Connelly, Paul - Sylvia

A modern/classical hybrid. Unlike some other modernized versions of traditional ballets which seem to do little more than "update" for the sake of change, this newer version of "Sylvia" is not a reworking of the old. While thetraditional Delibes score remains unchanged, this contemporary ballet appears to exist outside of time as we know it, reinforcing, for me, the mythical qualities of the storyline. Ambiguously and mysteriously referential, the costumes range from contemporary formal attire to inventive abstract/non-objective design to the Odd Nerdrum-looking dress of the warriors. The physical interactions (choreography, mime) - which are both traditional on-point and modern dance - are no less-challenging in their poetic ambiguity.Reinforcing all of this is the wonderful Delibes program music with its visual and emotional evocations. Not unlikeKubrick's use of a Strauss waltz in the "2001: A Space Odyssey" docking scene, this music, in its universality will animate anything it touches. And if what it touches, as with John Neumeier's work here, is richly informed, the music itself will gain from it. This ballet, after numerous viewings, has become one of my favorites. It is uniquely alive in its willingness to take chances - all with aesthetic restraint.And if that is not enough, Sylvia features 5 of the Paris Opera Ballet's principal dancers, - simple, colorful, andspacious sets - and inventive lighting. It is a one-of-a-kind experience, with many layers of aesthetic quality, on a technically well-made DVD that comes close to blu-ray quality in both image and sound. And it appears to be coming rarer and/or more expensive.

Like most of you who love to watch ballet, you're probably hooked on the Royal Ballet version done by Frederick Ashton, which is totally classical ballet. In that version, the story is clear and easy to follow.I'm not a big fan of the more modern dance choreography and had trouble following the story line and figuring out who was who because of the costuming. The first act has everyone costumed in baggy outfits, which didn't make any sense to me. I think the character of Diana plays a bigger role in this version than the Ashton version where she just appears in the third act.The second act moves us to gala party scene with beautiful costumes (the cover is from the second act), but again, the movement between sets and the "sameness" of the costumes made it difficult for me to follow the story line.In any case, you can't go wrong with the Delibes score that we all love. Some of the dancing is quite beautiful. Personally, I didn't "get" the interpretation.

Being well acquainted with the Ashton version of Sylvia (which I like very much) I was looking forward to another interpretation of this ballet. What a disappointment! By and large, I agree with Susan Benson's review; what I would add to it is this: to a considerable extent, there is no connection between the music and what is happening on the stage.

The dancing by the main cast is excellent in this very well thought out retelling of the original ballet. This is a typical John Nuemeier production showing again that he is a man of genius. Memorable performances by Aurelie Dupont, Marie-Agnes Gillot and Nicolas Le Riche who is an effective seducer of Sylvia (Aurelie Dupont) in the combined role of Amor and Orion. This is well filmed showing exactly John Neumeier wants the camera to focus on.

My excited anticipation of watching a TV recording of the wonderful Paris Opera Ballet dancing one of my favourite ballets (Ashton's Sylvia with Darcey Bussell at the ROH) was dispelled immediately at the start of this 2005 performance which shows the Goddess of the Hunt, Diana, with Sylvia and other followers at target practice with `real' bows and arrows, dressed in shorts and jerkins. Grumpy was the word for me!However, by the end I was completely captivated and intrigued, watched it again and then bought the DVD which has a feature with the choreographer, John Neumeier, and his vision for his re- working of Sylvia. You could say it takes Sylvia on the journey of growing up - from a Diana `groupie', to first love, seduction/ambition, maturity and choice which concludes with a meeting with her first love. Especially useful was Neumeier's explanation of his decision to highlight the myth of Diana and her love for the sleeping mortal Endymion. So the mythology is still there: Amor (Eros) takes a more prominent and mischievous role. The DVD booklet lists the titles of each segment of each scene - which helped me immensely in understanding the ballet.The choreography is dynamic, modern but still very balletic - some parts are intriguingly slow and allow the music to play a full part in demonstrating emotions splendidly. The stage and costume design are well described in the Amazon product description: `Supported by the cautiously simple but very effective stage and costume design by the Greek painter Yannis Kokkos, emphasising the dancing rather than dominating it'.Like me you may need to view this performance more than once to really appreciate it - and you can still enjoy the ROH version because it is so different.

John Neumeier, who is if not the pope then at least one of the top cardinals in the world of ballet, has attempted to modernize Sylvia, Leo Delibes wonderful ballet. Too bad he found a ballet company that invited him to try to fix what isn't broken. With his newfangled choreography, Neumeier attacked Delibes' masterpiece. Of course, such an attempt is a great artistic spectacle, if it turns out well.The new Sylvia -- Neumeier's super-modern presentation of Sylvia -- is as boring as watching the grass grow. I listened first to his explanations which are part of the DVD. He tries to convey his concepts for this new production. I read the new story for Sylvia that Neumeier had developed for his exploit, and only then did I watch the ballet. However, soon got lost in the labyrinth of the modern story that isn't one.No dancer smiled. They all showed stern and boring faces which reflected in their dancing: boring and most of it in slow-motion.When Neumeier stated in his opening monologue that he had to borrow other music from other Delibes' works to satisfy his concept of the new Sylvia, I already knew that something bad would be happening. And it did. A convulsive happening of dancers lost on a large, empty stage. Has beauty been banned for a modern ballet?If you, the prospective buyer, want to see Sylvia buy one of several gorgeous presentations of this classical ballet. I gave the new Sylvia two stars to show that I appreciated the dancers and the musicians, but the Neumeier choreography with its minus three stars has dragged even the best ballerina down by three notches.