danced by Nijinska in Kiev. Trepak was her The Three Ivans that she had choreographed for Diaghilev's The Sleeping Princess in London. The Mazurka to Chopin was from Les Sylphides. Polovetsian Dances was an ensemble for the entire company. Companies and exemplary ballets 1926–1930 During these years, for various ballet companies (including Diaghilev's in 1926) and for Teatro Colón in Argentina, Nijinska continued to choreograph and direct performances, and to dance. 'Théâtre de l'Opéra' in Paris: Bien Aimée [or Beloved] At the Paris Opera Nijinska choreographed the ballet La Rencontres [The Encounters], libretto by Kochno, music by Sauguet. At the circus, Oedipus meets the Sphinx. In 1927 she presented there another new ballet, Impressions de Music-Hall. She also choreographed dances for several operas. Bien Aimée, a one-act ballet in 1928, was choreographed by Nijinska, music from Schubert and Liszt, libretto and decor by Benois. The dancers included Ida Rubinstein and Anatole Vilzak. Its thin plot features a poet at the piano who reminisces about his departed Muse, and his youth. The ballet was revived by the Markova-Dolan company in 1937. Ballet Theatre in New York City arranged for Nijinska to stage its American premier in 1941/1942. Diaghilev's 'Ballets Russes' in Monte Carlo: Romeo and Juliet A new version of Romeo and Juliet with music by Constant Lambert premiered in 1926. The ballet impressed Massine, who saw it later in London. "Nijinska's choreography was an admirable attempt to express the poignancy of Shakespeare's play in the most modern terms." At the end, the leading dancers Karsavina and Lifar, lovers in real life, "eloped in an aeroplane". Max Ernst did design work, Balanchine an entr'acte. "It seemed to me that this ballet was far in advance of its time," Massine later wrote. 'Teatro Colón' in Buenos Aires: Estudio Religioso, choreographies for opera In 1926 Nijinska became choreographic director and principal dancer with Teatro Colón (Columbus Theater). Her active association with the Buenos Aires company would endure through 1946. Over a decade before, in 1913 the Ballets Russes had toured Buenos Aires, Montevideo, and Rio de Janeiro, but Nijinska then with child did not go. Nijinsky her brother did. In 1926 she found in Argentina "an inexperienced but enthusiastic group of dancers," thirty in number, in a ballet organization newly founded by Adolph Bolm. Nijinska staged Un Estudio Religioso to music by Bach in 1926, which she developed from her choreography Holy Etudes