Posts Tagged ‘delibes’

Royal Ballet’s “Sylvia” – Royal Opera House

April 2, 2008

As I saw this show on closing night (and I’ve got about a show a night this week and little time for writing), I’m going to make this review fairly brief. “Sylvia” sells itself as a pretty, full-length Ashton ballet. We were drawn by the lovely posters, featuring a tunic-clad Greek goddess type blowing a hunting horn, and the music, which is by Delibes, composer of the brilliant Coppelia. I was also interested in seeing a full-length Ashton ballet, as his short works had been of somewhat mixed quality (Les Patineurs brilliantly excepted) and, as a recent arrival to these shores, I have been wanting to become better aquainted with the local idea of good choreography rather than staying hide-bound in my little Balanchine-centered ballet world. (I’d previously seen The Tales of Beatrix Potter.)

Even though this ballet has been recut and rearranged by Christopher Newton, it can’t get past its age and … God only knows what else is holding it back, but this is a musty old basket from the ballet basement and while it isn’t horrid, it’s just not interesting, not enough to see twice and not enough to recommend to anyone other than people who want to fill in their ballet history. I say this despite the fact that with Marianela Nunez dancing I really could not have asked for a more elegant lead. She was fantastic in the second act’s seduction scene, my favorite part of the ballet. But the rest of the characters and the story were just so stale and painful I could barely stand it. The villain (Orion) was out of a Disney cartoon; the entire plot seemed to be a missed episode for Fantasia, a sexless Greece with pretty gods dancing prettily and villagers pushing charming carts and holding lambsies and hoes. The costumes looked like they were pulled from a girl’s bedroom circa 1952, and the sets were hobbled by the past in a way I’ve only ever imagined American opera is, clinging desperately to the recognizable incarnations of “high art” by being pathetically realistic and overdesigned. Seeing this ballet made me understand why people think this is a dying art, especially considering what was happening contemporaneously with on the American stage.

Thanks to a gorgeous violin solo in the third act, I didn’t consider the night so terrible as to be unredeemable, but I was just not sold, even though there were dancing goats. With luck, a week of modern dance will wash this whole thing right out of my mind and the next time I go to the ROH it will be something where the choreography takes advantages of the fantastic talent made available to it instead of smothering them in tripe.

(This review is for a show that took place on Monday, March 31st, 2008.)