created 'Cendrillon' for Convent Garden with decor and costumes by Natalia Goncharova. It became the centrepiece of a program which opened at Her Majesty's Theatre, Melbourne on 28 September 1938. Riabouchinska (1917-2000) led the cast in this version of the famous story of Cinderella. Baronova took the lead in 'Swan Lake' and 'La Concurrence'.
There were at least five separate programs in the Melbourne season before the final performance on 21 November 1938 when the company departed for Sydney. After performances there, and a short tour to New Zealand, the company returned to Melbourne for another short season, 25 March to 12 April 1939. The company performed in Adelaide before a final gala performance at the Theatre Royal, Sydney on 27 April. Apart from Helene Kirsova and Edouard Borovansky, six other members of the ballet decided to remain in Australia.
The outbreak of World War Two stranded many dancers in the Americas and they took the opportunity to tour out of the conflict zone. The Original Ballet Russe, with Colonel de Basil in charge, opened its Australian tour at the Theatre Royal, Sydney on 30 December 1939 and toured Australia and New Zealand until 21 August 1940. The decor and costumes for the Australian season of Serge Lifar's 'Icare' were designed by Sidney Nolan. The ten week Melbourne season opened at His Majesty's Theatre on 14 March 1940 ending 4 June. After a season at His Majesty's Theatre, Brisbane, the company returned to Sydney.(1) The principal association of the Ballets Russes is with Melbourne, as is, indeed, the history of classical ballet in Australia.
Irina Baronova, born Petrograd in 1919, was another of the company's 'baby ballerinas'. She started her career with the Ballets Russes de Monte Carlo, continuing with the company under its various changes of name. She danced with the famous choreographer Georg Balanchine in a production of 'Serenade' in 1934. After she retired from performance she took a role in teaching - in 1999 Baronova was still lecturing with the Yorkshire Ballet Seminars. Lindsay sketched this work at the completion of one of Baronova's performances, perhaps of her signature leading role in 'Swan Lake'.
Essay by Glenn R. Cooke, Research Curator, Queensland Heritage, Mar. 2004.
1. Edited extract from: Pask, Edward H. 'Enter the colonies dancing: A history of dance in Australia 1835-1940'. OUP, Melbourne, 1979, pp.55-6.
Note: acute over e in Dandre in 'Additional information'.