The closing piece on the programme was another new ballet by Cranko, _Pastorale_, which had been given its first performance earlier in the season, just before Christmas. It was the complete antithesis of the Sullivan ballet. This was a Mozart work, his _Divertimento No. 2_, and choreography was Mozartian in feeling. It was a work of genuine charm, delicacy and real humor that revealed to me the excellence of a half-dozen of the principals of the company: Elaine Fifield and Patricia Miller, whom I have already mentioned, and young Svetlana Beriosova, the daughter of Nicholas Beriosoff, a former member of the Ballet Russe de Monte Carlo. Svetlana was born in Lithuania in 1932, and had been brought to America by her parents in 1940, when, off and on, she toured with them in the days of my management of the Massine company, and frequently appeared as the little child, Clara, in _The Nutcracker_. Now rapidly maturing, she had been seen by Ninette de Valois in a small English ballet company, and had been taken into the Sadler’s Wells organization. The three ballerinas had an equal number of impressive partners in _Pastorale_: Pirmin Trecu, David Poole and David Blair. I decided that _Pineapple Poll_, _Pastorale_ and _Beauty and the Beast_ must be included in the repertoire for America, and that the first of these could be a tremendous American success, a sort of British _Gaîté Parisienne_. In further conversations and conferences, I pressed the matter of a full-length, full-evening ballet. The work I wanted was Delibes’ _Sylvia_. This is the famous ballet first given in Paris in 1876. I recognised there would be problems to be solved over the story, but the Delibes score is enchanting, delicate, essentially French; and is it not the score which Tchaikowsky himself both admired and appreciated? Moreover, a lot of the music is very well-known and loved. We agreed upon _Sylvia_ in principle, but “Freddy” Ashton, who was to stage it, was too occupied with other work, and it was at last agreed to substitute a new production of Delibes’ _Coppélia_, in a full-length, uncut version, never seen in North America except in a truncated form. It was, however, difficult indeed to achieve any progress, since every one was occupied with work of one kind or another, and continuously busy. Moreover, Dame Ninette was away from London in Turkey and Jugoslavia, lecturing, teaching, and checking on the national ballet schools she has organized in each of those countries, at the request of their respective governments, with the cooperation of the British Council.