Important Info

Type: Ballet

City: Saint Petersburg, Russia

Starts at: 19:00

Acts: 2

Intervals: 1

Duration: 1h 40min

Ticket delivery: E-Tickets

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

Can I choose my seats?

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast

Performers

Orchestra: Mariinsky Orchestra

Ballet company: Mariinsky Ballett

Creators

Composer: Herman Severin Levenskiold

Choreographer: Elsa-Marianne von Rosen

Librettist: Adolphe Nourrit

Choreography: August Bournonville

Costume designer: Irina Press

Librettist: Philippo Taglioni

Set Director: Vyacheslav Okunev

Overview

Choreography by August Bournonville, revised version by Elsa-Marianne von Rosen.

A manifesto of romanticism in ballet, La Sylphide was created in 1832 by the choreographer Filippo Taglioni for his daughter Marie Taglioni, and it was to become one of the most important productions in her life, opening the doors to fame and making her name legendary. It was in this ballet that she first appeared en pointe not to amaze the audience but for the sake of an artistic ideal: barely touching the stage on tiptoe, she created the image of a maiden of the air, calling us away from the earth, from the prose of everyday life. The light and refined Taglioni, literally defying gravity, embodied the world of reverie with her dance. The ethereal quality of her dance was underscored by her costume: the floating gauze tunic created the impression of weightlessness, and the white colour of the open skirts indicated freedom from worldly passions. The dance of the Sylph’s heavenly friends who inhabit the fantastical world around her was totally divested of everyday items. At the same time, the dance characteristics of the people from the real world – Scots peasants dressed in striking national costume – were constructed along the lines of folk dance. The choreographer contrasted the alluring and beautiful world of dreams, so praised by the dance of the sylphs, with the gloomy grotesque of the scene of the coven of evil: around a boiling cauldron there are dancing witches, vampires, goat-footed dwarves, gnomes and genies. From this cauldron the witch Madge extracts a fateful scarf – it has been summoned to break the dream of the romantic hero striving towards a beautiful vision. According to the laws of romanticism, the ideal is unattainable: as soon as the hero, wishing to stop for a moment and catch the elusive, throws the scarf around the Sylph’s shoulders she is dead. Inspired by the success of the first La Sylphide, many choreographers have created their own versions of this romantic ballet. Taglioni’s younger contemporary, the Danish choreographer August Bournonville, staged his own version of La Sylphide in his native land, which included variations on the plot and repeated individual scenes from Taglioni’s masterpiece but which was created using a different score – by Herman von Løvenskiold (whereas Taglioni’s Sylph was danced to music by Jean Schneitzhöeffer). The Danish retained this version, and it was this that provided the basis for the production of La Sylphide at the Mariinsky Theatre.
Olga Makarova

There were two versions of the ballet; the original choreographed by Filippo Taglioni in 1832, and a second version choreographed by August Bournonville in 1836. Bournonville's is the only version known to have survived and is one of the world's oldest surviving ballets.

The Danish ballet master August Bournonville had intended to present a revival of Taglioni's original version in Copenhagen with the Royal Danish Ballet, but the Paris Opera demanded too high a price for Schneitzhoeffer's score. In the end, Bournonville mounted his own production of La Sylphide based on the original libretto, with music by Herman Severin Løvenskiold. The premiere took place on 28 November 1836, with the prodigy Lucile Grahn and Bournonville in the principal roles.

The Bournonville version has been danced in its original form by the Royal Danish Ballet ever since its creation and remains one of Bournonville's most celebrated works.

History

Premiere of this production: 28 November 1836, Royal Danish Theatre, Copenhagen, Denmark

La Sylphide is a romantic ballet in two acts. There were two versions of the ballet; the original choreographed by Filippo Taglioni in 1832, and a second version choreographed by August Bournonville in 1836. Bournonville's is the only version known to have survived and is one of the world's oldest surviving ballets.

Synopsis

Act I
On the eve of his wedding, James, a young Scotsman, sees a vision of an enchanting, winged Sylph. She is an ethereal spirit of the air who has fallen in love with him. James is captivated by the beautiful Sylph but, as he tries to touch her, she disappears into thin air. A party of guests and friends arrive with Effie, James’ bride-to-be. James is distracted, still haunted by the memory of the Sylph.
Lost in thought, he gazes at the spot where she vanished. In his mind he can still see her and reaches out as though she is still there. It is, however, Old Madge, the village sorceress, whose hideous figure steps out of the shadows instead of the beautiful Sylph. Her revolting appearance and ravaged face cast a shadow over the celebrations. James’ initial fear turns to anger and Effie tries to calm him. Old Madge starts to tell Effie’s fortune. She predicts that Effie will marry not James, but his friend Gurn, a Scottish peasant, who is also in love with her. James loses his temper and sends Old Madge away. The party resumes and, in the general dancing and merrymaking, everyone soon forgets the unpleasant scene. At the height of the party, the Sylph reappears. She beckons to James and they vanish together. Effie is heartbroken.

Act II
Outside a cave in the forest, Old Madge is busy casting evil spells. She traces a magic circle on the ground and places a cauldron in it, which begins to boil. Old Madge begins conjuring things up from the huge cauldron. Other witches hurry to join her and together they conjure up a magic scarf, which is incredibly beautiful but deadly poisonous. The witches depart.
James and the Sylph arrive, very much in love. She shows James her magic kingdom and then flies away. James is left all alone and Old Madge reappears. She asks if he needs any help, and produces the magic scarf. She explains that if he puts the scarf around the Sylph’s shoulders, she will never be able to fly again and will be his forever on earth. James seizes the scarf and goes in search of the Sylph. However, when he finds her and places the scarf on her shoulders, he is horrified to see that it causes her great pain. In front of his stricken gaze, her wings fall to the ground and then in agony she sinks lifeless at his feet. Mourning Sylphs appear and carry their dead friend away, over the treetops and out of sight. The sound of bagpipes and the joyful ringing of bells break the silence in the forest. A bridal procession is glimpsed through the trees: it is a triumphant Gurn leading Effie to the church.

Act 1

In the hall of a Scottish farmhouse, James Ruben, a young Scotsman, sleeps in a chair by the fireside. A sylph gazes lovingly upon him and dances about his chair. She kisses him and then vanishes when he suddenly wakes. James rouses his friend Gurn from sleep, and questions him about the sylph. Gurn denies having seen such a creature and reminds James that he is shortly to be married. James dismisses the incident and promises to forget it.

James' bride-to-be, Effie, arrives with her mother and bridesmaids. James dutifully kisses her, but is startled by a shadow in the corner. Thinking his sylph has returned, he rushes over, only to find the witch, Old Madge, kneeling at the hearth to warm herself. James is furious with disappointment.

Effie and her friends beg Old Madge to tell their fortunes, and the witch complies. She gleefully informs Effie that James loves someone else and she will be united with Gurn. James is furious. He forces Madge from the hearth and throws her out of the house. Effie is delighted that James would tangle with a witch for her sake.

Effie and her bridesmaids hurry upstairs to prepare for the wedding, and James is left alone in the room. As he stares out the window, the sylph materializes before him and confesses her love. She weeps at his apparent indifference. James resists at first, but, captivated by her ethereal beauty, capitulates and kisses her tenderly. Gurn, who spies the moment from the shadows, scampers off to tell Effie what has happened.

When the distressed Effie and her friends enter after hearing Gurn's report, the sylph disappears. The guests assume Gurn is simply jealous and laugh at him. Everyone dances. The sylph enters during the midst of the revelry and attempts to distract James.

As the bridal procession forms, James stands apart and gazes upon the ring he is to place on Effie's finger. The Sylph snatches the ring, places it on her own finger, and, smiling enticingly, rushes into the forest. James hurries after her in ardent pursuit. The guests are bewildered with James' sudden departure. Effie is heartbroken. She falls into her mother's arms sobbing inconsolably.

Act 2

In a fog-shrouded part of the forest, Madge and her companion witches dance grotesquely about a cauldron. The revellers add all sorts of filthy ingredients to the brew. When the contents glow, Madge reaches into the cauldron and pulls a diaphanous, magic scarf from its depths. The cauldron then sinks, the witches scatter, the fog lifts, and a lovely glade is revealed.

James enters with the sylph, who shows him her charming woodland realm. She brings him berries and water for refreshment but avoids his embrace. To cheer him, she summons her ethereal sisters who shyly enter and perform their airy dances. The young Scotsman is delighted and joins the divertissement before all flee for another part of the forest.

Meanwhile, the wedding guests have been searching the woodland for James. They enter the glade. Gurn finds his hat, but Madge convinces him to say nothing. Effie enters, weary with wandering about the forest. Madge urges Gurn to propose. He does and Effie accepts his proposal.

When they all have left, James enters the glade. Madge meets him, and tosses him the magic scarf. She tells the young farmer the scarf will bind the sylph to him so she cannot fly away. She instructs him to wind the scarf about the sylph's shoulders and arms for full effect. James is ecstatic. When the sylph returns and sees the scarf, she allows James to place it around her trembling form.

As James embraces the sylph passionately, her wings fall off, she shudders, and dies in James' arms. Sorrowfully, her sisters enter and lift her lifeless form. Suddenly, a joyful wedding procession led by Effie and Gurn crosses the glade. James is stunned. James directs his gaze heavenward; he sees the sylph borne aloft by her sisters. James collapses. Madge exults over his lifeless body. She has triumphed.

Act 1

In the hall of a Scottish farmhouse, James Ruben, a young Scotsman, sleeps in a chair by the fireside. A sylph gazes lovingly upon him and dances about his chair. She kisses him and then vanishes when he suddenly wakes. James rouses his friend Gurn from sleep, and questions him about the sylph. Gurn denies having seen such a creature and reminds James that he is shortly to be married. James dismisses the incident and promises to forget it.

James' bride-to-be, Effie, arrives with her mother and bridesmaids. James dutifully kisses her, but is startled by a shadow in the corner. Thinking his sylph has returned, he rushes over, only to find the witch, Old Madge, kneeling at the hearth to warm herself. James is furious with disappointment.

Effie and her friends beg Old Madge to tell their fortunes, and the witch complies. She gleefully informs Effie that James loves someone else and she will be united with Gurn. James is furious. He forces Madge from the hearth and throws her out of the house. Effie is delighted that James would tangle with a witch for her sake.

Effie and her bridesmaids hurry upstairs to prepare for the wedding, and James is left alone in the room. As he stares out the window, the sylph materializes before him and confesses her love. She weeps at his apparent indifference. James resists at first, but, captivated by her ethereal beauty, capitulates and kisses her tenderly. Gurn, who spies the moment from the shadows, scampers off to tell Effie what has happened.

When the distressed Effie and her friends enter after hearing Gurn's report, the sylph disappears. The guests assume Gurn is simply jealous and laugh at him. Everyone dances. The sylph enters during the midst of the revelry and attempts to distract James.

As the bridal procession forms, James stands apart and gazes upon the ring he is to place on Effie's finger. The Sylph snatches the ring, places it on her own finger, and, smiling enticingly, rushes into the forest. James hurries after her in ardent pursuit. The guests are bewildered with James' sudden departure. Effie is heartbroken. She falls into her mother's arms sobbing inconsolably.

Act 2

In a fog-shrouded part of the forest, Madge and her companion witches dance grotesquely about a cauldron. The revellers add all sorts of filthy ingredients to the brew. When the contents glow, Madge reaches into the cauldron and pulls a diaphanous, magic scarf from its depths. The cauldron then sinks, the witches scatter, the fog lifts, and a lovely glade is revealed.

James enters with the sylph who shows him her charming, woodland realm. She brings him berries and water for refreshment but avoids his embrace. To cheer him, she summons her ethereal sisters who shyly enter and perform their airy dances. The young Scotsman is delighted and joins the divertissement before all flee for another part of the forest.

Meanwhile, the wedding guests have been searching the woodland for James. They enter the glade. Gurn finds his hat, but Madge convinces him to say nothing. Effie enters, weary with wandering about the forest. Madge urges Gurn to propose. He does and Effie accepts his proposal.

When they all have left, James enters the glade. Madge meets him, and tosses him the magic scarf. She tells the young farmer the scarf will bind the sylph to him so she cannot fly away. She instructs him to wind the scarf about the sylph's shoulders and arms for full effect. James is ecstatic. When the sylph returns and sees the scarf, she allows James to place it around her trembling form.

As James embraces the sylph passionately, her wings fall off, she shudders, and dies in James' arms. Sorrowfully, her sisters enter and lift her lifeless form. Suddenly, a joyful wedding procession led by Effie and Gurn crosses the glade. James is stunned. James directs his gaze heavenward; he sees the sylph borne aloft by her sisters. James collapses. Madge exults over his lifeless body. Justice has triumphed.

Venue Info

Mariinsky Theatre - Saint Petersburg
1 Theatre Square

The Mariinsky Theatre is a historic theatre of opera and ballet in Saint Petersburg, Russia. Opened in 1860, it became the preeminent music theatre of late 19th-century Russia, where many of the stage masterpieces of Tchaikovsky, Mussorgsky, and Rimsky-Korsakov received their premieres. Through most of the Soviet era, it was known as the Kirov Theatre. Today, the Mariinsky Theatre is home to the Mariinsky Ballet, Mariinsky Opera and Mariinsky Orchestra. Since Yuri Temirkanov's retirement in 1988, the conductor Valery Gergiev has served as the theatre's general director.

The theatre is named after Empress Maria Alexandrovna, wife of Tsar Alexander II. There is a bust of the Empress in the main entrance foyer. The theatre's name has changed throughout its history, reflecting the political climate of the time.

The theatre building is commonly called the Mariinsky Theatre. The companies that operate within it have for brand recognition purposes retained the Kirov name, acquired during the Soviet era to commemorate the assassinated Leningrad Communist Party leader Sergey Kirov (1886–1934).

The Imperial drama, opera and ballet troupe in Saint Petersburg was established in 1783, at the behest of Catherine the Great, although an Italian ballet troupe had performed at the Russian court since the early 18th century. Originally, the ballet and opera performances were given in the wooden Karl Knipper Theatre on Tsaritsa Meadow, near the present-day Tripartite Bridge (also known as the Little Theatre or the Maly Theatre). The Hermitage Theatre, next door to the Winter Palace, was used to host performances for an elite audience of aristocratic guests invited by the Empress.

A permanent theatre building for the new company of opera and ballet artists was designed by Antonio Rinaldi and opened in 1783. Known as the Imperial Bolshoi Kamenny Theatre the structure was situated on Carousel Square, which was renamed Theatre Square in honour of the building. Both names – "Kamenny" (Russian word for "stone") and "Bolshoi" (Russian word for "big") – were coined to distinguish it from the wooden Little Theatre. In 1836, the Bolshoi Kamenny Theatre was renovated to a design by Albert Cavos (son of Catterino Cavos, an opera composer), and served as the principal theatre of the Imperial Ballet and opera.

On 29 January 1849, the Equestrian circus (Конный цирк) opened on Theatre Square. This was also the work of the architect Cavos. The building was designed to double as a theatre. It was a wooden structure in the then-fashionable neo-Byzantine style. Ten years later, when this circus burnt down, Albert Cavos rebuilt it as an opera and ballet house with the largest stage in the world. With a seating capacity of 1,625 and a U-shaped Italian-style auditorium, the theatre opened on 2 October 1860, with a performance of A Life for the Tsar. The new theatre was named Mariinsky after its imperial patroness, Empress Maria Alexandrovna.

Under Yuri Temirkanov, Principal Conductor from 1976 to 1988, the Opera Company continued to stage innovative productions of both modern and classic Russian operas. Although functioning separately from the Theatre’s Ballet Company, since 1988 both companies have been under the artistic leadership of Valery Gergiev as Artistic Director of the entire Theatre.

The Opera Company has entered a new era of artistic excellence and creativity. Since 1993, Gergiev’s impact on opera there has been enormous. Firstly, he reorganized the company’s operations and established links with many of the world's great opera houses, including the Royal Opera House, Covent Garden, the Metropolitan Opera, the Opéra Bastille, La Scala, La Fenice, the Israeli Opera, the Washington National Opera and the San Francisco Opera. Today, the Opera Company regularly tours to most of these cities.

Gergiev has also been innovative as far as Russian opera is concerned: in 1989, there was an all-Mussorgsky festival featuring the composer’s entire operatic output. Similarly, many of Prokofiev’s operas were presented from the late 1990s. Operas by non-Russian composers began to be performed in their original languages, which helped the Opera Company to incorporate world trends. The annual international "Stars of the White Nights Festival" in Saint Petersburg, started by Gergiev in 1993, has also put the Mariinsky on the world’s cultural map. That year, as a salute to the imperial origins of the Mariinsky, Verdi's La forza del destino, which received its premiere in Saint Petersburg in 1862, was produced with its original sets, costumes and scenery. Since then, it has become a characteristic of the "White Nights Festival" to present the premieres from the company’s upcoming season during this magical period, when the hours of darkness practically disappear as the summer solstice approaches.

Presently, the Company lists on its roster 22 sopranos (of whom Anna Netrebko may be the best known); 13 mezzo-sopranos (with Olga Borodina familiar to US and European audiences); 23 tenors; eight baritones; and 14 basses. With Gergiev in charge overall, there is a Head of Stage Administration, a Stage Director, Stage Managers and Assistants, along with 14 accompanists.

La Sylphide

Select date and time

Act 1

Act 2

Mariinsky Theatre - Saint Petersburg 1 Theatre Square

Mariinsky Theatre - Saint Petersburg
1 Theatre Square