When she kisses him, he dies and she brings his body back into the sea with her forever. A contemporary review described it as " ... one of the most beautiful productions that any stage ever boasted of." [10] According to many critics, the music did not suit Ashton "who had been hoping for music as "radiant" as the Mediterranean from which its heroine was born". He has never seen a creature as lovely as her and decides to marry Ondine, forsaking his betrothed, Beatrice (Berta). This act begins with a striking unison theme in the strings, soon interrupted by strident brass. This theme intensifies throughout the opening movement, recitative. However, the ballet's divergence from the original novel "derive from intermediary works linking the book and the ballet, which Perrot used to enrich and enhance his theatrical conception".
Ondine returns, however, and is heartbroken when she discovers Palemon's unfaithfulness. In 1867 he revised much of the choreography for the performance of Ekaterina Vazem, with Pugni composing two new variations especially for her performance. [2] The strings gently introduce the Dance of Sorrow, which then gains in intensity with a richer string texture. Palemon deserts Berta, whom he has been courting, and decides to marry Ondine.
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. From its première in 1958 until the work was removed from the repertoire in 1966, nearly every performance of Ondine saw Fonteyn cast in the lead role, with the only occasional exceptions seeing Nadia Nerina and Svetlana Beriosova dancing the role. The resulting ballet was a collaboration between Ashton and the German composer Hans Werner Henze, who was commissioned to write the score. Undine was first recorded commercially in 1996: it was nominated for the 1999 Grammy Award for Best Orchestral Performance. The boat approaches a deserted shore. This combination of the genres of early German Romanticism and the neoclassicism of Stravinsky gives the score a 'modern' sound "automatically made it anathema to the avant-garde of the 1950s". [5] Even when it was revived in 1988, it was hailed neither as a disaster nor as a lost masterpiece. "[7] Edwin Denby dismissed Ondine: after praising Fonteyn he said "But the ballet is foolish, and everyone noticed". 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 … This is evoked by the use of high violins and wind chords together, similar to that of Stravinsky's The Rite of Spring. [11], Ondine is not a classical construction with great set pieces (except for the wedding divertissement in the third act) or grand formal pas de deux, but a continuous, flowing narrative. In 1958 the ballet was widely seen as having choreography and décor in harmony with each other but fighting with the music; now it's the choreography and the music which seem to speak the same language, while the sets look not only backward but to the north. [7] Some commentators have noted that this is perhaps a consequence of its length (around 100 minutes) which does not compare with other twentieth century ballets.
Ondine is a play written in 1938 by French dramatist Jean Giraudoux, based on the 1811 novella Undine by the German Romantic Friedrich de la Motte Fouqué that tells the story of Hans and Ondine. Unlike them, is through-composed: there are no breaks for bows to the audience built in and (at least until the third-act divertissement) no bravura variations to self-consciously elicit the audience's response. 7 December] 1903, and was the last revival of Perrot's ballet staged in Imperial Russia, though the full-length ballet continued being performed by the Leningrad ballet until 1931. Henze also uses the original name Beatrice rather than Berta. Eventually the work was completed, but when Ashton heard a recording of the orchestrated score he realised that he would have to revise his ideas; the sustained orchestral sounds were such a contrast to the piano score and made him think very differently.[2].
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