|
|
 |
|
Music
by
Leo Delibes
Choreography
by
Frederick
Ashton
Staged
by
Christopher
Newton
Original
designs by
Robin and
Christopher Ironside
Orchestra
of the Royal Opera House conducted
by
Graham Bond
Sylvia
Darcy Bussell
Aminta
Roberto Bolle
Orion
Thiago Soares
Eros
Martin Harvey
Diana
Mara Galeazzi
|
|
| |
|
|
|
The Royal Ballet
Covent Garden
19
Nov - 21 Dec 2005 |
|
In its
full three act version, which
exists thanks to Christopher
Newton's recovery (and supplementation)
of the Ashton original, 'Sylvia'
is hyperbolically a romantic
ballet. On first staging in
this restored form last year,
during the Ashton season,
it proved itself a magnificent
vehicle for Darcy Bussell,
whose handsome individuality,
majestic classicism and personal
warmth combine to make her
a perfect Sylvia ‚ a role
that requires exploration
of a wide range of emotion
and the interesting and difficult
task of dancing more than
one pas de deux in which she
repulses the advances of unwelcome
lovers. In this revival she
is every bit as good, if not
better; it fills one with
dismay to think it might be
the last time she is seen
in the role.
On this night Bussell was
joined by two dancers of imposing
talent: Roberto Bolle as Aminta,
and Thiago Soares as Orion.
Bolle is a highly attractive
stage presence, portraying
Aminta as masculine but sensitive
and sincere, while Soares
is menacing, vigorous and
assertive, a dashing Orion
who will not be gainsaid.
It is a testament to the authority
of Bussell's performance that
it soars even in such strong
company. She draws and fixes
every gaze; it is impossible
not to look at her, even when
she paces behind a busy corps
de ballet to her next starting
position. It is the magic
in the length of her reach,
the strength of her limbs,
and the radiant charisma that
is natural to her as a dancer,
that exerts this force on
audiences. She has brilliant
contemporaries who are a joy
to watch, but very few of
them have quite the same magnetism.
Hyper-romantic 'Sylvia' might
be, but it is not saccharine.
The charm of Delibes' score
lies in its aptness and expressiveness,
a choreographer's dream; one
can understand (if not entirely
agree: at any rate, one is
relieved that the choice is
a false one) why Tchaikovsky
said that if forced to choose
between 'Sylvia' and the Ring,
he would take the former.
In his characteristic manner
as story-teller and enchanter,
Ashton has a field day with
the tale, and in giving the
victory to Eros in the end,
as is proper, he does it with
the emphasis and good-nature
that is his trade-mark.
Given the combination of Ironside
design, Delibes, Ashton and
Darcy Bussell, it would be
very hard work to make 'Sylvia'
fail. On the contrary, it
is a sumptuous event of ballet,
one of those occasions when
the inner human of each member
of the audience feels cleansed
and uplifted by the working
upon it of several co-operating
arts, between them issuing
in something golden and memorable.
AC Grayling |
|
|
|
|
|
|
|
|
