The world of classical ballet surely smells less good than the fragrances named after it.
And yet its magic remains unbroken. Who wouldn’t want to be transported for a few hours into another world of dreams through music and grace (the result of hard work, discipline, sweat, and blood).
The writer Vicki Baum knew this too. In her novels "People in a Hotel" and "The Golden Shoes," she gives the leading role to a prima ballerina.
For her, words replace music; but they are no less impressive and sonorous than the dance on stage.
Today, the magician of ballet is still John Neumeier, but the great era of "classical Russian ballet" and its internationally renowned stars is unfortunately over.
I myself saw the fairy-tale production of "Sleeping Beauty" in 1992, which Rudolf Nureyev brought to the stage of the Staatsoper Unter den Linden: it was a performance like in a bonbonnière.
At the premiere, Nureyev himself danced the evil fairy (pure goosebumps!); later, he lay - elegantly draped - on a divan and let this colorful fairy-tale world dance past him.
He was already very ill and fragile; amidst all the magic, there was also a hint of melancholy over the final applause.
How many years had passed since he did not return to the Soviet Union after a tour in 1961 and suddenly stood not only in the spotlight as a dancer.
Once again, the Mariinsky/Kirov Theater lost a dancer of world caliber.
After the impresario Sergei Diaghilev founded the ballet ensemble "Ballets Russes" in 1907, the heart of "Russian Ballet" suddenly beat in Paris after its first performance in 1908 and no longer in St. Petersburg.
Diaghilev's lover, the dancer Vaslav Nijinsky, and Anna Pavlova quickly became its center.
Pavlova's interpretation and solo performance as the "Dying Swan" in 1907 made her as famous as Josephine Baker's "Banana Dance" later.
If one of the old ladies from our residential complex hadn't died and I hadn't met her sister by our trash containers and helped her, I wouldn't even know that the Eau de Toilette "Pavlova" exists.
It was among other fragrances in a box destined for the trash that ended up with me.
"What do you want with this old stuff?" the old lady asked me, almost embarrassed. "It's just waste!"
The Baccarat and Lalique crystal flacons, as well as the neck of the swan on the cap of "Pavlova," really didn't survive the fall of the box in the yard, but the other treasures will now be gradually discovered by me. Even if here and there a piece of the flacon is missing.
To my nose still unchanged (so well preserved), I encounter an opulent floral scent that develops wonderfully on my skin as a typical member of the Chypre family.
With its appearance in 1977, this "Pavlova" was a child of its time; what I call a "dress scent." In fact, it is an "afternoon dress scent" that surely enjoys a bit of glamour.
The fruity opening of blackcurrant leaves, ripe raspberries, fresh, slightly bitter grapefruit notes, tangerines, and bergamot immediately feels buoyant.
Like a wide, colorful skirt dancing around its wearer’s legs, the impressive floral bouquet that follows now appears.
Radiantly white and intensely fragrant, jasmine and tuberose naturally belong in this bouquet. But iris and daffodil, as well as the majestic rose, also submit to this Chypre scent; the floral heart reaches its peak through a warm, slightly vanilla-like orchid note.
And of course, the classic base cannot be missing: all the notes come together, and each fragrance note has thoughtfully found its place in this scent choreography.
Vetiver, green-brown and earthy, meets spicy oak moss; these two get along and harmonize just as well as musk and vanilla.
With their warm softness, they caress the little peaks of spice that sandalwood and cedar spread.
Benzoin resin and amber conclude with smoky, resinous highlights.
Thus, "Pavlova" evolves from the fresh-fruity light round dance, through undulating floral waltz steps to a grand whirl of fragrant pirouettes!
Beautiful, albeit a little old-fashioned, is this fragrant ballet performance: pompous, powdery plush, and yet wonderfully lively.
And with a longevity that I wouldn’t want to sit through in the audience (not even in the most comfortable chair): "Pavlova" offers the full program on the big stage.
Much of this charming scent ballerina is no longer present in the flacon; as it looks, the scent curtain will only rise a few more times here.
But I wouldn’t want to miss this encounter.
Amazing how everything sometimes falls into place: at the right moment by the trash containers, I let my curiosity run wild again and unexpectedly discovered fragrant new territory!
I would even dare to say that Mrs. Z., whom I knew from the church community, wouldn’t be angry about this development at all:
Could anything better happen to her treasures, which were forgotten way back in the laundry cupboard?
Not to me, at least, and I am delighted with this "inheritance"!
(And so once again a comment was created, of which even Meggi would say:
"Of course we can make it shorter, but we don’t want to!")
Top Notes 
Hyacinth
Galbanum
Bergamot
Blackcurrant
Heart Notes 
Jasmine
Narcissus
Orchid
Iris
Rose
Tuberose
Paralyzed Stapler
Base Notes 
Musk
Tree moss
Ambergris
Benzoin
Sandalwood
Virginia cedar
Blkbrd
Medusa00
Yatagan
Gold
Serenissima
Jennytammy
DK74
