former student Frederick Ashton of The Royal Ballet staged it. He refashioned the Dauberval libretto, wrote his choreography to Hertel's music as modified by Lanchbery, and provided a revised decor. The result was a popular, and declared a "substantial work". Also for Ballet Theatre, in 1951 Nijinska choreographed and staged the Schumann Concerto, music by Robert Schumann, with Alicia Alonso and Igor Youskevitch as principal dancers. The music's romantic mood frames the abstract ballet in three movements. The couple is joined by a corps de ballet of boys and girls. In 1945 Nijinska had choreographed Rendezvous with music by Sergei Rachmaninoff (1873-1943), with principal dancers Lucia Chase and Dimitri Romanoff. Both were staged for Ballet Theatre at the Metropolitan Opera House in New York City. 'Hollywood Bowl': Boléro, Chopin Concerto, Etude-Bach; and Jacob's Pillow Later in 1940 she staged three short ballets for a performance at the Hollywood Bowl. For the program with the Los Angeles Philharmonic Orchestra she selected favorites from among her prior choreographies: Ravel's Boléro (premiered with Rubinstein in 1932, revised), the Chopin Concerto (from 1937 with the Polish Ballet), and Etude-Bach (originally 'Holy Etudes' done for her own company in 1925, revisions). The event drew an audience of 22,000, and featured dancers Maria Tallchief and Cyd Charisse. Nijinska revived Etude-Bach and Chopin Concerto again, in 1942, at the Jacob's Pillow Dance Festival in the Berkshires. There the cast included dancers Nina Youshkevitch, Marina Svetlova, and Nikita Tallin; while Ann Hutchinson Guest danced in the corps. 'Ballet Russe de Monte Carlo' under Denham in New York: Snow Maiden. Nijinska choreographed Snow Maiden in 1942 with music by Glazunov, for 'Ballet Russe de Monte Carlo' under Serge Denham as Artistic Director. Snow Maiden drew on Russian folklore. The maiden, the Frost King's daughter, would melt in the sun's heat if she fell in love with a mortal man. The choreography "did not open any new avenues of artistic exploration." Yet critic Edwin Denby notes that "by preserving just enough independence of rhythm in relation to the sugary Glazounoff score [her groupings and dance phrases] keep a certain acid edge." A revision of the Chopin Concerto was staged by Nijinska also in 1942. Originally written in 1937 for the award-winning Polish Ballet, the influential New York Times dance critic John Martin ranked it highly. Yet he considered Chopin (and Tchaikovsky) as no longer current. In 1943 Nijinska choreographed the