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Predictably, Australian critics noted that the de Basil companies appeared to be perpetuating the tradition of a synthesis of the arts that had been a feature of the productions of Diaghilev's Ballets Russes in the earlier decades of the century.3 But they also remarked on the presence of ballets that looked beyond the Diaghilev repertoire. The symphonic works of Leonide Massine, such as Les Presages, Choreartium, and Symphonie Fantastique, were enormously popular in Australia. Les Presages, for example, received over one hundred performances around Australia during the course of the three tours. Innovative works like the symphonic ballets were thought to be especially important as they fulfilled the expectations of the Australian arts community that it be kept abreast of the latest overseas developments.4 Shortly before the beginning of the third tour, however, a letter appeared in the Melbourne newspaper The Argus challenging the arrival of such a large contingent of dancers from abroad. Signed 'Dancer' it read:
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