La fille mal gardée
The Wayward Daughter | |
---|---|
Native title | La Fille mal gardée |
Choreographer | Jean Dauberval |
Premiere | 1 July 1789 Grand Théâtre de Bordeaux, Bordeaux, France |
Genre | Comic ballet |
La Fille mal gardée (from
La Fille mal gardée is one of the oldest and most important works in the modern ballet repertory, having been kept alive throughout its long performance history by way of many revivals. The work has undergone many changes of title and has had no fewer than six scores, some of which were adaptations of older music.
Today La Fille mal gardée is normally presented in one of two different versions: many ballet companies feature productions which are derived from
The appealing simplicity and the naïve familiarity of the action of La Fille mal gardée have lent it a popularity that has established it in the repertory of many ballet companies all over the world.
The origins of La Fille mal gardée
La Fille mal gardée was the creation of Jean Dauberval, one of the greatest choreographers of his day. He was trained under the influential teacher Jean-Georges Noverre and is further distinguished as the teacher of Charles Didelot, known today as "The Father of Russian Ballet". Legend has it that Dauberval found his inspiration for La Fille mal gardée while in a Bordeaux print shop, where he viewed an engraving of Pierre-Antoine Baudouin's painting Le reprimande/Une jeune fille querellée par sa mère. The painting showed a girl in tears with her clothes disarrayed being berated by an old woman (presumably her mother) in a hay barn, while her lover can be seen in the background scurrying up the stairs to the safety of the loft. Allegedly[according to whom?] this quaint work of art amused Dauberval so much that he immediately set out to craft a suitable scenario for a ballet.
The ballet was first presented at the
The ballet's original title was Le ballet de la paille, ou Il n'est qu'un pas du mal au bien ("The Ballet of the Straw, or There is Only One Step from Bad to Good"). The work met with public success and proved to be Dauberval's most popular and enduring work.
The music
In the late 18th and early 19th centuries scores for ballets were often patchworks (or a pastiche) of popular airs derived from well-known dances, songs and/or operas. These scores were often arranged and adapted by either the theatre's director of music or by the lead violinist of the opera house's orchestra, who at the time also served as conductor (the separate role of orchestral conductor was not yet established).
The 1789 score for La Fille mal gardée was itself an arrangement of fifty-five popular French airs. The surviving orchestral parts of the 1789 score do not list a composer/arranger, and no extant contemporary account of the original production mentions a composer. It is possible that Dauberval himself arranged the score, for he certainly devised the ballet's scenario and was a competent violinist. If it was not his work, then it may have been one of the musicians employed by the theatre.
Revivals of Dauberval's original version
Two years after the premiere, Dauberval travelled to London to mount the work for the Ballet of the King's Pantheon Theatre, and for the occasion he changed the title of the ballet to La Fille mal gardée, as the ballet is now commonly known. For the first performance on 30 April 1791, Dauberval's wife Mme. Théodore reprised her role as Lise, while Dauberval's student, Charles Didelot danced Colas.
The 1789 score was loathed by the musicians of the Pantheon Theatre Orchestra. When the orchestral parts were rediscovered in 1959 by the ballet historian and musicologist Ivor Guest and the conductor John Lanchbery, they were found to be covered with comments ranging from the witty to the crude. In the original manuscript the title of the ballet was sprawled atop the pages. The lead violinist of the first London performance crossed out the title, and in its place wrote "Filly-Me-Gardy".
Jean-Pierre Aumer's new version to the music of Hérold
The choreographer
On 17 November 1828, Aumer presented a completely new version of La Fille mal gardée at the Paris Opéra especially for the Ballerina
The Fanny Elssler pas de deux
In 1837, the great Austrian Ballerina Fanny Elssler made her debut at the Paris Opéra in Aumer's production of La Fille mal gardée. As was the custom of the time, a ballerina would commission new Pas and variations to be interpolated into already existing ballets for their own performances. Making use of the extensive archives in the Paris Opéra's library, the ballerina selected her favourite airs from Donizetti's extremely popular score for the opera L'elisir d'amore. The library's copyist Aimé-Ambroise-Simon Leborne assembled and orchestrated the music for her.
Elssler's
Paul Taglioni's new version to the music of Hertel
The Italian choreographer
In May 1876, the Italian ballerina Virginia Zucchi made her debut in Taglioni's production in Berlin. The celebrated ballerina triumphed in the role of Lise, revitalising the work with her expressive portrayal.
La Fille mal gardée in Russia
In Russia, La Fille mal gardée (Russian: Тщетная предосторожность) was staged for the first time by the Ballet Master Giuseppe Solomoni in 1800 for Michael Maddox's Petrovsky Theatre (the predecessor of the Bolshoi Theatre) in Moscow, a production that was later revised by Solomoni's successor Jean Lamiral in 1808. Both productions utilised the original pastiche score of 1789, perhaps in adaptations prepared for each respective staging.
The first production of La Fille mal gardée to be performed by the St. Petersburg Imperial Ballet was staged by Jean Dauberval's student
A production of Jean-Pierre Aumer's 1828 version of La Fille mal gardée, set to the music of Hérold, was first staged in Russia at the Moscow Bolshoi Theatre in 1845 by the Balletmaster Irakly Nikitin. The great choreographer Jules Perrot—Premier Maître de ballet of the St. Petersburg Imperial Theatres from 1850–1859—staged his own version of Aumer's production for the company in 1854, and for this production added new music to the ballet by the composer Cesare Pugni. Perrot's staging was given for the last time in 1880 for a benefit performance for the Imperial Ballet's Premier danseur Pavel Gerdt.
Marius Petipa and Lev Ivanov's revival
The great Italian ballerina Virginia Zucchi toured St. Petersburg in 1885, performing successfully in different works at various theatres throughout the Imperial capital. In August of that year Emperor Alexander III requested that the Imperial Theatre's director Ivan Vsevolozhsky invite Zucchi to perform with the Imperial Ballet. Zucchi agreed, and chose Paul Taglioni's 1864 version of La Fille mal gardée to the music of Hertel for her début. The director Vsevolozhsky was required to pay an extremely high price to obtain Hertel's score from Berlin, while Zucchi herself commanded large fees plus a benefit performance in her contract.
The production of La Fille mal gardée was staged jointly by the Imperial Ballet's Premier maître de ballet Marius Petipa and the company's régisseur and second ballet master Lev Ivanov, while Zucchi herself would assist with staging some of the dances she had known from Paul Taglioni's version. The production also incorporated dances from the Imperial Ballet's old production to the music of Hérold. The reasons for the joint staging by both Petipa and Ivanov are not entirely clear, though it may be due to the fact that Ivanov was needed to stage the numbers brought out from the old production of the ballet. Petipa was responsible for the setting of all of the new dances, and even commissioned the composer Ludwig Minkus to score music for two additional variations for Zucchi.
The production premiered under its traditional title in Russia La Précaution inutile (Vain Precaution) on 28 December [O.S. 16 December] 1885. Zucchi's performance as Lise instantly became a legend in Russia, where she was soon known as "The Divine Virginia". During the famous mimed scene known as "When I'm Married", contemporary accounts tell us that Zucchi's performance made such an impression that it brought many in the audience to tears. The ballerina was much celebrated for the famous Pas de ruban, for which Lise and Colas dance a pas elaborated by the use of ribbons, with Colas pretending to be a horse and Lise running along.
After Zucchi left the Imperial stage, Lev Ivanov mounted an abridged version of La Fille mal gardée for performances at the Imperial Theatre of
La Fille mal gardée proved to be a useful vehicle for the great ballerinas of the old Imperial stage, most notably
A feature of the Ivanov production was the use of live chickens on stage. One evening when Preobrajenskaya danced the role of Lise, her rival Kschessinskaya let all of the chickens out of their coops during her variation, with many of them landing in the orchestra pit and even on the laps of many of the musicians. Preobrajenskaya kept on dancing as if nothing happened.
The difficulties brought upon the Russian ballet as a result of the
Notation of the Imperial Ballet's production
As with many of the works that comprised the St. Petersburg Imperial Ballet's repertory at the turn of the 20th century, the Petipa/Ivanov/Hertel production of La Fille mal gardée was notated in the
Today all of these notations, including those for the Imperial Ballet's production of La Fille mal gardée, are part of a collection known as the Sergeyev Collection, which is today housed in the theatre collection of the Harvard University Library. In 2015 the choreographer and historian Sergei Vikharev staged a production of La Fille mal gardée for the State Ballet of Ekaterinburg that utilized the notation from the Sergeyev Collection. The production premiered on 15 May 2015 at the Ekaterinburg State Academic Opera and Ballet Theatre.
La Fille mal gardée in the 20th century
Alexander Gorsky's revival
On 20 December [
Soviet-era productions
In 1930 the choreographers Asaf Messerer and Igor Moiseyev mounted a new version La Fille mal gardée for the Bolshoi Ballet, which was based on the 1903 edition by Gorsky. For this production Messerer and Moiseyev added a new act to the ballet titled The Wedding of Lise and Colas, set to an arrangement of music taken from Glinka's Orpheus.[clarification needed] Messerer and Moiseyev's version remained in the Bolshoi Theatre's repertory for only two years, and was then revived under the title The Rivals in 1935, with the Hertel/Glinka music revised by the conductor Alexander Mosolov. This version was given only eighteen performances and then dropped from the repertory altogether.
The Bolshoi presented yet another revival of La Fille mal gardée in 1937, in a completely new version staged by the choreographer Leonid Lavrovsky. For this production Lavrovsky commissioned the composer Pavel Feldt to create a new score based on the traditional music of Hertel, which included all of the interpolated music the score acquired via Gorsky's revival. After eleven performances Lavrovsky's production was taken out of the Bolshoi Theatre's regular repertory, only to be presented at irregular intervals until the early 1970s. From then on the production was relegated only to occasional performances given by the top graduates of the Bolshoi Ballet Academy.
In 1989 the Kirov/Mariinsky Ballet's director Oleg Vinogradov mounted a new version of the ballet for the Kirov Ballet, largely based on the traditional Petipa/Ivanov/Gorsky productions from the turn of the 20th century. In spite of being a great success, Vinogradov's production was taken out of the repertory after his departure as director of the Kirov/Mariinsky Ballet in 1995, and to date the company has no production of the full-length work in their repertory.
La fille mal gardée in the West
The first performances of any Russian version of La Fille mal gardée (i.e., derived from Petipa and Ivanov's revivals) in the West were presented by the touring company of the legendary ballerina Anna Pavlova, one of the most celebrated interpreters of the role of Lise, who while touring London in 1912 performed in an abridged version of the ballet.
In 1942 the
Many of the dancers who worked with the Ballet Russe de Monte Carlo went on to have successful careers as choreographers, teachers and balletmasters abroad, and would use Balachova's version as a basis for many revivals throughout the world. The celebrated ballerina
In 1985 Claude Bessy staged her version of La Fille mal gardée for the Ballet School of the Paris Opéra, a production inspired by the 1972 version of Dimitri Romanoff for American Ballet Theatre. For this production Bessy used Hertel's 1864 score in an orchestration by the Paris Opéra's conductor Jean-Michel Damase.
Frederick Ashton's Royal Ballet production
In 1959, the choreographer
Originally Ashton intended to use the 1864 score of Peter Ludwig Hertel as it had been used for nearly every revival of the ballet since the late 19th century, but after close inspection of this music Ashton decided it would not suit his plans. At the suggestion of the ballet historian and musicologist Ivor Guest, Ashton found the light, simple music of the 1828 score by Ferdinand Hérold, more suitable for his conception.
Ashton then commissioned the Royal Opera House's conductor John Lanchbery to orchestrate and edit Hérold's score, using it as a foundation for an entirely new score, for which Lanchbery composed a few new numbers, incorporating passages of the original pastiche music from the premiere of 1789 into the score, and one number from Hertel's score which was utilised for the famous Clog Dance. Ashton was disappointed that Hérold's score contained no suitable Grand pas; Ivor Guest found a violin reduction of the pas de deux that Fanny Elssler had arranged for her performance in the ballet in 1837, tucked away in an old box of music at the Paris Opéra. This number is now known as The Fanny Elssler pas de deux.
Ashton created what is considered to be among his most masterful choreography for his new version of La Fille mal gardée. He resurrected the Pas de ruban for Lise and Colas, in which the lovers perform a charming pas with intricate tricks using a pink satin ribbon. Ashton took this idea to an entirely new level with the Fanny Elssler pas de deux, devising a spectacular
To inspire Lanchbery to write music for the Clog Dance, Ashton took the composer to a performance of
Ashton's 1960 version of La Fille mal gardée has been staged for many companies throughout the world and has become the more or less "traditional" version, replacing the productions derived from the Petipa/Ivanov/Gorsky versions danced in Russia to the music of Hertel. Among such companies are the Bolshoi Ballet (2002), and American Ballet Theatre (2004). In spite of this, the famous La Fille mal gardée pas de deux, which is taken from the Petipa/Ivanov/Gorsky versions of the ballet, is still performed with regularity as a gala excerpt, and is often used by various young dancers on the ballet competition circuit.
After Ashton's death, the rights to his staging of La fille mal gardée passed to Alexander Grant, the original performer of the role of Alain. In 2007, the Paris Opéra Ballet invited Grant to supervise a staging of Ashton's version, which premiered at the Palais Garnier on 22 July 2007 with Dorothée Gilbert as Lise, Nicolas Le Riche as Colas, Simon Valastro as Alain, and Stéphane Phavorin as Widow Simone.
As part of a contract between the BBC and the Royal Ballet signed in 1961, La fille mal gardée was one of nine ballets filmed for television, and was broadcast over Christmas 1962 with the original cast.[4] There have been subsequent video recordings issued by the Royal Ballet. In 1962, Lanchbery recorded excerpts of music from his adaptation of Hérold's score, and in 1983 he recorded the complete work, again for Decca Records.
The Ballet du Rhin's revival of the 1789 original
The performance history of La Fille mal gardée came full circle in 1989, when the
Characters
- Lise, (the badly-guarded daughter)
- Colas, (Lise's beloved)
- Widow Simone, (Lise's mother, traditionally danced by a man)
- Alain, (Lise's rich dimwitted suitor)
- Thomas, (Alain's father)
- Notary
- Farm workers, friends of Lise and Colas
- Rooster and three hens
Synopsis
Lise and Colas are in love and want to marry. However, the Widow Simone wants Lise to marry the dimwitted, but extremely rich, Alain, and has arranged (with Alain's father Thomas) for a marriage contract between Lise and Alain. The Widow Simone does her best to keep Lise and Colas apart, but is unsuccessful in her attempts to do so.
At harvest time the Widow Simone and Lise are taken to the field for a picnic lunch by Thomas and Alain. The farm workers join in a ribbon dance around a maypole, and the girls also join in a clog dance with the Widow Simone. There is a thunderstorm and everyone rushes for shelter. Alain is carried away on the wind by his open umbrella.
The Widow Simone and Lise return to their home. The widow wants Lise to sit down at the spinning wheel and spin, but Lise spins while she is up dancing, nearly strangling the widow. After a while, the widow wants Lise to dance, and Lise shows signs of unhappiness, but obliges. The widow takes a tambourine to play in time with Lise's dancing. When the widow is asleep, Lise tries to steal the key from the widow's pocket, to prevent the widow from locking her in, but is unsuccessful. The crops are brought in by the farm workers, and the widow then leaves the house (after locking the door behind her to prevent Lise from leaving the house). Lise thinks about Colas and mimes being the mother of a large number of children. To her embarrassment, Colas suddenly rises from the stacked crops. At the sound of the Widow Simone's returning to the house, Lise and Colas look around desperately for a place where he can hide. Not finding anywhere suitable in the living room, Lise takes Colas to her room, and she returns to the living room just before Widow Simone enters the house. The Widow Simone orders Lise to go to her room and put on her wedding dress for her forthcoming marriage to Alain. The horrified Lise tries to remain where she is, but the Widow Simone pushes Lise into her room and locks the door.
Thomas arrives with his son Alain (who is still clutching his umbrella). They are accompanied by a notary who is to act as witness to the marriage. The farm workers (friends of both Lise and Colas) also arrive. The Widow Simone gives Alain the key to Lise's room. When Alain unlocks the door to Lise's room, Lise appears in her wedding dress, accompanied by Colas. Thomas and Alain take offence, and the enraged Thomas tears up the marriage contract. Thomas, Alain and the notary leave the house in dudgeon. Lise and Colas then beg the Widow Simone to look favourably upon their suit. Love conquers all and the widow relents. Joyfully celebrating the happy outcome for Lise and Colas, everyone leaves, and the house is left quiet and empty, until Alain returns for his umbrella which he had accidentally left behind. So Alain is also happy with the love of his life – his umbrella.
Recordings of the music
Recordings have been released of John Lanchbery's 1960 adaptation of the Ferdinand Hérold score and of excerpts from Hertel's 1864 score.
- La Fille mal gardée – excerpts, John Lanchbery conducting the Orchestra of the Royal Opera House, Covent Garden. These excerpts from Lanchbery's 1960 adaptation of Hérold's 1828 score, recorded in February and March 1962, have regularly been reissued and frequently been praised by reviewers for the exceptional sound quality.[5] The original LP (Decca SXL 2313) even found its way onto the "Superdisc List" maintained by The Absolute Sound.
- Hérold: La fille mal gardée (highlights), Barry Wordsworth conducting the Royal Liverpool Philharmonic Orchestra. This recording of excerpts from Lanchbery's 1960 adaptation of La Fille mal gardée was originally released on LP in 1983 (HMV ASD1077701) and re-released in 1988 on CD (Classics for Pleasure 586 1782).[6]
- Hérold – La Fille mal gardée – complete , John Lanchbery conducting the Orchestra of the Royal Opera House, Covent Garden. This recording was originally released on LP in 1985 and has been reissued on CD (Decca 430,849–2 and Decca Eloquence 442 9048). It contains the complete score of La Fille mal gardée in Lanchbery's adaptation.[7]
- Hérold – La Fille mal gardée (complete), DVD, choreography by Frederick Ashton, John Lanchbery conducting the Orchestra of the Royal Opera House, Covent Garden, with Lesley Collier, Michael Coleman, Recorded in performance 7 January 1981, Royal Opera House, Covent Garden, Kultur DVD.[8]
- Hérold – La Fille mal gardée (complete), DVD, choreography by Frederick Ashton, John Lanchbery conducting the Orchestra of the Royal Opera House, Covent Garden, with Nadia Nerina, David Blair, 1962 BBC recording, International Classical Artist DVD.[9]
- Hérold • Hertel – La Fille mal gardée (complete), DVD, choreography by Heinz Spoerli, John Lanchbery conducting Wiener Philharmoniker, with Valentina Kozlova, Chris Jensen, and Basel Ballet, filmed in Cologne, 25 August -- 10 September 1986, Deutsche Grammophon DVD.[10][11]
Usage
The music from the Clog Dance is used for the soundtrack in the Christmas 2015 advertisement for Quality Street, a popular brand of confectionery in Britain.[12]
Historic photographs
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Pavel Gerdt as Colas in Jules Perrot's production. St. Petersburg, circa 1865.
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Anna Prikhounova as Lise in Jules Perrot's production. St. Petersburg, circa 1865.
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Vasily Geltser as the Widow Simone in Jules Perrot's production. St. Petersburg, circa 1865.
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Alexander Gorsky's production. Moscow, circa 1915.
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Anna Pavlova as Lise in the Petipa/Ivanov production. St. Petersburg, circa 1915.
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Olga Preobrajenskayaas Lise in the Petipa/Ivanov production. St. Petersburg, 1899.
Sources
- Guest, Ivor Forbes. La Fille mal gardée: History of the Ballet.
- Guest, Ivor Forbes and Lanchbery, John. The Score of La Fille mal gardée. Published in Theatre Research, Vol. III, No. 3, 1961.
- Guest, Ivor Forbes. CD Liner Notes. Ferdinand Hérold. La Fille mal gardée – Excerpts. John Lanchbery Cond. Orchestra of the Royal Opera House, Covent Garden. CD Decca 430,196–2
- Guest, Ivor Forbes. CD Liner Notes. Ferdinand Hérold/Charles Lecocq. La Fille mal gardée / Mam'zelle Angot . John Lanchbery cond. Orchestra of the Royal Opera House, Covent Garden / Richard Bonynge cond. National Philharmonic Orchestra. 2CD Decca 430,849–2.
- Kirov/Mariinsky Ballet / Mariinsky Theatre. Theatre Program for La Fille mal gardée. January 1994.
- Royal Ballet / Royal Opera House, Covent Garden. Theatre Program for La Fille mal gardée. February 1978 and January 1998.
- Wiley, Roland John. The Life and Ballets of Lev Ivanov.
References
- ^ "Une jeune fille querellée par sa mère".
- ^ John Martin (20 January 1940). OLD COMEDY GIVEN BY BALLET THEATRE: Ancient 'La Fille Mal Gardee' by Dauberval Revived With Nijinska as Director PATRICIA BOWMAN DANCES Performs Role of Lisette— Yurek Shabelevsky Is Colas and Koslof Enacts Alain.
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ignored (help) - ^ "La Fille mal gardée (1960)". Royal Opera House Collections on Line. Retrieved 4 August 2010.
- ^ The Royal Ballet on BBC TV. About the House, November 1962, p29.
- Classic Record Collector, Spring 2003, Vol 32, p66-67.
- ^ Review by Roger Fiske. Gramophone. October 1983, p67.
- ^ Review by Andrew Lamb. Gramophone. December 1991, p152; & Review by Roger Fiske. Gramophone. September 1984, p43.
- ^ "La Fille mal gardée". www.worldcat.org. Retrieved 30 August 2022.
- ^ La Fille mal gardée, retrieved 30 August 2022
- ^ "La fille mal gardée". www.worldcat.org. Retrieved 31 August 2022.
- ^ "HÉROLD La Fille mal gardée Kozlova DVD-V". www.deutschegrammophon.com. Retrieved 31 August 2022.
- ^ "Quality Street's TV ad muscles in on Coke's 'first sign of Christmas' mantle". campaignlive.co.uk. Retrieved 16 April 2018.
External links
Media related to La fille mal gardée at Wikimedia Commons
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