However, the music then launches into a quicker tempo, brass fanfares propelling the music along with a rhythmically incisive motif. Ronald Plaisted, Derek Rencher, Keith Rosson, Christopher Newton, Richard Farley, Petrus Bosman, Douglas Steuart, John Sale, Graham Usher, Benjamin Stevens, William Wilson, Maryon Lane, Merle Park, Doreen Wells, Brian Shaw, Peter Clegg, Pirmin Trecu, Shirley Grahame, Deirdre Dixon, Georgina Gray, Judith Sinclair, Antoinette Sibley, Mavis Osborn, William Wilson, Douglas Steuart, Benjamin Stevens, Graham Usher, Stanley Holden, John Sale, Ann Kenward, Myrleen Hedley, Rosalind Eyre, Louanne Richards, Janet Varley, Jane Bartlett, Kenneth Barlow, Robert de Warren, Clive Hicks, Maurice Metliss, Jeffrey Phillips, Lambert Cox, Kenneth Barlow, Jeffrey Phillips, Clive Hicks, Douglas Hill, Arthur Sweet, Anthony Mangan, David Hughes, Alan Cooper, David Gordon, John Bodemeaid, Students of Edith Cavell Secondary School, 1981, London (The Royal Ballet) 50th Anniversary Programme, This page was last edited on 5 May 2020, at 16:42.
The production premiered to great success. Similar to other 19th century fairy tales, the plot is based on man ( Palemon) encountering the supernatural (the water nymph Ondine), but the outcome is rather different than many of the 19th century classics: here, it is the man that dies, and the … She is a gentle water sprite who the audience discovers dancing in a waterfall and then with her own shadow. In the scene where the young fisherman Mattéo is conveyed into the depths of the sea, and the naiads dance their many fascinations around him, the musical accompaniments which describe the rise and fall of the waves are eminently characteristic and beautiful: the very ripple of the flow, and the rushing sound of the ebb over the pebbly strand are heard, and fully satisfy the ear. The score has a slow opening and immediately provides a romantic sense of mystery. Ondine is a water sprite (or nymph) who emerges out of a waterfall onto land fascinated with her own shadow, something she had never seen before. It is the only full length ballet that Ashton choreographed to original music, and the score is regarded as a rarity by musicians, as it is a "20th century full-length ballet score that has the depth of a masterwork".[2]. The first movement is characterised by the constant change of tempo, while the second picks up influences from other musical styles in particular that of rhythmic impulse and swooning which characterised Ravel's work. [8] Henze's glittering music is the dominating force, although it is a difficult score to dance to, with the pulse well hidden within its general sheen, but it is atmospheric and often exciting, bringing the close of Act I to a climax.
... singularly appropriate, quite descriptive, and adds charm and perfection to the ballet. This theme intensifies throughout the opening movement, recitative. Ondine appears from the sea and takes Gianninaґs place in the boat. [8] The first act of the ballet takes place in the courtyard of the castle of Palemon where Ondine is seen dancing in the waterfall. The orchestral momentum, of high violins en masse, sprightly wind writing, brass chords punctuating the highly charged rhythmic style, and a continuation of bravura piano writing, is maintained throughout the opening of the pas de six that follows. [citation needed]. The tempo slows down, while "sparse textures with solo instrumental sounds floating above quiet accompanimental figures create a different sound world". This section finishes with a Largo solenne movement. A pas de six in the same tempo includes virtuoso writing for the piano, which leads the orchestra for the ensuing pas de trois, though the orchestra controls the second pas de trois while the piano has more virtuoso work with rippling cascades of notes; before the Stravinskian rhythms emerge for piano and orchestra at the beginning of the pas de dix-huit. In many ways, Perrot's ballet is more similar to René-Charles Guilbert de Pixerécourt's play of the story, Ondine, ou la Nymphe des Eaux, which was first presented in Paris in 1830 while Perrot was also performing there. Maria Almeida was chosen to revive the lead role in 1990 and Viviana Durante has subsequently continued in the tradition of Fonteyn. She is observed by Palemon, a mortal man, who is completely entranced by her innocence and gentle manner of playing and marvelling at the sight of this shadow. The original scenery was designed by William Grieve. [9] The ballet has also been staged at Sadler's Wells, London and the Metropolitan Opera House, New York. The Times, a London newspaper, described Pugni's score as .mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 40px}.mw-parser-output .templatequote .templatequotecite{line-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0}.
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