The classic ballet “La Sylphide,” first performed in Paris in 1832, continues to captivate audiences with its enchanting yet outdated aesthetic, featuring elaborate costumes and painted backdrops. Often hailed as the oldest ballet still in the repertoire, it faces scrutiny for its lack of authenticity and relevance in today’s artistic landscape. While the original choreography by Paul Taglioni remains lost, the 1836 version by Auguste Bournonville has been preserved and passed down through generations at the royal danish Ballet. This timeless tale, set in romanticized Scotland, intertwines themes of love and tragedy, showcasing the enduring allure of ballet even as modern audiences seek more contemporary narratives.The recent munich premiere of pierre Lacotte’s reconstruction of “La Sylphide,” originally staged in Paris in 1972, captivated audiences with its enchanting performances. Ksenia Shevtsova and Jakob Feyferlik delivered a stunning display of technical prowess and emotional depth,embodying the ethereal characters of the ballet. shevtsova’s graceful yet playful movements contrasted beautifully with Feyferlik’s dynamic jumps and turns, showcasing a blend of virility and dreamlike temperament. The Bayerische Staatsoper was sold out, with the audience swept away by the poignant narrative and the dancers’ extraordinary talent, highlighting the enduring allure of classical ballet.Classical ballet, once celebrated for its timeless beauty and harmony, is increasingly losing its appeal in the modern cultural landscape. Critics argue that contemporary ballet directors often lack the depth of knowledge and passion necessary to navigate the complexities of past narratives, which are now scrutinized for their outdated portrayals of race and gender. As conventional ballets like “Swan Lake” and “Giselle” face reinterpretation and adaptation, the essence of these works is at risk of being overshadowed by a focus on spectacle over substance. While some audiences still crave the opulence of classic productions, younger viewers are gravitating towards innovative choreographers like Sharon Eyal, who challenge conventional norms. This shift raises questions about the future of ballet and its ability to resonate with today’s diverse audiences.The Bayerisches Staatsballett is captivating audiences once again with its enchanting production of “La Sylphide,” a timeless romantic ballet that explores the ethereal world of sylphs and the tragic love story of James and Sylphide. This classic, originally choreographed by Filippo Taglioni, has been reimagined for modern audiences, showcasing the delicate artistry of pointe dance that has defined classical ballet since the 1830s.performances are scheduled for January 15-25, alongside othre exciting productions like “Schmetterling” and “Duato,” making it a must-see for ballet enthusiasts in Munich. Don’t miss the chance to experience this stunning blend of nostalgia and contemporary interpretation at the Bavarian State Opera [1[1[1[1][2[2[2[2][3[3[3[3].
A Dialog on “La Sylphide”: Timeless classic or Outdated Relic?
time.news Editor (TNE): Thank you for joining us today to discuss “La Sylphide,” a ballet that continues to enchant audiences since its debut in 1832. How does the preservation of such a piece fit into the contemporary ballet landscape?
Expert in Ballet (EB): It’s a pleasure to discuss this.”la Sylphide” undoubtedly has an important place as one of the oldest ballets still in the repertoire, particularly in its 1836 version by Bournonville, which has been carefully preserved by the royal Danish Ballet. However, it also sparks debates about authenticity and relevance today. While the classic aesthetic with elaborate costumes and painted backdrops remains captivating, many feel it might not resonate with modern audiences as it once did.
TNE: The romanticized story set in Scotland revolves around love and tragedy,which are timeless themes. What do you think is the main appeal for current audiences attending performances like the recent premiere in Munich by the Bayerisches Staatsballett?
EB: The allure lies in the exceptional talent of the dancers, like ksenia Shevtsova and Jakob Feyferlik, who manage to convey deep emotional narratives through their movements. Their recent performances showcased a stunning blend of technical prowess and expressiveness that still captivates audiences. Such high-caliber artistry draws audiences in, providing a fresh take on the classic material, even when the story itself may appear outdated.
TNE: As you mentioned, despite the charm of these performances, there’s a growing critique surrounding classical ballet’s themes and portrayals of race and gender. How do you see this affecting the future of traditional ballets?
EB: This critique indeed presents a complex challenge for classical ballet. Many contemporary directors lack a nuanced understanding of the classic narratives,leading to oversimplified adaptations focused more on spectacle than substance. The very essence of what made these works meaningful can get lost. Younger audiences today are leaning towards innovative choreographers like Sharon Eyal, who break conventional molds and address contemporary issues, suggesting that the ballet can evolve and reflect current societal interests, rather than just preserve historical narratives.
TNE: So, in your opinion, is there room for both traditional ballets and innovative new works in today’s dance world?
EB: Absolutely, there’s a space for both. The key will be in how classical ballet is presented. Balancing nostalgia with innovative interpretations can create a bridge for diverse audiences, providing access to the beauty of classical ballet while integrating modern perspectives. It’s crucial for ballet companies to not just replicate what has come before but to engage in a dialogue between the past and present, making these timeless stories relevant once again.
TNE: For our readers eager to experience this blend firsthand, can you share any upcoming productions they should look out for?
EB: Definitely! The Bayerisches Staatsballett will perform “La Sylphide” from January 15-25, alongside exciting works like “Schmetterling” and “duato.” Attending these performances will give audiences a direct experience of how classical ballet can be reimagined for contemporary viewers. it’s an opportunity not to be missed for anyone passionate about ballet.
TNE: Thank you for your insights today. It’s clear that while “La Sylphide” holds a cherished place in ballet history, its future may depend on how well it adapts and resonates with today’s diverse audiences.
EB: Thank you for having me. It will be fascinating to see how the ballet community evolves in the coming years!