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Published online by Cambridge University Press: 22 July 2014
… to see Mme. R. stand on the stage before the curtain goes up and be wrapped in yards of mummy bandage for her role in Cléopâtre is an incomparable sight… a respectful, silent circle of stage hands and extras form around her, diminishing as she disappears beneath her veils. One night I had the honor of helping Mme. Rubinstein on stage for her bandaging — she is unable to walk alone because of the height of her clogs — and as I felt the tremulous pressure of her palm on my shoulders, I thought of the Cleopatra of Flaubert.
Ida Rubinstein made her first Western European appearance in the title role of Cléopâtre at the Théâtre du Châtelet on June 2, 1909. It was the second evening of Diaghilev's dance programs of that memorable first Paris season, and Ida Rubinstein would have to compete not only with Vaslav Nijinsky and Tamara Karsavina, both of whom had created a furor on the opening program, but also with Anna Pavlova, whose reputation as a dancer had preceded her to Paris.
I would like to thank Lynn Garafola for her helpful suggestions for clarifying my prose. I also want to thank the editors and referees of Dance Research Journal for their editorial suggestions. Unless otherwise noted, all translations are my own.
1. For a history of the formation of the Ballets Russes and the preparations for the first Paris season, see Buckle, Richard, Diaghilev (New York: Atheneum, 1979)Google Scholar, passim.
2. Ibid, p. 150.
3. Alexandre, Arsene and Cocteau, Jean, L'Art Décoratifde Léon Bakst (Paris: M. de Brunoff, 1913; reprint New York: Dover Publication, 1972), pp. 29–30Google Scholar.
4. See Benois, Alexandre, Reminiscences of the Russian Ballet, translated by Britnieva, Mary (London: Putnam, 1941), p. 296Google Scholar and Benois, “The Origins of the Ballet Russes,” in Kochno, Boris, Diaghilev and the Ballet Russes, translated by Foulke, Adrienne (New York: Harper and Row, 1970), p. 12Google Scholar.
5. Fokine, Michel, Protev techeniia: vospominaniaia balet meistera [Upstream: Memoirs of a Ballet Master] (Leningrad: Iskusstvo, 1962), p. 614Google Scholar.See also Benois, , Reminiscences, pp. 276–7Google Scholar.
6. “Une Mécène”, Vérites (Paris), October, 1934Google Scholar.
7. Polveroni, Luithi, et al. , Filmlexicon degli Autori e Delle Opera (Rome: Edizioni de Banco et Nero, 1962), p. 1651Google Scholar. For a brief discussion fo the atmosphere in which Rubinstein was raised in St. Petersburg, see Nozierre, , Ida Rubinstein (Paris: Editions Sansot, 1926), pp. 11–13Google Scholar, and Thomas, Louis, “Le peintre Bakst parle de Madame Ida Rubinstein”, Revue Critique des Idées et des Livres (Paris), January 1924, pp. 87–104Google Scholar. My gratitude to Lynn Garafola for bringing the Thomas article to my attention.
8. Spencer, Charles, Bakst (New York: St. Martin's Press, 1973), p. 127Google Scholar.
9. See Thomas, Louis, “Le Peintre Bakst parle de Madame Ida Rubinstein”, Revue Critique des Idées et des Livres (Paris), January 1924, pp. 87–104Google Scholar.
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11. Pruzhan, Irina, Bakst (Moscow: Art Publications, 1975), p. 69Google Scholar. See also Polveroni, , et al. , Filmlexicon, p. 1651Google Scholar.
12. Pruzhan, , Bakst, p. 69 and 217Google Scholar.
13. Irene Bakst, interview with author, Paris, 22 November 1972; Mme. Tcherkessov, interview with author, Paris, 14 March 1973; I. Gurevitch, interview with author, Paris, 21 March 1973; Michel Pavloff, interview with author, New York City, 24 April 1974; Mme. Doubrovska, interview with author, New York City, 12 November 1974.
14. Fokine, Michel, Protiv techeniia, pp. 87–90Google Scholar. See also Buckle, , Nijinsky (New York: Simon and Schuster, 1971), p. 24Google Scholar; Beaumont, C.W., Michel Fokine and His Ballets (London: C.W. Beaumont, 1935), p. 24Google Scholar; Beaumont, C.W., Complete Book of Ballets (New York: G.P. Putnam's Sons, 1938) p. 225Google Scholar; and Borisoglebskii, Mikhail, ed., Materialy po istorii russkogo baleta [Materials for the History of Russian Ballet], (Leningrad, 1938–1939), p. 265Google Scholar.
15. Beaumont, C.W., Michel Fokine and His Ballets, p. 40Google Scholar. Monteqsuiou, Robert de (Vie de Robert de Montesquiou, unpublished manuscript in the Bibliotheque Nationale, Paris, Mss. N.A.F. 15162, pp. 75–77Google Scholar) dates this 1906 although he gives no basis. See also Kochno, Boris, Diaghilev and the Ballets Russes, p. 36Google Scholar and Pruzhan, ,, Leon Bakst, pp. 108–109Google Scholar.
16. Benois, , Reminiscences, p. 277Google Scholar.
17. For a description of Ida as Salomé, see Svetlov, V., Le Ballet Contemporain (Paris: M. Brunoff, 1912), p. 78Google Scholar.
18. There is some confusion as to the date of the performance of Rubinstein's Salomé. Although the complete work was eventually canceled by the censors, it was performed before a private audience at the Mikhailovsky Theatre on November 3,1908 (See Fokine, , Upstream, p. 221 and p. 614Google Scholar and Pruzhan, , Leon Bakst, p. 218)Google Scholar. The Dance of Salomé or the “Dance of Seven Veils” was later performed by Rubinstein during an evening of art dances presented in the Grand Hall of the Petersburg Conservatory on December 20,1908, the date cited by Stélnpress, B.S. and Iampolskii, I.M. in their Entsiklopedicheskii muzykal'nii slovar' (Moscow, 1966, p. 453)Google Scholar and confirmed by Pruzhan, (Leon Bakst, p. 218)Google Scholar.
19. Svetlov, , Le Ballet Contemporain, p. 78Google Scholar.
20. Rieur, Le, “Dancing News”, Dancing Times (London), July 1912, p. 416Google Scholar.
21. See Lieven, Prince Peter, The Birth of the Ballets-Russes (New York: Dover Publications, 1973) p. 53Google Scholar, and Benois, , Reminiscences, p. 277Google Scholar.
22. Fokine, , Upstream, p. 221Google Scholar.
23. Nozierre, , Ida Rubinstein, p. 15Google Scholar.
24. Lieven, , The Birth of the Ballets-Russes, p. 97Google Scholar.
25. For a discussion of the history of Schéhérazade on the occasion of the 1978 London Bestival Ballet's revival of the work, see Doyle, Katherine F., “Schéhérazade”, Dance Magazine (New York), July 1978Google Scholar.
26. For the development of Schéhérazade see Buckle, , Diaghilev, p. 166 and p. 169Google Scholar.
27. Fokine, , Memoirs of a Ballet Master, translated by Fokine, Vitale, edited by Chujoy, Anatole (Boston: Little, Brown and Co., 1961), p. 155.Google Scholar
28. For contemporary discussions of Bakst's designs and the reception of both Cléopâtre and Schéhérazade see: Gr…ski, A., “Russkoe iskusstv pered sudom evropy: korrespondentsiia iz parizha” Petrsburgskaia gazeta (St. Petersburg), May 26, 1909Google Scholar; Svetlov, V., “Russkii sezon v parizhe”, Birzhevye vedomosti (St. Petersburg), June 9,1909Google Scholar; Benois, A., “Russki spektakl' v parizhe”, Rech (St. Petersburg), June 25, 1909 and July 12, 1910Google Scholar; Brussell, R., “Les Theatres: La Saison Russe à l'Opéra”, Le figaro (Paris), June 6, 1910Google Scholar; Vaudoyer, J. L., “Variations sur les Ballets Russes”, La Revue de Paris, July 15, 1910, p. 335Google Scholar; Trugenhold, Y., “Russkii balet v parizhe”, Apollon (St. Petersburg), 1910, No. 8, p. 70Google Scholar; Serov, A., “Pis'mo v redaktsiiu”, Rech (St. Petersburg, Sept. 22, 1910,Google Scholar; Vaudoyer, J. L., “Leon Bakst”, L'Art et Décoration (Paris), February 1911, pp. 33–46Google Scholar; Péladan, Joséphin, “Les Arts du Théâtre: Un Maître du Costume et du Décor — Léon Bakst”, L'Art Décomtif (Paris), 25 (1911), No. 1, pp. 285–300Google Scholar; Levinson, A., “O novom balete”, Apolln (St. Petersburg), 1911, No. 8, p. 33Google Scholar; Carter, H., “The Art of Leon Bakst”, T. P.'s Magazine (London), July 1911, pp. 515–526Google Scholar; and Vaillant, L., “Nouveaux propos sur les decors”, L'Art et Les Artistes (Paris), September 1911, pp. 479–484Google Scholar.
29. For a discussion of the general influence of Bakst's costume designs on fashion see my forthcoming article “Th e Influence of the Ballets Russes in Western Europe” in The East Meets West: The Russian AvantGarde and Western Europe, edited by Roman, Gail Harrison (Syracuse: Syracuse University Press, 1989)Google Scholar.
30. Cocteau, Jean, “La Saison Russe”, Comoedia Illustré (Paris), June 15, 1911Google Scholar.
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33. Diana Vreeland, interview with author, New York City, 4 November 1978.
34. Jullian, Philippe, Robert de Montesquiou: A Fin-de-Siècle Prince, translated by Haycock, John and King, Francis (London: Seeker and Warburg, 1965), p. 228Google Scholar.
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38. D'Alberobello, Peppino, “Una visita a Mile. Ida Rubinstein”, La Scena lllustrata (Firenze), 1912, p. 14Google Scholar. Ida Rubinstein Clipping File, Dance Collection, New York Public Library at Lincoln Center.
39. D'Alberobello, “Una visita,” p. 14.
40. Dale, “The Only Girl.”
41. Frederick Ashton, Letter.
42. Massine, Leonide, My Life in Ballet (London: Macmillan and Company, 1968), p. 176Google Scholar.
43. “In Paris”, Dancing Times (London), January 1929, p. 512Google Scholar.
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45. For a complete discussion of the details surrounding Diaghilev's problems in mounting Dieu Blue and Péri as well as Diaghilev's response to Bakst's working for Rubinstein, see letters between Diaghilev, Astruc and Bakst published in Buckle, Nijinsky, pp. 184-187; a complete discussion of the controversy begins on p. 176.The Astruc Papers are in the Dance Collection of the New York Public Library. See also Pruzhan, , Léon Bakst pp. 168–171Google Scholar, and Cossart, Michael, “Ida Rubinstein and Diaghilev: a one-sided rivalry”, Dance Research (London), Vol. 1, No. 2, Autumn 1983Google Scholar.
46. For an account of the writing of St. Sébastien, see Gullace, Giovanni, Gabriele d'Annunzio in France (Syracuse: Syracuse University Press 1966), p. 84Google Scholarff and Montesquiou, Robert de, Memoires (Paris: Emile Paul, 1923) Vol. III, p. 158Google Scholar.
47. Montesquiou, Memoires, and Jullian, D'Annunzio, p. 224.
48. Rubinstein, Ida, “Ma premiere recontre avec Gabriele d'Annunzio”, Conferencia (Paris), September 20, 1927, p. 326Google Scholar, and Rubinstein, Ida, “Comme Conobbi d'Annunzio”, Nuova Antologia (Florence), April 16, 1927, p. 428Google Scholar.
49. Antongini, Tom, D'Annunzio (Freeport, New York: Books for Library Press, 1971), pp. 284–293Google Scholar. See also Long, Marguerite, Au Piano avec Claude Debussy (Paris: Rene Julliard, 1960), pp. 158Google Scholar. For Ida's version of her experiences rehearsing with D'Annunzio,” Nuova Antologia (Florence), April 16, 1927, pp. 427–40Google Scholar.
50. Winwar, Frances, Wingless Victory: A Biography of Gabriele d'Annunzio and Eleanora Duse (New York: Harper and Brothers, 1956), pp. 251–2Google Scholar.
51. For various discussions of the play see Cohen, Gustave, “Gabriele d'Annunzio et 'Le Martyre de Saint Sébastien'”, Mercure de France (Paris), June 15, 1938, p. 239Google Scholar. Gheon, Henri, “M. d'Annunzio et l'Art à propos du Martyre de St. Sébastien’”, Nouvelle Revue Françhise (Paris), July 1913, pp. 5–16Google Scholar; Sorbets, Gaston, “Le Martyre de Saint Sébastien”, L'lllustration Théâtrale (Paris) No. 181, May 1911Google Scholar; Schneider, Louis, “Autour de la Piece”, Le Théâtre (Paris), June 1911, p. 22Google Scholar; Schloezer, Boris de, “La Music: 'Le Martyre dë Saint Sébastien à l'Opera’”, Nouvelle Revue Francaise (Paris), July 1922, pp. 244–45Google Scholar.
52. Lockspeiser, Edward, Debussy: His Life and His Mind (New York: Macmillan, 1962), p. 164Google Scholar. For an account of Debussy's involvement with Saint Sébastien, see Long, Marguerite, Au Piano avec Claude Debussy, pp. 155–169Google Scholar.
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54. See Jullian, Philippe, Dreamers of Decadence, translated by Baldick, Robert (New York: Praeger, 1971), p. 100Google Scholar: Levinson, André, The Story of Léon Bakst's Life (New York: Brentano's, 1922), pp. 182–191Google Scholar; Gullace, , d'Annunzio, p. 85Google Scholar; and Henri Gheon, “M. d'Annunzio et l'Art,” pp. 5-16.
55. Lockspeiser, , Debussy, p. 165Google Scholar and Thompson, , Debussy, p. 214Google Scholar.
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58. “Covent Garden Opera: 'Le Martyre de Saint Sébastien”, The Times (London), July 7, 1931Google ScholarPubMed.
59. Thompson, , Debussy, p. 214Google Scholar. See also Vuillermoz, Emile, “Autour du Meirtyre de Saint Sébastien”, La Revue Musicale, 1 no. 2 (December 1920), pp. 155–8Google Scholar and “La Naissance du Martyre de Saint Sébastien”, La Revue Musicale, No. 234 (1957), pp. 59–63Google Scholar.
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61. Thompson, , Debussy, p. 215Google Scholar.
62. Mme.de Saint-Marceaux, , “Journal”, Cahiers Debussy, no. 3 (1976), p. 10Google Scholar as quoted by Orledge, Debussy, p. 221Google Scholar.
63. Bidou, Henry, “Le Martyre de Saint Sébastien”, Journal de débats, 29 May 1911, pp. 1–2Google Scholar.
64. Taassen, Pierre Van, “Something Sacred Is Being Born in America, Is Belief of Mme. Rubinstein, French Actress”, New York Evening World, June 23, 1926Google Scholar.
65. “Plays and Pictures: Mme. Rubinstein's Season in London”, New Statesman and Nation (London), July 11, 1931, p. 47Google Scholar.
66. For discussions of the writing of this play see Esteve, Edmond, Emile Verhaeren (Paris: Boivin and Cie, 1928), pp. 201–212Google Scholar; Poncheville, A. Mabille de, Vie de Verhaeren (Paris: Mercure de France, 1953), pp. 429–431Google Scholar; and Zweig, Stefan, Emile Verhaeren (London: Constable and Co., 1914), p. 74Google Scholar.
67. Mathau, Myron, Modern World Drama (New York: !E.P. Dutton, 1972:), p. 792Google Scholar.
68. For various reviews of the production see Fresnois, Andre du, “Lettre de Paris: Hélène de Sparte”, La Vie Intellectuelle (Brussels), May 1912, pp. 437–450Google Scholar; Nion, Françoise de, “Les Premieres: Théâtre du Châtelet”, Echo de Paris (Paris), May 6, 1912, p. 2Google Scholar; Flers, Robert de, “Les Théâtres: Chatêlet, 'Hélène de Sparte'”, Le Figaro (Paris), May 6, 1912Google Scholar; Ernest, Charles J., “Parmi les Hommes: Emile Verhaeren”, Gil Blas (Paris), May 6, 1912Google Scholar; “Hélène de Sparte’” Le Théâtre (Paris), May 11, 1912Google Scholar; Brisson, Adolphe, “Chronique Théâtre”. Le Temps (Paris), May 13, 1912Google Scholar; and Schlumberger, Jean, “Le Thėâtre: 'Hélène de Sparte’”, Nouvelle Revue Française (Paris), June 1912, pp. 1072–1077Google Scholar.
69. Poncheville, , Vie de Verhaeren, p. 430Google Scholar, and Zweig, , Emile Verhaeren, p. 74Google Scholar.
70. Zweig, , Verhaeren, p. 74Google Scholar.
71. Bakst's most explicit pronouncement about the role of the painter as a theatrical designer can be found in an undated letter he wrote to Huntley Carter sometime before July 1911 (Victoria and Albert Museum, Manuscripts: French 86 GG Box I), parts of which were published in Carter's article “The Art of Leon Bakst”, T.P.'s Magazine (London), July 1911, pp. 515–526Google Scholar.
72. “Paris Notes”, Dancing Times (London), March 25, p. 651Google ScholarPubMed.
73. Claudel, Paul, Claudel Homme de Théâtre: Correspondence avec Copeau, Dullin, Jouveal (Paris: Gallimard, 1966), p. 198Google Scholar.
74. Pierre Van Taassen, op cit.
75. For an account of the writing and reception of Pisanelle, see Gullace, G., Gabriele d'Annunzio in France, p. 91ffGoogle Scholar. For an interesting and incisive review of the production see “D'Annunzio's New Play in Paris — a lesson in the Art of Dress — Astonishing Color Schemes introduced by Bakst, Leon.“ Cincinatti Enquirer, July 6, 1913Google Scholar.
76. Champlos, G. Davin de, “La Pisanelle ou la Mort parfumée au Châtelet”, Comoedia (Paris), June 12, 1913, p. 1Google Scholar.
77. For reviews of the production see Aubry, Raoul, “La Pisanelle”, Le Théâtre (Paris), June 1913Google Scholar; Soudag, Paul, “La Pisanelle”, L'Eclair (Paris), June 13, 1913Google Scholar; Chardon, L., “La Pisanelle”, L'Action Francaise (Paris), June 13, 1913Google Scholar; Apollinaire, Guillaume, “La Vie Anecdotique”, Mercure de France (Paris), June 13, 1913Google Scholar; Parma, Ildebrando da, “La Pisanelle ou la Mort Parfumée”, Le Théâtre (Paris), June 1913Google Scholar; Hermant, Albert, “Pisanelle”, Le Théâtre (Paris), June 1913Google Scholar; Thouvenin, Jean, “Causerie Théâtrale: 'La Pisanelle ou la Mort Parfumée”, Les Annales Politiques et Litteraire (Paris), June 22, 1913Google Scholar; Schlumberger, Jean, “Le Théâtre: 'La Pisanelle ou la Mort Parfumée’”, Nouvelle Revue Française (Paris), July 1913, pp. 126–129Google Scholar; Kraemer-Taylor, Pierre, ”‘La Pisanelle ou la Mort Parfumée’ au Théâtre du Chatêlet”, Comoedia lllustré (Paris), June 5, 1913, pp. 804–06Google Scholar.
78. “Art or the Woman — Which!”, San Antonio Light, August 10, 1913Google Scholar.
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82. Ibid.
83. Rubinstein, Ida, “Comme Connobbi d'Annunzio”, Nuova Antologia (Florence), April 16, 1927, pp. 427–40Google Scholar.
84. Ibid., and D'Annunzio — A Woman's Version,” The Living Age (London), January 1931, pp. 486-88.
85. “Ida Rubinstein Is Now Suppliant at D'Annunzio's Shrine”, New York American, November 20, 1919Google ScholarPubMed.
86. Bertelli, G.F., “Poet Drives Dancer to Take Lion Hunt”, New York American, September 4, 1922Google Scholar.
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88. “D'Annunzio Gives Airplane to Actress”, New York Times, June 7, 1925, V, p. 2Google Scholar.
89. “Girl Flies Over the Alps”, New York Evening World, September 9, 1928Google Scholar. I have been unable to discover if this clipping refers to a later flight (the plane was piloted by an Italian and not by Ida herself); no explanation has been found for why it took Ida two years to fly over the Alps.
90. “D'Annunzio's Old Love Back”, New York American, Julyl 25, 1925Google ScholarPubMed.
91. References to these gentlemen are found in Spencer, Bakst, p. 150-151; Jullian, , Robert de Montesquiou, p. 223Google Scholar; Jullian, , D'Annunzio, p. 223Google Scholar; Secrest, , Between Me and Life, p. 240Google Scholar; as well as in press clippings in the Dance and Theatre Collections of the New York Public Library. No verification of Ida's amorous exploits has been found.
92. “Ida Rubinstein Takes Wounded from Field”, ew York Sun and Herald, October 4, 1914Google Scholar.
93. Blanche, Jacques Emile, Portraits of a Lifetime, translated and edited by Clement, Walter (New York: Coward McCann, Inc., 1938) p. 273Google Scholar. A photo of Ida Rubinstein in her nurse's uniform was published in Musical Courier (Philadelphia), January 20, 1915, p. 24Google Scholar.
94. “A Portrait of a Famous French Actress”, The Tatler (London), May 1, 1918Google ScholarPubMed. Vanity Fair (New York), October 1917, p. 92, reproduced a photograph of Ida in the costume designed for this production by the couturier Worth.
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106. Ibid. See also “Mme Rubinstein in Bernhardt Mantle,” New York Sun and Herald, July 4, 1920, and “Ida Rubinstein in Bernhardt's Place,” New York Herald, June 4, 1923.
107. “Paris Notes”, Dancing Times (London), May 1922, p. 693Google ScholarPubMed and Bernier, Jean, “Artemis Troublee”, Le Théâtre et Comoedia lllustré (Paris), May 1922, p. 310Google Scholar. See also Dumesnil, Rene, “La danse à l'Opera de Paris depuis 1900”, in L'Art du Ballet des origines a nos jours (Paris: Editions du Tambourinaire, 1952), p. 181Google Scholar.
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130. Ibid, pp. 171-173.
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153. For reeviews of the 1929 performance in Milan, , see “I balli de Ida Rubinstein alia Scala”, Il Giomale dell'Arte (Milan, March 10, 1929Google Scholar; “Scala”, Gironale degli Artisti (Milan), March 6, 1929Google Scholar; Macchi, Gustavo, “I ‘balletti’ di Ida Rubinstein, Gironale degli Artisti (Milan), March 1, 1929Google Scholar; Bonardi, Dino, “‘II bacio della fata’ di Igor Strawinsky alia Scala”, Il Giomale dell'arte (Milan), March 17, 1929Google Scholar; Macchi, Gustavo, “La tournee Rubinstein”, Giomale degli Artisti (Milan), March 13, 1929Google Scholar; Ciampelli, Giulio Mario, “Una parentesi coreografica — I balletti di Ida Rubinstein”, Musica D'Oggi (Milan), April 1929, p. 171–2Google Scholar.
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155. Chronology of Performances Théâtre de l'Opera Journal. Otto Kinkeldy Memorial Collection. Special Collections, Music Library, New York Public Library. See also Shaw, Walter Hanks, “What Americans are Seeing in Paris”, Arts and Decoration (New York), April 1929, p. 73Google Scholar.
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160. Pilkington, Vere, “Chronicles: The Ballet”, London Mercury, August 24, 1931, pp. 367–8Google Scholar. A photograph of the 1929 production is reproduced in Baer, Nancy Van Norman, Bronislava Nijinska, p. 61Google Scholar.
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162. Lester, Keith, “Rubinstein Revisted”, Dance Research, (London), Vol. 1, No. 2, Autumn 1983, pp. 21–31Google Scholar. My thanks to Lynn Garafola for bringing this article to my attention.
163. For example, see Dale, Alan, “The Only Girl Who Ever Broke D'Annunzio's Heart”, New York American, June 23, 1912Google Scholar and Tassen, Pierre Van, “Something Sacred Is Being Born in America, Is Belief of Mme. Rubinstein, French Actress”, New York Evening World, June 23, 1926Google Scholar.
164. For a discussion of Bronislava's interpretation of La Valse, see Baer, Nancy Van Norman, Bronislava Nijinska, pp. 60–62Google Scholar.
165. See Balanchine, George, Balanchine's New Complete Stories of the Great Ballets (New York: Doubleday and Company, 1968), pp. 452–55Google Scholar and Beaumont, Cyril W., Complete Book of Ballets, pp. 665–66Google Scholar.
166. Bonavia, F., “Notes and Comments, The Close of the London Season”, New York Times, July 26, 1931, p. 6XGoogle Scholar; Turner, J.W., “The Rubinstein Ballets”, The New Statesman and Nation (London), July 25, 1931, pp. 109–110Google Scholar; Pilkington, Vere, “Chronicles: The Ballet”, London Mercury, August 1931, pp. 367–8Google Scholar.
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168. Vere Pilkington, “Chronicles,” p. 368.
169. W.J. Turner, “The Rubinstein Ballets,” pp. 109-110.
170. For Valéry's development of this idea, see Paul Valéry, “Histoire d'Amphion”, a lecture read before a concert performance of Amphion at the Université des Annales, January 14, 1932, first published in Conferencia (Paris), August 5, 1932, and reprinted in Valéry, Paul, Oeuvres (Paris: Gallimard, 1960), Vol. II, pp. 1277–83Google Scholar. See also Simpson, Brian, Paul Valéry and Music (Cambridge: Cambridge University Press, 1984)Google Scholar, passim.
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172. Unidentified review, “A l'Opéra: Les Ballets de Mme. Ida Rubinstein, ‘Amphion,’ ” Ida Rubinstein Clipping File, Théâtre Collection, New York Public Library.
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179. White, Eric Walter, Stravinsky, The Composerand-His Works, pp. 336Google Scholar. For a synopsis of Perséphone, see Balanchine, George, Balanchine's New Complete Stories of the Great Ballets, p. 293Google Scholar.
180. My discussion of the collaboration of Gide and Stravinsky is drawn from the treatment of Eric Walter White, ibid; Justin O'Brien, Portrait of Gide (New York: A. Knopf, 1953), pp. 315-319; and Williams, André Gide, pp. 103-113.
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183. For an analysis of Gide's symbolism in Perséphone, see Williams, , André Gide, pp. 103–113Google Scholar and O'Brien, , Portrait, pp. 315–317Google Scholar.
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185. For various reviews of the production see, “Domenico de Paoli, “Perséphone de Strawinsky”, Il Lavoro (Rome), May 4, 1934Google ScholarPubMed; Cingria, Charles-Albert and Schloezer, B. de, “‘Perséphone’ et La Critique”, La Nouvelle Revue Francaise (Paris), Vol. 43, 1934, pp. 297–303Google Scholar; Gutman, Hans, “Literature, Music and the Ballet in Paris”, Modern Music (New York), Vol. XII, No. 1 (November-December 1934), pp. 44–47Google Scholar; Schwerke, Irving, “Rubinstein Ballets Introduce Stravinsky's Latest”, Musical Courier (Philadelphia), May 26, 1934, p. 5Google Scholar; Pourtalès, Guy de, “Musique”, Marianne (Paris), May 9, 1934Google Scholar; Prunières, Henry, “Chronique et Notes”, La Revue Musical (Paris), May 1934, pp. 380–81Google Scholar.
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