Sylvia, Act 1, No. 7: Scène (Piano Reduction)

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  • Sylvia (Delibes, Léo)
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  • About Anatole Fistoulari
  • Danglebert (or d'Anglebert), Jean-Henri (Paris 1628 - Paris 1691); Fr.

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    Work Title Sylvia Alt ernative. Les faunes et dryades 3. Grand pas des chasseresses 5. Danse barcarolle Divertissement Pas des esclaves Finale—Le temple De Diane Opera Garnier First Pub lication. Heugel Composer Time Period Comp. Retrieved from " http: Ballets ; Theatrical Works ; For orchestra ; Scores featuring the orchestra ; For piano 4 hands arr ; Scores featuring the piano ; Scores featuring the piano 4 hands ; For 2 players ; For piano arr ; For 1 player ; For violin, piano arr ; Scores featuring the violin ; For flute, piano arr ; Scores featuring the flute ; For piano 6 hands arr ; Scores featuring the piano 6 hands ; For 3 players ; For organ arr ; Scores featuring the organ ; For guitar arr ; Scores featuring the guitar.

    Pieces based on 'Sylvia'. Contents 1 Performances 1. At the premiere in , the lead was Yuan Yuan Tan. This production of Sylvia , the Royal Ballet 's third, performed November 4 to December 3, , as a part of the "Ashton " celebration, a season dedicated to the company's founder. While it ran, there were three different casts. 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.

    Sylvia (Delibes, Léo)

    Sylvia is generally considered a classical ballet. 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. What charm, what elegance, what richness of melody, rhythm, harmony.

    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. 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 edition of The Ballet Annual. 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. 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.

    Tchaikovsky's Swan Lake was written just before Sylvia was released and is generally considered [ by whom? However, Tchaikovsky himself preferred Sylvia to his own work, calling his own masterpiece "poor stuff in comparison". If I had known this music early then, of course, I would not have written Swan Lake ".

    Choreographically, Sylvia was also ahead of its time. Merante's choreography and all subsequent was considered quite rebellious for casting ballerinas as masculine huntresses, [24] unheard of at the time.

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    Despite such innovations, the original choreography for Sylvia was still very much of late Romantic -era ballet. Ashton's Sylvia is much more contemporary, and while retaining a classic feel, it has been modernized.

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    In the choreography, Sylvia incorporated new and interesting techniques such as the blending of mime and dance and more intricate footwork, as are typical of Ashton's works. 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.

    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. The libretto of Sylvia is often regarded [ by whom? The simple plot does not allow for much acting nor is it especially gripping. Indeed, when Frederick Ashton rechoreographed the ballet in the s, 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.

    He called it, "a big wonderful mishmash of mythology and history", so he changed it to make it more, "clear and beautiful".

    About Anatole Fistoulari

    Active in the recording studio, Fistoulari built a substantial discography. Listeners Also Played See All. Aurelie Dupont ; Manuel Legris. In many ways, however, it was quite revolutionary for its time. The son of a noted conductor, Fistoulari maintained that he had made his debut before an orchestra at the age of seven.

    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. 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.

    Danglebert (or d'Anglebert), Jean-Henri (Paris 1628 - Paris 1691); Fr.

    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. 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. This list mentions only full-length or otherwise significant productions; however, there have been many performances of short excerpts, especially in London.

    In the novel written by the brothers George and Weedon Grossmith The Diary of a Nobody , Carrie Pooter practises the Sylvia Gavotte on the Pooters' new cottage piano, 'bought on the three years system, manufactured by W. Bilkson in small letters from Collard and Collard in very large letters '. In the Marx Brothers film Monkey Business , Chico Marx plays the pizzicato on the piano, racing against the orchestra, and says, "Hah, I beat you that time!

    Media related to Sylvia ballet at Wikimedia Commons.

    From Wikipedia, the free encyclopedia. Divertissiment — Pizzicato from Sylvia — KB. Retrieved July 24, Retrieved June 12, The Life and Ballets of Lev Ivanov. The Diaries of Marius Petipa.

    Sylvia / Marianela Nunez / David Makhateli (Japan)

    Society of Dance History Scholars.