La Source

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La Source is a ballet in three acts/four scenes with a score collaborated on by Léo Delibes and Léon Minkus (Minkus: Act I & Act III-Scene 2/Delibes: Act II & Act III-Scene 1).

The choreography is by Arthur Saint-Léon, who collaborated with Charles Nuitter in the libretto. The original designs are by Edouard Desplechin, Jean-Baptiste Lavastre, Auguste Rubé, Chaperon (sets), Paul Lormier (costumes).

The first production opened at the Theatre Imperial de l'Opera in Paris on 12 November 1886; with Guglielmina Salvioni (Naïla), Eugenie Fiocre (Nouredda) and Louis Merante (Djémil) as principal dancers.

Other productions included: Teatro alla Scala with choreography by Cesare Marzagora after Saint-Léon, Milan, 1875/76.

1 History
2 Plot Outline
3 Analysis
4 References

[edit] History

Saint-Léon's La Source, more noteworthy for its Second Empire mediocrity than for artistic merit, was produced in Paris after ballet-mania had peaked and plunged.

The first grand ballet to have its premiere at the Paris Opéra in a half-decade, La Source adhered to shopworn Romantic principles, attempting to reproduce the formula's success. Motivated by box-office potential instead of artistic compusion, the ballet offered applause-winning scenic delights and a praiseworthy score, but lacked the creative vision that separates art from diversion.

La Sources's score, a collaboration between Léon Minkus, who understood choreographic demands and public tastes, and Léo Delibes, a neophyte then testing his balletic composition talents, accurately captured the dramatic essence of each act and provided a flattering musical contrast. Although Minkus's first scene was criticized for thinness, his music, always danceable and consistent, echoed the languidness and melancholy depicted in the ballet's opening and finale. Delibes' composition (scenes 2 and 3), though conspicuously dependent upon Mendelssohn's A Midsummer Night's Dream, was acclaimed as the more melodious, lively, rhythmic, and artistically complex contribution. Significantly, Delibes's success with La Source brought him the commission for his masterwork- Coppélia.

Because Saint-Léon was a notoriously inept scenarist, Charles Nuitter, the Paris Opéra's archivist, was hired by the management to devise La Source story. However, Nuitter non-artistic contribution to the ballet was greater than his creative output. As a correspondent to Saint-Léon, employed in Russia and unable to conduct the ballet's pre-performance rehearsals, Nuitter acted as a reporter to, and liaison for, the absent choreographer, disseminating instructions, decisions, and corrections to the Paris Opéra's manager Emile Perrin, to Delibes, and to the artistic staff and dancers. As Saint-Léon's artistic lifeline, Nuitter was instrumental in La Source's production and in building the trust, friendship, and team spirit that would later spawn an unequivocal masterpiece- Coppélia, the ballet which would crown his success as a scenarist.

[edit] Plot Outline

The plot is a convoluted tale about Naïla, Spirit of the Spring, who is protected by the hunter Djemil and therefore helps him to win his love, Nouredda.

Although helpful reviewers suggested structural improvements, the ballet's scenario, common to the era's declining standards, was hopelessly inconsistent, a defect blatantly demostrated by the plot's faulty dramatic impetus: Djémil prevents the gypsy Morgab from polluting Naïla's spring, only to cause its ultimate evaporation and ensuing ecological destruction with his own inconsideratin. Although nymph/mortal relationships are predestined for doom by Romanticism's dictates, Djémil never proves himself worthy of Naïla's sacrifice. He is initially inspired by Morgab's spell to pursue the indifferent Nouredda, then is fired by revenge, and finally, in the last scene, is motivated by self-gratification- knowingly placing the fulfilment of his desire before Naïla's life. Nouredda, as a conspirator with Morgab and Mozdock, is an unsympathetic character. She deceives Djémil and repeatedly imperils his life. Although Djémil's disloyalty towards Naïla equates with Nouredda's betrayal of him, proving their compatibility, the story's only purpose is to unite two people, who without magical intervention, would not have chosen each other.

[edit] Analysis

Saint-Léon, who was gifted with musicality, was reputed for filling his ballets with well-structured variations and dances, exemplified in La Source by Leontine Beaugrand's dainty Act II solo and the charming Guzla Dance performed by Eugenie Fiocre. Also noted for his penchant for stage effects, along with a skill in utilizing national dances and an ability to stage crowd scenes, Saint-Léon was particularly adept at creating choreography to display his dancers' talents. La Source, conceived for his muse Adele Grantzow, was specifically designed to show off her lightness, delicacy, and technical attributes.

With Grantzow incapacitated by injury, however, the role of Naïla was inherited by the Milan-trained ballerina Guglielmina Salvioni, renowned for her technical virtuosity, strength, and solid pointe work. Although somewhat graceless, the tall and harsh-features Salvioni compensated for her deficiencies with elegance and dramatic sensibility. Stylistically opposed to Grantzow, Salvioni was a gifted tragedienne who presented a successful interpretation of Naïla, adeptly applying her miming talents to the acclaimed death scene. Although criticized for errors in timing, along with lack of fluidity and an indistinctive style, she gave an adequate performance- but she was probably unable to puctuate the choreography artistically. Grantzow, who rightfully assumed her role in 1867, by contrast imbued Naïla with the required suppleness, grace, softness, and artistic shading.

Djémil was created by stout-legged Louis Mérante, who despite his physique was a capable, versatile performer and a partner preferred by numerous ballerinas. Although he originated many role at the Paris Opéra, his talent was unappreciated by the public, which was prejudiced against male danseurs. Consequently, he attracted scant critical notice. Graceful, dignified, and intelligent, he innately employed facial expressions and gestures to colour his characterizations, skills used to his advantage in La Source.

Although La Source won accolades for its staging, spectacle, dancing, and music, the ballet failed to exert lasting impact. The substitution of Salvioni for Grantzow may have contributed to its mixed reception. However, after Grantzow successfully re-created the leading role, the ballet did not achieve greatness. Saint-Léon absence during the initial refining process inevitably deterred tightening the action and polishing the choreography, which gleaned little critical attention.

Despite its inherent failings, La Source has been reworked by other choreographers, probably drawn to the music's appeal. Saint-Léon's later version, which partially resurfaced in Le Lys (1869), a vehicle for Grantzow, has vanished. Although La Source imparted little to dance history, the ballet served as an artistic "dress rehearsal", assembling the three talents- Delibes, Nuitter, and Saint-Léon- who would produce the Second Empire's last and greatest success, Coppélia.