Customer Reviews

Delibes - Sylvia / Aurelie Dupont, Manuel Legris, Nicolas Le Riche, Marie-Agnes Gillot, Jose Martinez, Paris Opera Ballet

5 star:		(7)
4 star:		(1)
3 star:		(2)
2 star:		(1)
1 star:		(1)

 

 

Hot on the heels of the Paris Opera Ballet's DVD of Balanchine's "Jewels", comes this splendid, bittersweet, contemporary interpretation of "Sylvia."

Delibes' score is a musical masterpiece which, unlike "Coppelia," remains significantly more heard than seen. Also, unlike "Coppelia," or for that matter "Giselle," "Swan Lake," "Sleeping Beauty," and "Petrushka," there is no "classic" choreography associated with it, such as the works of Perrot, Petipa, Ivanov, or Fokine. The original by Louis Merante apparently has not survived. Subsequent choreographies by Serge Lifar, Lycette Darsonval and Frederick Ashton do not seem to have had much traction. (Ashton's initial 1952 production for the Royal turned Sylvia into a Second Empire extravaganza largely dependent on the artistry of Margot Fonteyn, according to commentary I've read about it and its '60's revival). Therefore, there are no visual identifying marks for a choreographer to disturb. A choreographer can, relatively safely, take the score and give it his best shot. There are no choreographic preconceptions to offend. Isn't it great?

John Neumeier succeeds on all counts. In his own words, he turns the tale into a parable on the price paid for ambition pursued, a tale well known to dancers and athletes. His choreographic style is eclectic. He uses modern dance to make the dramatic points, and as these develop and become more eloquent, the steps morph into ballet, the girls go on point: greater freedom and depth of expression is acquired by a more rigorous application of dance technique. All is congruent with the wonderful music. It flows seamlessly, rising to peaks of eloquence in which I was much moved. Telling point: when Sylvia (phenomenal and gorgeous Aurelie Dupont) first meets Aminta (the great Manuel Legris) the hesitating motions of first acquaintance and instant infatuation are set in modern dance steps which lead into ballet as their love blossoms (in stage time), fitting the music perfectly. Another telling point: the valedictory if happenstance meeting of the now graying Sylvia and Aminta is set to the well-known "pizzicato." The fortuitousness of the meeting in the grove where they first met, the realization of time past never to be regained, of what-ifs, regrets, choices made that cannot be undone, the wrenching depth of these mature feelings is illustrated by the vivid modern choreography that commences the scene soaring into ballet at the end. The well known pizzicato tune no longer sounds frivolous, perhaps silly, but acquires eloquent poignancy through the stage image created by Neumaier. Delibes admired Wagner and many say the score to Sylvia reflects Wagner's influence. One can say that Neumeier realizes through his choreography the Wagnerian theatrical ideal of creating a theatre piece where all elements are so integrated so as to render a whole greater than its individual components. (Of course, Wagner hated ballet, particularly ballet in opera, and most particularly the Paris Opera and its ballet for what it forced him to do to Tannhauser).

Scenery, by Yannis Kokkos, is flat and lean but eloquent, relying on juxtaposition of colors and lighting to make its point (Neumeier was his own lighting designer). Neumaier wanted the scenery to give dramatic, not merely decorative support, and, most importantly, to also give him maximum room in which to deploy his dancers. I think it succeeds on all counts. If one likes Matisse or David Hockney's swimming pools one will probably like Mr. Kokkos' stage pictures.

The Paris Opera Ballet shines. In addition to Dupont and Legris, Marie-Agnes Gillot and Nicolas LeRiche are most virtuosic and eloquent as Diana and Amor/Orion. As a bit of truly sumptuous casting, the magnificent etoile Jose Martinez dances the secondary role of Endymion.

The orchestra under Paul Connelly performs the score as well as I have ever heard it and it is brilliantly reproduced. (Though I have DTS decoding, for some reason my copy didn't work; however, the Dolby 5.1 was quite fine; one could just listen to the music!).

"Sylvia" was written for and first performed as the first ballet evening at the Palais Garnier in 1870, one of the most beloved theatres in the world. Ironically, the DVD is taken from performances at the Opera Bastille, a place many people love to hate.

Where do I start. I have always had recordings of Léo Delibes' ballet music, Coppélia and Sylvia. Sylvia's score is by far more richer and complex than that of Coppélia's. You might be familiar with the famous "Pizzicato Polka" from Act Two, scene Two.

The rich orchestral colours which permeate this score, demand a production which will support them. Which brings me to this production. I should warn you it is quite modern with a minimalist set and modern costumes. Being a purist at heart, I like my classical operas and ballets to be just that. Having said all that, and having watched this production, now I must eat my words, as they say. I actually enjoyed it and found it quite refreshing, once I got used to the idea of a modern production. The movements at first seemed a bit bizarre, but once I realised what was going on they grew on me. I know some of you have watched this and NOT liked it, but I ask you to be patient with it and give it it's fair due. The staging (or lack of it) and lighting were well executed and the orchestral playing was phenomenal. I have DTS and it was actually life like. The dancers were in their own rite beyond reproach. Each move and turn exquisitely executed within an inch of the music. So if this old stuffed classicalist can appreciate what John Neumier has placed in front of us, you can too. If it's any help, try listening to the music first and ignoring the dance. Once you have grasped the dynamics of the score, the dance movements themselves will not appear too aggressive. Buy and enjoy.

I purchased this video because I admire the Paris Opera dancers, and I was not disappointed here. Aurelie Dupont looked superb and in control of her strong body, as did Manuel Legris. I was especially pleased by Nicolas Le Riche's dancing, which was strong and subtle at the same time. There is an interview with the choreographer that I enjoyed because he explained how he was first drawn by the music and then how he worked with it to create the gorgeous movements the dancers did so well. This is not the classical ballet Sylvia but a contemporary version which still preserved the integrity of the story of Sylvia in a more dramatic and modern perspective, which is necessary in order to move the art of ballet forward and keep it fresh and relevant.

The Paris Opera Ballet has provided us with a magnificent version of Sylvia danced expertly and warmly by all involved. This was choreographed by John Neumeier and the style is balletic with many modernisms thrown in. The women all dance on pointe and the men in ballet slippers. The music is by Leo Delibes and vividly performed by the National Paris Opera Orchestra. The costumes are interesting but the sets are very plain and simple. I especially liked the large number of long solo adagios for all the principal dancers. There are also many dances of various groupings. A bonus commentary is also provided and it sheds some light on the interpretation of this ballet. They admit it is not exactly self explanatory, so good luck in trying to understand the story, but as they say, think of it as a choreographic poem. I strongly recommend this for lovers of modern ballet and dance, as well as fans of the POB.

While watching this ballet my thoughts brought me a feeling once experienced when I stood contemplating Michelangelo's David in Florence.In fact, mutatis mutandis, Neumeier did through coreography what Michelangelo did through sculpture: giving life,emotions and sensuality to beauty,revealing the essence of the human being,bringing it out from just pure yet soulless perfection.One cannot say it is a neoclassic ballet or a contemporary one.The essence of the steps is classical,the four dancers "étoiles" are true "danseurs nobles" but Neumeier reinvented all in an outstanding mix of sensuality,eroticism,colour and inner human feelings.In my opinion it is certainly a masterpiece made only possible with the involvement of Dupont,Legris,Gillot and Le Riche each of them contributing with intelligence and skill to this great achievement in ballet.Last but not the least,the extremely beautiful, colourful,sensual music of Léo Délibes,under Paul Connely direction.

This is a stunningly beautiful production, choreographically, visually, and musically. It strips away conventional approaches to the ballet and creates a fresh, essential account of the relationships between the characters, placed in a simplified but extremely beautiful staging. The colors are subtle and stunning, the costumes suit the concept, and the dancers themselves are gorgeous to watch. The sound is rich and full, and the camerawork is calm and revealing. I find this a moving, sensual performance of great clarity, power, and grace.

Some reviewers have been disappointed that Neumeier rejects the ballet's traditional plot and staging, but to me this is the brilliance of the production. The original ballet's plot is generally considered weak, and its goddesses, nymphs and shepherds are distant from our world. Neumeier instead abstracts the characters (Sylvia and Diana are still huntresses, athletic and strong, but in modern dress that emphasizes their strength rather than their profession). He gives us the story's essence rather than its conventional surface. Still, if your taste runs to tutus and mime rather than the emotional clarity of modern ballet, this may not be the version for you. On the other hand, if you like intensity, directness, grace, gorgeous color, and beautiful dancers, this production will please you very much.

Do you know what is really great about this production? The recording of sound and the interpretation of music which is so gorgeous that I had it ripped and loaded in to my iPod...just for listening pleasure.

As for the ballet, we know what difference it makes when Dupont and Legris dance. It has its own brilliance with the rest of the Paris Opera dancers who need no further accolades.

Not being a Frenchman or for that matter, a European even, I give absolutely no great importance to the adaptation per se. The dance fits the music and the vice-versa mostly and the whole production is excellent, BUT with the exception of some portions like the whole first 20 minutes till the huntresses arrive on stage. Yes. It is a little trying and a bit boring to watch the dance of the peasants with the ladies looking as though they are peddling an imaginary bicycle carried by the men- and the rigmarole of the sleeping dancer and Diana. At such times, just close your eyes and let the wonderfully interpreted music and the recording seep in.

It is unfair to compare this with the more recently released production with Bussel and Bolle, which, according to me probably sticks to the original interpretation of this work. I actually like both. They can co-exist on different platforms without problems.

But without people like Neumier, Petit, Ashton, Bejart and their ilk, there would just be no innovation or progress or experimentation - they are a class by themselves.

Like the reviewer Giles Hall I prefer to watch opera and ballet that is on the grand side. Usually, the more detailed the scenery and sets and the more elaborate the costumes, the more I will enjoy watching the work. However, I happened to see an excerpt of this modern version on Classic Arts Showcase, a late-night series devoted to film, music, opera and ballet and thought how exciting it seemed. I had always loved the score by Leo Delibes and had a version on DVD of the Royal Ballet with choreography by Sir Fredrick Ashton and starring Roberto Bolle, Darcey Bussell and Thiago Soares. This new version was much more interesting with a whole lot less scenery and props. It is difficult to express how satisfactory this minimalism on stage actually is. The stylized tree that is in the background for much of the ballet is all that is required with the sensitive and deceptively simple lighting by the choreographer, John Neumeier.

This was an incredibly difficult work for the video director Thomas Grimm to capture on film. Unlike most ballets where the action is in the form of a pas de deux or groupings of three or four dancers with a corps de ballet that is usually symmetrically located on the stage, this work has groupings of dancers performing different moves on various parts of the stage, all at the same time. It must have been wonderful to watch live at the Opera Bastille, however on DVD there is sometimes a feeling that we are watching something at the expense of something else that is happening off camera. It is nevertheless a wonderfully entertaining ballet that is to be thoroughly recommended.

Wonderful music, brilliant dancers, hideous choreography.

This looked like a Saturday Night Live parody of a ballet. Neumeier did the worst possible thing a choreographer could do, he made the dancers look bad.

Aurelie Dupont is stunning, but it was painful to see her degraded in this way. Spare yourself the pain.

sets & props were wooden; costumes were ok; music was great; dancers were great; overall production left me wanting something more.