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46:. The purpose of the organization was to “bring closer friendship and understanding” between England and Russia “by means of art and its beauty of expression.” LAHDA also hoped to create needed work for the many talented but struggling Russian artists and performers who had been arriving in London as stateless refugees since the Russian Revolution.
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explained, LAHDA is "a ‘portmanteau’ word, which combines the meanings of harmony, beauty, and sound; and its object is to bring
Russian harmony, beauty, and sound to our doors, so that, whatever the welter of politics, we may get a glimpse into the soul of Russia by communication with the ideas of a
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wrote, “Russian art has much to give us, not only of chiefly because it expresses in unique and passionate form the character of a great nation, but still more because it has in it the quality of the universal. The
Russians love art because it is art. They care so passionately for its form because
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The members of LAHDA represented a distinguished cross-section of modern
Russian artistic culture. Komisarjevsky had been directing plays at his own theater in Moscow. Novikoff had trained at the Bolshoi Ballet School and had been a dancer with companies belonging to
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LAHDA's first performance was at Prince's
Galleries in London on 19 December 1919. As with most LAHDA events, the eclectic evening included Russian music, drama, dance, and even comical elements reminiscent of
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In addition to performing, the members of the group offered training to young artists wishing to study in the modern methods of
Russian artistic expression. In discussing the formation of LAHDA, the
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Letter and
Enclosure from Vladimir Rosing to James Louis Garvin, December 1919. James Louis Garvin Collection, Harry Ransom Humanities Research Center, The University of Texas at Austin.
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157:, the Russian Balalaika Orchestra, and even restaurant offerings of popular Russian dishes. Finally, in June 1921 Komisarjevsky and Rosing staged a season of
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71:. Rosing was a well-known recording artist and recitalist of Russian art songs. Other participants included Diaghilev dancers
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Performance
Program dated June 4-5, 1920. Theodore Komisarjevsky Papers, Harvard Theatre Collection, Houghton Library.
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Performance
Program dated 8 May 1921. Theodore Komisarjevsky Papers, Harvard Theatre Collection, Houghton Library.
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with a headquarters at the
Russian Embassy. The organization then presented four evenings of
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at Prince's
Galleries in April and May 1921 which featured dance, Komisarjevsky's
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79:. LAHDA's governing Art Council included the Russian-born English conductor
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213:“The Play and the Actor.” The Observer , 18 Jan, 1920, p. 8.
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Russian Association of Representatives of Art and Literature
127:. In June 1920, LAHDA staged a Komisarjevsky production of
141:. By the end of 1920, LAHDA had rebranded itself as the
108:. Performances followed over the next few months at
34:, was a group formed in London in 1919 by director
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331:Music organisations based in the United Kingdom
336:Theatrical organisations in the United Kingdom
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54:people which live on and for ideas.”
32:Russian Musical Dramatic Art Society
16:Russian Musical Dramatic Art Society
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305:Scholes, Percy. “Intimate Opera”,
95:they know how to value its soul.”
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222:“Russian and the British Drama”,
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175:along with three other works.
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226:, January 14, 1920. pg. 5.
23:LAHDA's Logo. London, 1920.
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153:, performances by pianist
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147:Russian Artists 'At Home'
235:“Russian Dramatic Art”,
167:Pyotr Ilyich Tchaikovsky
248:“A Russian Programme”,
283:"Exiled Russian Art",
200:"Exiled Russian Art",
117:Duke of York's Theatre
36:Theodore Komisarjevsky
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252:, 22 January 1920.
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224:Manchester Guardian
172:The Queen of Spades
129:Maurice Maeterlinck
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155:Alexander Siloti
106:La Chauve-Souris
85:Nicholas Roerich
73:Tamara Karsavina
65:Sergei Diaghilev
44:Laurent Novikoff
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69:Anna Pavlova
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320:Categories
179:References
99:Performing
250:The Stage
237:The Globe
169:'s opera
123:'s opera
121:Poldowski
51:Observer
38:, tenor
125:Silence
58:Members
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28:LAHDA
75:and
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