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Imported Sophistication: The Ballets Russes Tours of the 1930s–50s and Toronto's Quest for Cultural Significance

Imported Sophistication: The Ballets Russes Tours of the 1930s–50s and Toronto's Quest for... SARAH GUTSCHE-MILLER AND CAROLYNE SUMNER Imported Sophistication : The Ballets Russes Tours of the 1930s–50s and Toronto’s Ques t for Cultural Significance Prelude: The Ballets Russes Return Diaghilev’s Ballets Russes tours across North America in 1916–17 were not a resounding financial or critical success, however, as the pr - eced ing articles in this collection have shown, the Russian dancers and their repertoire left a deep impression on audiences, and their performances continued to resonate long after the company returned to Europe: many Americans discovered a love of ballet after seeing the Ballets Russes and sought out classes or local dance productions, and orchestras incr - eas ingly incorporated Russian orchestral works and ballet music into their programs. Nevertheless, the impact of the Ballets Russes tours waned over the next several years, superseded by other touring companies of the 1910s and 1920s, in particular the much beloved Anna Pav lova. For most Americans, Diaghilev’s fabled company eventually faded into memory or became a distant object of curiosity to be followed through magazines and occasional news reports. When Diaghilev died in 1929 Sarah Gutsche-Miller is assistant professor of musicology at the University of Toronto, where she is also affiliate professor http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Imported Sophistication: The Ballets Russes Tours of the 1930s–50s and Toronto's Quest for Cultural Significance

Gutsche-Miller, Sarah; Sumner, Carolyne
American Music , Volume 39 (4) – May 4, 2022
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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

SARAH GUTSCHE-MILLER AND CAROLYNE SUMNER Imported Sophistication : The Ballets Russes Tours of the 1930s–50s and Toronto’s Ques t for Cultural Significance Prelude: The Ballets Russes Return Diaghilev’s Ballets Russes tours across North America in 1916–17 were not a resounding financial or critical success, however, as the pr - eced ing articles in this collection have shown, the Russian dancers and their repertoire left a deep impression on audiences, and their performances continued to resonate long after the company returned to Europe: many Americans discovered a love of ballet after seeing the Ballets Russes and sought out classes or local dance productions, and orchestras incr - eas ingly incorporated Russian orchestral works and ballet music into their programs. Nevertheless, the impact of the Ballets Russes tours waned over the next several years, superseded by other touring companies of the 1910s and 1920s, in particular the much beloved Anna Pav lova. For most Americans, Diaghilev’s fabled company eventually faded into memory or became a distant object of curiosity to be followed through magazines and occasional news reports. When Diaghilev died in 1929 Sarah Gutsche-Miller is assistant professor of musicology at the University of Toronto, where she is also affiliate professor

Journal

American Music – University of Illinois Press

Published: May 4, 2022

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