Frederick Ashton’s second full length ballet, first performed in 1952, is a mystical treat from start to finish with nymphs, Gods and Goddesses set against the portrayal of a touching love story, much of which in this new production unfolds in the third act but is more than worth the wait. A short synopsis for those unfamiliar with this ballet, first created to showcase the work of Margot Fonteyn goes as follows; Aminta is a young shepherd in love with Sylvia one of Diana’s nymphs. Aminta spends much of the first act enraptured by watching Sylvia dance but unaware of an evil hunter, Orion, also watching Sylvia and becoming enflamed by her beauty. Aminta declares his love for Sylvia but she is horrified and blames the statue of Eros, God of love, she draws her arrow aiming for the statue but her arrow pierces the heart of Aminta instead. As Sylvia leaves, Orion takes his moment to capture her, while a mysterious hooded figure miraculously brings Aminta back to life. The second and third acts see Sylvia be freed and the lovers reunited, the third act functioning as an indulgent vehicle for the protagonists to display their skill, which both Sylvia (Marianela Nũnez) and Aminta (Rupert Pennefather) do capably in a hugely satisfying conclusion for the audience.
Ballet purists have voiced their concerns over the lack of dance content in the opening acts in this new reconstruction by Christopher Newton. However for those who are not regulars at the Opera House, such as myself, I was, from the opening dance of Sylvia’s nymphs, entranced by their technique, musicality and control set again the beautiful backdrop of the magical moonlit woodland, and from the moment Sylvia leaped gracefully onto the stage I was hooked. Nũnez is intensely watchable with her articulate footwork that contains so much grace one can barely hear the inevitable clatter of a performer’s dance shoes on the stage; she fulfils the role with just the right degree of emotion and subtly to be believable, although I was far too preoccupied with awe at her impeccable technique and sublime grand jeté’s.
The short second act’s wide criticism, set in Orion’s cave, is understandable with its lack of traditional ballet, but I believe still serves a purpose with its colourful costuming, use of mime and likeable dancing concubines in the cave of the evil Orion.
The third act idolises the power of love, firstly through two faultlessly performed solos from the two protagonists and then a dazzling pas de deux, including ambitious leaps and jumps that audibly led the audience to gasp in amazement at the trust shared within what I thought to be a totally authentic partnership. For what remains of the third act, the performance comes to its conclusion with a short scene of celebration that the lovers have been reunited and finally the audience is rewarded with the full cast on stage together, dancing in unison, a vision so impressive to look at, Sylvia reaches its climax all too soon.
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