Signor Alfredo Curti hailed from the Scala, Milan, where he had studied the difficult art of Ballet composition on the historic lines laid down by the virtual founder of the Milan school, Carlo Blasis, of whom, as of Noverre, he was a great admirer, and about whom I had many an interesting conversation. Signor Curti, whose scholarship in the history of the dance was remarkable, was an enthusiastic follower of the traditional school, and as an accomplished dancer and mime, an artist, trained geometrician, and devotee of literature and music, he brought to bear on his work as composer of Ballet, a theatrical experience and artistic sympathy, somewhat akin to that of Blasis himself; and while the action of his ballet was always coherent and dramatic his appreciation of stage effect and handling of massed groups of dancers in motion, were uncommonly fine. In the production of “Queen of Spades,” a dramatic ballet, the story of which dealt with the allure of gambling, he was supported on the musical side by that distinguished Italian composer, Signor Mario Costa, some additional numbers being contributed by Mr. George W. Byng, the costumes, of course, being by Alias, from designs by Comelli, and scenery by Mr. T. E. Ryan. With Signorina Maria Bordin, a finished dancer of the typical Italian school, as _prima ballerina assoluta_, seconded by that admirable mime, Miss Julia Seale, Signorina Morino, Signor Santini, and an excellent _corps de ballet_, the production achieved instant success, and enthusiastically appreciative audiences found special reason for approval in the novelty of the stage effects, such as the “Dream Visions” in the third scene, with its “Valse des Liqueurs,” the “Grand March of Playing Cards and Roulettes,” the novel “Bridge” minuet; the “Conflict between Evil and Good,” not to mention the dramatic effect of the “Temptation” scene which followed, and the gorgeous finale in the “Nymphs’ Grotto of La Source.” Ambitious and successful as was this production, it was followed, in October, 1907, by one even more striking, namely, “Les Cloches de Corneville,” adapted from Planquette’s world-famous _opéra comique_. The _ballet d’action_ was invented and presented by Signor Alfredo Curti to the original music, as ingeniously selected, arranged and supplemented by Mr. George W. Byng. Some wonderful costumes were supplied by Alias from designs by Comelli, and the entire spectacle was produced under the personal direction of Mr. Alfred Moul. Signor G. Rosi gave an uncommonly fine study of the miserly Gaspard, Signor Santini making a “dashing” Marquis de Corneville, Miss Daisy Taylor an attractive Germaine, Miss Julia Seale playing cleverly as Grenicheux, Signorina Morino as Serpolette, while Signorina Maria Bordin won fresh laurels as the Spirit of the Bells, a part naturally calling less for dramatic ability than for the music of motion.