of 1925. At Teatro Colón she was able to expand the work into a presentation by a full company. She drew on innovative ideas she'd first developed in Kiev during war and revolution. In both these Bach ballets, there was no libretto, no plot. This abstract ballet, inspired by the spirituality of the music, was choreographed to an arrangement of the six Brandenburg Concertos and was the first ballet to be mounted to the music of J. S. Bach.Cf. Balanchine (1954), who writes that while "Bach had no idea of composing music for a ballet," actually "it seems to me that the music of Bach and Mozart is always very close to dancing" (p. 526). Balanchine in 1940 choreographed a ballet to music by Bach (pp. 91–93). Balanchine adds: [I]f the dance designer sees in the development of classical dancing a counterpart in the development of music and has studied them both, he will derive continual inspiration from great scores. He will also be careful ... not to stretch the music to accommodate a literary idea ... [and may] present his impression in terms of pure dance (p. 92). In 1926 and 1927 for the Buenos Aires theater, Nijinska created dance scenes for fifteen operas, including Bizet's Carmen, Wagner's Tannhäuser, Verdi's Aïda and La Traviata, Stravinsky's Le Rossignol, Rimsky-Korsakov's Tsar Saltan, Massenet's Thaïs, and Gounod's Faust. In 1927 for Teatro Colón, Nijinska directed ballet choreography created by Fokine for Ballets Russes: Ravel's Daphnis et Chloë, and Stravinsky's Petrouchka. 'Ida Rubinstein Ballet' in Paris: Boléro, La Valse, Le Baiser de la Fée The dancer Ida Rubinstein formed a ballet company in 1928, with Bronislava Nijinska named as its choreographer. Rubinstein quickly arranged for Maurice Ravel to compose music for her new dance enterprise. By luck or genius, one of Ravel's pieces became popular immediately and famous. It has remained so to this day: his Boléro. For Rubinstein, Nijinska choreographed the original Boléro ballet. In it she created an ambient scene around a large circular platform, surrounded by various individual dancers, who by turns hold the gaze. At times to the side several begin to dance and draw notice. Yet the ballet-action always returns to the center. Dramatic movements inspired by Spanish dance are yet abbreviated, understated, stylized. Rubinstein herself had danced for Diaghilev in the early years of his company Ballets Russes. In the 1910 ballet Scheherazade she and Vaslav Nijinsky