Abstract
The influence of the Ballets Russes’ second American tour (1916– 17) was felt at the Metropolitan Opera House, contributing to the increasing presence of dance in the Met's productions and the popularity of ballerina Rosina Galli. By 1921 Galli was firmly established not only as ballerina, but also as ballet mistress, and she was supported by a corps de ballet of American dancers trained at the company's own school. Several of these Americans emerged as reliable soloists, pleasing audiences and critics alike. This reliable base encouraged the production of a few ballets separate from operas as well as more dances within operas in the coming years.
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