‘Don’t worry, it’s already crossed my mind.’
‘You’d be so good at it!’ Natalie’s enthusiasm was contagious. ‘Ooh! What a day for news!’ Natalie jumped up and down. ‘Guess what?’ She didn’t wait for a reply. ‘They’ve given me the role of Viktoriya!’
‘They have?’ Yves raised his eyebrows and looked at Lily.
‘That’s fantastic!’ Lily said. ‘But how? The way you’d spoken about this it sounded like they were going to fire you from the company.’
‘I thought so as well but after I told them about the Picasso paintings after I got…you know…caught…they started their own investigating and have negotiated with the Cheverins to get them back.’
‘Cristian’s agreed?’
‘Not yet, but it’s looking positive.’ Natalie spun in a small circle. ‘Maybe I should call and thank him.’
‘No!’ yelled Yves and Lily, then they burst into laughter.
‘Fine,’ huffed Natalie. ‘They loved my audition and said it was like I was invoking the spirit of Viktoriya.’
‘You have a connection with her like no other, that’s for sure,’ said Lily.
‘I have something I would like to share.’ Yves descended the stairs then disappeared out the side of the theatre.
‘Where’s he gone?’ asked Natalie.
‘I’ve no…’ Lily stopped when the theatre once more filled with music. ‘What is this? It’s absolutely beautiful.’
‘This is the beginning of Turning Pointe—Viktoriya’s ballet.’ Natalie extended her leg and stepped forward to execute a perfect arabesque. Looking back, she said, ‘Yves has recorded it on the keyboard but it sounds marvellous, doesn’t it? Imagine what a full-blown orchestra will do with it.’ Natalie lightly danced across the stage, her arms moving in slow circles. ‘Remember this? The one we learned for Coppélia? You did it one year then I did it the next?’
Lily nodded, suddenly shy. She watched her sister spin across the stage and as the sweet, melodic sounds drifted around her, she found her body remembering the choreography from so long ago. Before she could stop herself, Lily joined her sister, the steps coming easily, Lily in perfect time with Natalie. Yves’s music fit perfectly and Lily’s body filled with joy at giving herself over to the three things that made her happy—Yves, ballet and Natalie.
The stabbing pain in her back subsided just enough for her to dance without too much restriction. Her body revelled in the freedom and her mind embraced the new world she’d just created. If she hadn’t found the courage to return to Paris then…
Lily hesitated and lost her footing. Natalie grabbed her just in time and they continued, finishing with a flourish. Yves’s music faded and Lily bent over, out of breath, surprised at how low her fitness had become even though she’d exercised every day.
‘You’re getting old, chook.’ Natalie nudged Lily.
‘I can still run pirouettes around you.’
‘Oh yeah? Show me?’
‘I don’t have any pointes.’
‘We’ll rectify that and then I can prove you wrong.’ Natalie’s tinkling laugh spread joy through Lily and she looked forward to hearing more of it.
‘Bravo! Bravo!’ Yves ascended the steps up to the stage. ‘It is beautiful to see two sisters dancing together. There is something so very special. It is like…like you are in each other’s heads and know what the other will do next. It is magic.’
Lily looked at Natalie. ‘That’s the first time we’ve ever danced together on stage.’
‘Oh my God! It is!’ Natalie grabbed Lily’s hands and squeezed them tight. ‘Today is just getting better!’
‘Natalie! I’ve been waiting forever!’ a familiar female voice echoed from the other end of the theatre.
‘Oh shit! I was supposed to meet Penny for dinner.’ Cupping her hand over her mouth, she yelled, ‘There in two ticks!’
Natalie grabbed her bag and dashed out of the theatre, leaving Yves and Lily in the limelight.
‘Perhaps we should go for a walk,’ he said.
‘I’d love that.’
Yves took her hand and they sauntered up the aisle and out into the foyer. Once, she’d been a young country girl milling with the ballet crowds before a performance, dreaming about the day she would one day take a lead role and leave audiences in awe. That dream had now faded and for the first time she felt comfort, almost relief, in letting it go. She had a lifetime of new dreams to create and fulfil and now she had a loving Frenchman by her side to help her achieve them. Of this, she had no doubt.
Yves held the door open and she stepped out into the bright afternoon. Lily closed her eyes and tilted her face to the sun. The storm clouds that had permanently hung over the Paris of her mind had drifted away and were replaced by a magnificent blue now that she had found her home beneath the Parisian skies.
AUTHOR’S NOTE
I often wonder if Sergei Diaghilev and his team ever envisioned that the Ballets Russes would have such a marked influence on dance, art and music over one hundred years after they formed their dance company. The ingenious creativity of the Ballets Russes has left a legacy that has encouraged dance companies all over the world today to experiment, push boundaries and never give up the quest for producing works which inspire and captivate audiences.
The Ballets Russes existed in a time where artists of any medium could express themselves and find an audience. Diaghilev’s idea that ballet could be a meeting place for all the arts—music, visual, movement—was unique and although it created controversy and had naysayers, the Ballets Russes managed to thrive and become legendary throughout the world.
During my intense research into the Ballets Russes, I had the privilege to learn about the fascinating lives of real-life historical figures—Sergei Diaghilev, Pablo Picasso, Léonide Massine, Romola de Pulszky, Coco Chanel and Vaslav Nijinsky—and it has been a delight to include them in Viktoriya’s 1917 storyline. I have taken great pains to research the history of these amazing people and I have endeavoured to capture their real-life personalities by studying biographies and real-life accounts. As with any well-known person from history, fictional accounts can sometimes morph into ‘fact’ as stories are passed down through generations. I have taken great lengths to depict these very interesting people as authentically as possible but at times I have taken artistic liberty to tie in with Viktoriya’s story. When I have done so, it has been done with utmost respect.
In Beneath the Parisian Skies, I have concentrated on only a short time of the Ballets Russes, to coincide with the one-hundred-year anniversary of one of their most controversial ballets, Parade. The Ballets Russes performed from 1909 to 1929 under Sergei Diaghilev, then from 1932 to 1935 as Ballets Russes de Monte Carlo under Colonel Wassily de Basil and René Blum. Artistic differences caused a split and both men formed separate companies—Blum with Ballets de Monte Carlo and Basil with Colonel Wassily de Basil’s Ballets Russes. In 1936 de Basil created a spin-off company that toured Australia and New Zealand during 1936 and 1940—the Monte Carlo Russian Ballet (first tour), the Covent Garden Russian Ballet (second tour) and the Original Ballet Russe (third and final tour). Australian artists contributed to costumes and set designs, including Sidney Nolan who was commissioned in 1940 to design the set and costumes for the company’s production of Icarus.
Due to the worsening political situation in Europe, some members of the company chose to stay in Australia and established their own schools and companies. Among them were Hélène Kirsova, who ended up founding Australia’s first professional ballet company. Edouard Boronvansky and his wife Xenia established the Borovansky Australian Ballet Company in Melbourne, which was the predecessor to the Australian Ballet Company.
Continuing with Australia’s long connection with the Ballets Russes and its subsequent companies, the National Gallery of Australia has an impressive Ballets Russes collection. I was extremely lucky to spend time researching at the National Gallery of Australia, home to one of the world’s larges
t collections of Ballets Russes costumes from the productions of Sergei Diaghilev and Wassily de Basil. As well as over 700 pieces and around 240 displayable costumes, the collection also includes backdrops, sets and costume designs, advertising posters, photographs and illustrated programs. The textile conservators at the gallery are amongst the world leaders in Ballets Russes costume restoration. When I visited the National Gallery of Australia, I was in awe and honoured at being able to see the Ballets Russes history preserved with so much care and love. We are so very lucky to be guardians of such an important part of dance history.
Hopefully there will be another Ballets Russes exhibition in the near future! For an up-to-date list of exhibitions at the National Gallery of Australia, please check their website at www.nga.gov.au
I hope you enjoy being immersed in the world of the Ballets Russes and Bohemian Paris, as well as travelling the streets of contemporary Paris in Beneath the Parisian Skies. Happy reading!
Alli
ACKNOWLEDGEMENTS
Once again I am so very blessed to work with a wonderful group of people who love stories as much as I do.
A huge thank you to the talented and magnificent team at Harlequin Mira, especially my wonderful publisher, Jo Mackay, who is an absolute delight to work with and has amazing vision for my stories. Millions of thank yous to my editor Annabel Blay, who never fails to make me laugh and is so very brilliant at what she does; endless thank yous to Alex Craig, whose editing skills are absolutely magnificent—I have learned so much from your fabulous feedback. Oh, Michelle Zaiter, how can I ever thank you enough for creating such a magnificent cover? I got goosebumps the first time I saw our Lily on the cover! To my wonderful publicity and marketing guru, Sarana Behan, thank you a million times over for your enthusiasm, excellent expertise and support in getting this book out into the world; and thank you from the bottom of my heart to Kylie Mason, my proofreader, whose keen eye stopped me from having very embarrassing typos in the final version of this story!
This story is extra special for a few people—Leasa Boyd and Blake, Reece and Cody Treloar. Thank you so very much for allowing me to honour your Lily.
A huge thank you to Jacinta di Mase for your tremendous support.
Thank you so much to the amazing staff at the National Gallery of Australia, whose expertise and enthusiasm about their Ballets Russes collection is incredible. I’ll never forget the time you took to show me the beautiful costumes, scenery, sketches and programs from the Ballets Russes. A special thank you goes to Simeran Maxwell, Hannah Barrett, Aaron Pollock and Helen Hyland.
Of course, I need to thank my writing crew, who think it is totally normal if I talk to myself or the characters in my head. Thank you to: Dave Sinclair, Di Curran, Heidi Noroozy, Juliet Madison, Kerri Lane, Louise Ousby, Natalie Hatch, Rachael Johns, Supriya Savkoor, T.M. Clark, Tess Woods and Vanessa Carnevale for brainstorming and cracking the whip when needed.
Thank you to my A.W.S.O.M. gals for our lovely lunches and writerly discussions—Alison Stuart, Delwyn Jenkins, Ellie O’Neill, Fiona Lowe, Kathryn Ledson, Jennifer Kloester, Lisa Ireland, Nicki Edwards and Sasha Cottman. Your support is greatly appreciated. I am so lucky to be in the company of so many talented writers!
An extra big thank you to the Romance Writers of Australia. The support you have given me—and countless authors—is absolutely phenomenal and I am forever grateful to be involved with this wonderful organisation. RWA has introduced me to many people who are now friends I will cherish forever. I wish you all endless hours of happy writing and reading.
And kajillions of thank yous to the members of Australian Romance Readers Association. Your support of Australian writers and our stories is absolutely wonderful. We are so very lucky to have an organisation as brilliant as this. Thank you so very much.
Merci to Albert Lecoanet for making sure my French translations were spot on and for helping me expand my French vocabulary past swear words.
A very special thank you to Rebecca Slaven and the staff and students at the Geelong Ballet Centre. Your wonderful expertise is greatly appreciated!
Lauren Tyrrell, I promised we’d have some ‘shenanigans’ in this book, so here it is!
A whole world of thank yous to my extended family and non-writing friends who don’t mind when I’m a little distracted with my characters and plotting. This journey is so much sweeter with your unwavering support. Special thanks to Mum, Dave and my beloved Dad (missing you always) for encouraging me to follow my dreams.
This book is dedicated to my gorgeous family—Garry, Rebecca and Nicholas—who bring so much joy to my life. Thank you so much for your love, encouragement and sharing this journey of life with me. Love you loads!
And a special thank you to you, dear reader, for choosing to spend time Beneath the Parisian Skies. May the experience leave a smile on your lips and a song in your heart.
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First Published 2017
First Australian Paperback Edition 2017
ISBN 978 148923612 8
BENEATH THE PARISIAN SKIES
© 2017 by Alli Sinclair
Australian Copyright 2017
New Zealand Copyright 2017
Except for use in any review, the reproduction or utilisation of this work in whole or in part in any form by any electronic, mechanical or other means, now known or hereafter invented, including xerography, photocopying and recording, or in any information storage or retrieval system, is forbidden without the permission of the publisher.
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This is a work of fiction. Names, characters, places, and incidents are either the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental.
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