Sylvia (ballet)

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Rita Sangalli as Sylvia in the 1876 production

Sylvia, originally Sylvia, ou La nymphe de Diane, is a full-length ballet in two or three acts,
first choreographed by Louis Mrante to music by Lo Delibes in 1876. Sylvia is a typical
classical ballet in many respects, yet it has many interesting features that make it
unique.Sylvia is notable for its mythological Arcadian setting, creative choreographies,
expansive sets and, above all, its remarkable score.
The ballet's origins are in Tasso's 1573 play Aminta, which provides the basic plot of Delibes'
work. Jules Barbier and Baron de Reinach[1]adapted this for the Paris Opera.[2][3] The piano
arrangement was composed in 1876 and the orchestral suite was done in 1880. [4]
When Sylvia premired on Wednesday, June 14, 1876, at the Palais Garnier, it went largely
unnoticed. In fact, the first seven productions of Sylvia were not commercially successful. It
was the 1952 revival, choreographed by Sir Frederick Ashton, that popularized the ballet.
Ashton's success set the stage for the 1997, 2004, 2005 and 2009 productions, all of which
were based on his 1952 choreography.

History[edit]
Preparations[edit]
In 1875 the Paris Opera chose Barbier and Reinach's libretto for Sylvia. Mrante was also
chosen to choreograph Sylvia based primarily on his extensive experience in the field and
position as the premier matre de ballet at Paris Opera. All other reasonable choreographers
were at the time unavailable.[5]
Rehearsals for Sylvia begin on August 15, 1875, with only the first third of the music intact.
Throughout the rehearsal period the score was under constant revision by Delibes, often with
the "aid" of Mrante and Rita Sangalli who would each dance a lead rle. This development of
the score was a grueling process of many revisions and restarts. Mrante was especially

demanding of Delibes and would regularly request changes to the score to accommodate his
choreography, yet Lo Delibes made the changes requested of him in a timely fashion. [5]

1876: Paris Opera Ballet; Mrante[edit]

Sylvia, ou la nymphe de Diane, as it was originally titled, was the first ballet to be shown at the
newly constructed Opera Garnier and it did so with extravagance. This approach proved at
times excessive. The lavish scenery of Jules Chret was poorly lit, detracting from the quality
of the production. The costumes designed by Lacoste were well appreciated, however. In the
end it was Delibes' score that saved the production. Without such highly esteemed music, the
ballet would have soon drifted into obscurity.[citation needed]
At the age of 27, Rita Sangalli was the principal ballerina at the Opra, and thus the obvious
choice to star as Sylvia. Sangalli was described as having a "superb physique", [citation needed] but not
spectacular dancing skills. Nonetheless, she was the only ballerina taught the rle, and on one
occasion the ballet had to be temporarily closed when she injured herself. [5]

Olga Preobrajenska in the title rle of Sylvia. St. Petersburg, 1901

Sergei Legat in the rle of the shepherd Aminta in Sylvia. This photograph shows the moment where he
is struck by Sylvia's arrow. St. Petersburg, 1901.

1901: The Imperial Ballet; Ivanov and Gerdt[edit]

Among the first important versions of Sylvia, ou la nymphe de Diane following the original
production of 1876 was a production presented by theImperial Ballet at the Mariinsky

Theatre in St. Petersburg, Russia on 15 December [O.S. 2 December] 1901.[6] The ballet had
been performed in Russia before: in 1886 the ballerina Antonietta Dell'Era (noted for creating
the rle of the Sugarplum Fairy in The Nutcracker in 1892) performed excerpts from the ballet
at the Arcadia Theatre of St. Petersburg, and in 1892 the ballerina Carlotta Brianza (noted
creator of the rle of Princess Aurora in The Sleeping Beauty in 1890) performed the full-length
work at the Fantasia Theatre in Moscow.[6]
The Mariinsky Theatre's production was originally planned for the 19001901 season in a
staging supervised by Sergei Diaghilev, with dcors and costumes designed by Alexandre
Benois and choreography by the brothers Sergei and Nikolai Legat.[6] But differences between
Diaghilev and the director of the Imperial Theatres, Prince Volkonsky, led to the project's
cancellation as well as the end of Diaghilev's association with the Imperial Theatres, an event
that led Diaghilev to eventually form the original Ballets Russes in 1909.[6] Nevertheless the
ballet was re-scheduled for the 19011902 season in a version mounted by the Imperial
Theatre's Deuxieme Matre de Ballet Lev Ivanov, whose death in December 1901 caused the
direction to hand the project over to the noted Premier danseur Pavel Gerdt.[6] Perhaps Ivanov's
most lasting contribution to the ballet's history was the change of title from Sylvia, ou la
nymphe de Diane to simply Sylvia.[6]
The cast included the great Prima ballerina Olga Preobrajenska in the title rle and the
danseur Sergei Legat as the shepherd Aminta. Also included among the ballet's secondary
characters was a young Agrippina Vaganova as a nymph of the Goddess Diana, and Pavel
Gerdt in the rle of Orion.[7]
Although the dances of the ballerina Preobrajenska were a great success, the first
performance was not. The editor-publisher of the Saint Petersburg Gazette, Sergei Khudekov,
himself a ballet expert and noted for co-authoring the librettos for several ballets staged at the
Mariinsky,[8]was one of several critics who complained that the Ivanov/Gerdt choreography was
of poor quality, and that the libretto was extremely slight.[6]Another element that contributed to
the ballet's failure was the fact that the direction did not allow any new dcors to be created,
and instead sets were utilized from works that were no longer being performed. [6] After only five
performances Sylvia was taken out of the company's repertory.[6]In spite of this, excerpts from
the ballet were included in gala events.[9]
The ballerina Anna Pavlova occasionally included many of these extracts from the 1902
production on her world tours in a revised staging by balletmaster Ivan Clustine. [9] In
attendance for one of her London appearances was a young Frederick Ashton, whose
memories of Pavlova's performance would inspire him to create his own renowned version for
the ballerina Margot Fonteyn in 1952.[10]

1952: The Royal Ballet; Ashton[edit]

Margot Fonteyn kneeling before Julia Farron (Diana) in the 1952 production

Ashton re-choreographed Sylvia in 1952. As the story goes, what sparked Ashton's interest
in Sylvia was a dream he had in 1946. In the dream, Delibes charged Ashton with revitalizing
his under-appreciated ballet and Ashton, upon waking, took up the task. [11] The master
choreographedSylvia with a strong emphasis on the lead rle; in fact he designed the entire
ballet as a tribute to Margot Fonteyn, a dancer with whom he worked. Clive Barnes, an
American drama critic, noted, "the whole ballet is a garland presented to the ballerina by her
choreographer."[11][12] This "garland" was produced by The Royal Ballet and it was first performed
at The Royal Opera House in London on September 3, 1952. Ashton also tweaked
Barbier's libretto for the premire to maximize interest in the story.[citation needed]
Margot Fonteyn played the lead rle of Sylvia when this version opened. Aminta was played
by Michael Somes, Orion by John Hart[13] and Eros by Alexander Grant.[citation needed]

Recent productions[edit]
2004: San Francisco Ballet; Morris[edit]
When the San Francisco Ballet opened their production of Sylvia in April 2004, it was the first
time that the full ballet was shown in the United States. This production is also the only recent
one not to be based on Ashton's work. At the request of Helgi Tomasson, Mark
Morrischoreographed it based on the original 1876 production and adhered quite closely to
Mrante's methodology and style. As Morris said, "I'm using the score and libretto exactly as
they're built".[14] Morris's reasoning behind this is quite simple: the nature of the music is
inextricably intertwined with Louis Mrante's choreography, a consequence of the
circumstances of composition. Because of this, Morris's revival of Sylvia is very true to the
original, more so than any other recent production. The San Francisco Ballet
performed Sylvia from April 21 through May 7, 2006, after successful runs in 2004 and 2005. At
the premire in 2004, the lead was Yuan Yuan Tan.[15][16]

Gillian Murphy and Maxim Beloserkovsky as Sylvia and Aminta in American Ballet Theatre's 2005
production of Ashton's Sylvia

2004: Royal Ballet; Ashton[edit]

This production of Sylvia, the Royal Ballet's third, performed November 4 to December 3,
2004, as a part of the "Ashton 100" celebration, a season dedicated to the company's founder.
[17]
The ballet was recreated by Christopher Newton who (from both mental and visual records)
reconstructed Ashton's original choreography and staged it for the Royal Ballet. While it ran,
there were three different casts. The first consisted ofDarcey Bussell and Jonathan Cope, the

second of Zenaida Yanowsky and David Makhateli and the third of Marianela
Nez and Rupert Pennefather.[citation needed][18]

2005: American Ballet Theatre; Ashton[edit]

Ashton's Sylvia was also recently re-staged by Christopher Newton for The Metropolitan Opera
House, where it was recently performed by theAmerican Ballet Theatre. Newton's version is
shortened (originally the ballet included some music from La Source) to be shown in two acts,
with a musical break in place of the second intermission. [citation needed]

Julie Kent and Gennadi Saveliev in American Ballet Theatre's 2005 production of Ashton's Sylvia

The last production at the Metropolitan Opera, as of June 4, 2005, had Paloma Herrera cast as
Sylvia,Angel Corella as Aminta, Jesus Pastor as Orion, Craig Salstein as Eros and Carmen
Corella as Diana.[citation needed]

Style[edit]
Sylvia is generally considered a classical ballet.[by whom?] It features a nondescript mythical setting
and a late nineteenth-century score, both of which give it an old-fashioned feel. In many ways,
however, it was quite revolutionary for its time. The score was and still is recognized for its
greatness. Delibes' work is certainly the best appreciated aspect of the ballet for its innovation,
creativity, and maturity. Frederick Ashton's choreography complements the music very well in
this respect, staying true to the spirit of the original production while incorporating modern
techniques and adding his own unique touch.[editorializing][citation needed]

Music[edit]
Sylvia, and Copplia before it, are often touted[by whom?] as two of the first modern ballets for their
novel scores.[19] Tchaikovsky himself remarked to fellow composer Sergei Taneyev upon the
ingenuity of Sylvia, calling it "... the first ballet, where the music constitutes not only the main,
but the only interest. What charm, what elegance, what richness of melody, rhythm,
harmony."[20][21] While this statement may be a little hyperbolic, it says something very important
about the uniqueness of the ballet. Sylvia's score is varied and rich, and it stands out, drawing
the focus from the sets, the dancers, the costumes. Instead of receding into the background,
setting only the mood, Delibes' score sets the action. The music of Sylvia was also notable for
its new, more developed use of leitmotifs.[22] Such a stylistic choice is characteristic of Delibes,
who was a great admirer ofWagner. Indeed, echoes of Wagner's influence are quite obvious in
the music such as its "symphonic" nature, as described by Ivor Forbes Guest in the 1954
edition of The Ballet Annual.[5]
Another interesting choice of Delibes was his pronounced use of brass and wind instruments,
especially in the characteristically powerful prelude. Delibes was also one of the first
composers to write for the alto saxophone,[23] an instrument used extensively in the
heavier wind sections such as the barcarolle in Act III.[4]

The prelude to the first act and the pizzicati in the third are the significantly more famous
sections of this already notable score. The latter, the more famous, is a well-known example
of pizzicato style. This section is, according to The New Grove Dictionary of Music and
Musicians, "traditionally played in a halting, hesitant style that appears to have been no part of
Delibes's conception."[citation needed]
Tchaikovsky's Swan Lake was written just before Sylvia was released and is generally
considered[by whom?] one of the best ballets of the era. However, Tchaikovsky himself
preferred Sylvia to his own work, calling his own masterpiece "poor stuff in comparison".
[11]
Tchaikovsky said to Sergei Taneyev, "I was ashamed. If I had known this music early then, of
course, I would not have written Swan Lake".[21]

Choreography[edit]
Choreographically, Sylvia was also ahead of its time. Merante's 1876 choreography (and all
subsequent) was considered quite rebellious for casting ballerinas as masculine huntresses,
[24]
unheard of at the time. Despite such innovations, the original choreography for Sylvia was
still very much of late Romantic-era ballet.[citation needed]

Angel Corella in a 2005 performance as Aminta, from an ABT production of Frederick Ashton's
balletSylvia

Ashton's Sylvia is much more contemporary, and while retaining a classic feel, it has been
modernized. In the 1952 choreography, Sylviaincorporated new and interesting techniques
such as the blending of mime and dance and more intricate footwork, as are typical of Ashton's
works.[11][12] As writer Arnold Haskell said, "he accepts the challenge in Sylvia of coping with
period music without descending to pastiche; and never once does the movement he provides
strike us as modern or as 'old world'".[11] Gillian Murphy, the lead rle in the 2005 ABT
production, noted this choreography was very challenging. Ashton designed the ballet
specifically around Margot Fonteyn's talent and skill. Thus, any who play the part must be able
to do everything she could, and at the time "the range of her dancing [was]
unequalled"(Barnes).[11][25]
It is notable that this choreography features a few difficult pas de deux, including a spectacular
one in the third act, which constitutes the climax of the ballet.[citation needed]

Influence[edit]

Paloma Herrera as Sylvia (center) in American Ballet Theatre's 2005 production of Ashton's Sylvia

The most endearing aspect of Sylvia is the brilliant composition, so most of its influence on the
world has been musical.

Characters[edit]
Lead rles[edit]

Sylvia A chaste huntress nymph, loyal to Diana, object of Aminta's desire.

Aminta A simple shepherd boy who is in love with Sylvia. Parallels can be drawn
to Endymion, another shepherd who was Diana's young love.

Eros The Greek god of love, focal in the ballet as an object of great worship and
scorn.

Diana The Roman goddess of the hunt and chastity. It is at Diana's temple that
the bacchanal in the third act takes place.

Orion An evil hunter who stalks Sylvia and kidnaps her.

Source:[12]

Minor rles[edit]

Hunt attendantsSylvia's posse of female hunters.

Goats Two goats that are about to be sacrificed as a tribute to Bacchus, but are
saved by the commotion caused by Orion.

Naiads

Dryads

Fauns

Peasants

Source:[12]

Libretto[edit]

Boy loves girl, girl captured by bad man, girl restored to bo

Sir Frederick Ashton, who choreographed Sylvia in 1952.[12]

The libretto of Sylvia is often regarded[by whom?] as one of the ballet's weak points. The simple plot
does not allow for much acting nor is it especially gripping. Indeed, when Frederick Ashton
rechoreographed the ballet in the 1950s, he tried to rework the story to be more interesting
(while still retaining its classical themes) because he recognized this aspect of the ballet as a
potential pitfall.[11] Morris simplified the story for his 2004 production for the same reasons.
He called it, "a big wonderful mishmash of mythology and history", so he changed it to make it
more, "clear and beautiful".[26]

Act I: A Sacred Wood[edit]

The ballet begins with a scene of worship as creatures of the forest dance before Eros. Aminta,
a lowly shepherd, stumbles in on them, disrupting their ritual. Now Sylvia, the object of
Aminta's desire, arrives on the scene with her posse of hunters to mock the god of love. Aminta
attempts to conceal himself, but Sylvia eventually discovers her stalker and, inflamed, turns her
bow towards Eros. Aminta protects the deity and is himself wounded. Eros in turn shoots
Sylvia. She is hit, and though not badly wounded, the injury is enough to drive her offstage.
A hunter, Orion, is revealed to also have been watching Sylvia, when he is seen celebrating the
unconscious Aminta. Orion conceals himself again as Sylvia returns; this time she is
sympathetic towards Aminta. As the huntress laments over her victim, she is kidnapped by
Orion and carried off. Peasants grieve over Aminta's figure until a cloaked Eros revives the
shepherd. Eros reveals his true identity and informs Aminta of Orion's actions.

Act II: Orion's Island Cave[edit]

Captive in Orion's island hideout, Sylvia is tempted by him with jewels and wine to no avail.
Sylvia now grieves over Aminta, cherishing the arrow pulled from her breast nostalgically.
When Orion steals it from her, Sylvia gets her captor drunk until he is unconscious, whereby
she retrieves her arrow and appeals to Eros for help. Sylvia's invocations are not in vain, for
Eros quickly arrives and shows his summoner a vision of Aminta waiting for her. The duo
depart for the temple of Diana, where Sylvia's love awaits.

Act III: The Sea Coast near the Temple of Diana [edit]
Aminta arrives at the temple of Diana to find a bacchanal but no Sylvia, who will soon arrive
with Eros. After a few moments of mirth at the reunion, Orion shows up, seeking Sylvia. He and
Aminta fight; Sylvia barricades herself in Diana's shrine and Orion attempts to follow.
The goddess of the hunt, outraged at this act, smites Orion and denies Aminta and Sylvia
congress. Compassionate Eros gives Diana a vision. The goddess reminisces over her own
young love of Endymion, also a shepherd. Diana has a change of heart and repeals her
decree. Aminta and Sylvia come together under the deities' good will.

Rsum of dances and scenes[edit]

Taken from the original 1876 theatrical program of the Paris Opra.
Act I

01 Prlude

02 Scne du bois sacr d'ros

03 Le BergerEntre d'Aminta

04 Grand pas des chasseresses

a. Sortie
b. Valse lente

05 Scne

06 Cortge rustique

07 Scne

08 FinaleEntre du sorcier

Act II

09 Entr'acte

10 La grotte d'Orion

11 Pas des thiopiens

12 Chant bacchique

13 Scne et danse de la Bacchante

14 Scne finale

Act III

15 Grand cortge de Bacchus

16 Scne

17 Danse barcarolle

18 Divertissement
a. Pizzicato danse Mlle. Rita Sangalli
b. Pas d'andante
c. Pas des esclaves
d. Variation danse Mons. Louis Mrante
e. Galop gnrale
19 FinaleLe temple de Diane

20 ApothoseL'apparition d'Endymion