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asks
Nouredda to choose any of the gifts and she selects a jewelled flower. Djémil throws it on the ground and magically a spring gushes forth from this spot and Naïla emerges from the fountain. She dances, entrancing the Khan, who kneels in front of her and he implores her to become his wife. She consents, provided he dismisses Nouredda, who angrily goes off as the Khan leads Naïla inside the palace.
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462:'. Part of his contribution was the waltz frequently known as the 'Naïla' waltz. It appears that it was transferred to one of the productions of 'La Source' when it was performed under the name of 'Naïla'. There are references to a version of that name using only Delibes's original music, although exact details are elusive. One might assume that it was for this production that the '
1106:
149:(Djémil) in the principal roles. The production was not particularly successful, Salvioni being considered unsuited to the rôle of Naïla. It triumphed in the following year, however, with Adèle Grantzow as Naïla, and remained a mainstay of the repertory for the next few years. A successful revival in 1872 showcased
260:
On her way to marry the Khan of
Ghendjib, the beautiful Nouredda and her accompanying party rest by a stream in a rocky desert. When Nouredda admires a flower which is growing in an inaccessible spot, Djémil, a young hunter, climbs up and picks it for her. Nouredda is thrilled and asks him to state
267:
In the grand palace gardens, where the court of Khan is awaiting
Nouredda's arrival, entertainment is offered to the guests: a solo for the favourites and a dance for Circassian slaves. A fanfare proclaims a visitor, incognito (Djémil), who proffers presents for the Khan and his bride. The visitor
161:
and had until then written operettas, songs and sacred music. A comparison of the music of the two composers greatly favoured
Delibes, whose contributions were considered "fresh and more rhythmic", with one critic suggesting that the whole ballet score should have been assigned to Delibes.
261:
whatever he wishes as his reward. He asks her to lift her veil so that he can see her face: in fury she orders that he be tied up and left to his fate. However, the nymph Naïla rescues him; she is in love with him and promises to help him win the hand of
Nouredda.
274:
Djémil can now pursue
Nouredda but she still rejects him; so he appeals to Naïla, who says that if he gets Nouredda to love him she herself will die. Djémil agrees, and as he departs with Nouredda, Naïla disappears back into the earth and the spring dries up.
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in the principal rôle, and it was for this production that the new variations for Naïla were introduced, the music most likely by
Delibes himself (Nos. 12b and 23a in the list of musical numbers in the piano score, see below).
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Three orchestral suites consisting of excerpts from the ballet were arranged either by
Delibes or another hand. The 2nd suite contains some music by Minkus, although the suites are attributed to Delibes.
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Opening measures of No. 16, 'Scène', followed by No. 21, 'Grand Pas d'action', and slightly abbreviated arrangement of No. 27, 'Final'.
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70:(Minkus: Act I & Act III-Scene 2/Delibes: Act II & Act III-Scene 1) which was premiered in Paris in 1866 with choreography by
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Discographical data from The CHARM Discography, Centre for the
History and Analysis of Recorded Music, <
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A conflation of parts of No. 19, 'Scène', No. 17, 'Scène. Arrivée de
Nouredda' and No. 16, 'Scène', all
234:, composer of most of the additional dances added to the company's repertory in the early 20th century.
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Boryana Petrova and Dmitri Timofeyev, Vaganova Academy graduation performance, 2008, on YouTube
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This article is about the Delibes/Minkus 1866 ballet. For Balanchine's 1968 ballet, see
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Andrew Mogrelia and the Slovak Radio Orchestra (1995) (Naxos) – Suites 2 and 3 only
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The CHARM database also lists other recordings of excerpts from the ballet: the
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was his first big success, marking him as an important composer for the ballet.
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781:(1956) for Pathé, and the Orchestre philharmonique de Paris conducted by
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b) Nouvelle variation de Naíla (Mlle. Sangalli) (1872, replacing No. 12a)
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after Coppini and possibly created for Preobrajenskaya; the music is by
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a) Nouvelle variation de Naïla (Mlle Sangalli) (1872, replacing No. 20)
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211:– Marina Semyonova started to work on the scene from this ballet.
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pas de deux taken from the 2008 graduation performance of the
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The suites contain almost all of Delibes's contribution to
466:' divertissement found its way into the score of 'Naïla'.
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and the Orchestra of the Royal Opera House (1956) (EMI)
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853:/ ru: Marina Semenova / Семенова Марина Тимофеевна
279:Musical numbers, following the piano score of 1880
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876:http://www.charm.kcl.ac.uk/about/about_structure
775:Orchestre du Théâtre national de l'Opéra-Comique
575:, followed by No. 24, 'Marche dansée et Final',
133:(costumes). The first production opened at the
804:, Ballet Notes, 2001. Retrieved 11 June 2005.
113:in the libretto. The original designs were by
900:
843:. Faber & Faber, London and Boston, 1981.
757:'s 'Le Corsaire', including the 'Naïla' waltz
336:a) Variation de Naïla (Mlle. Salvioni) (1860)
825:Ballet music – an introduction, 2nd edition.
1157:Ballets premiered at the Paris Opera Ballet
907:
893:
753:Le jardin animé – Delibes contribution to
617:No. 23a, 'Nouvelle Variation de Naïla',
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205:Theatre of Opera and Ballet in Leningrad
157:Delibes was second chorus master at the
89:
28:
730:Excerpts from Delibes part of the score
561:, followed by part of No. 16, 'Scène',
188:made his solo debut in the last act of
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888:
592:Sections 2 and 3 of No. 25, 'Scène',
321:8. Scène dansée (Apparition de Naïla)
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445:
330:11. Danse des sylphes et des lutins
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450:Delibes was asked in 1867 to add a
137:in Paris on 12 November 1866, with
13:
702:Orchestra of the Royal Opera House
247:Una gola in mezzo ad alte montagne
220:Vaganova Academy of Russian Ballet
199:The ballet was revived in 1925 by
74:. In 1878 in Vienna it was called
14:
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1152:Collaborations in classical music
621:, followed by No. 22, 'Mazurka',
607:, followed by No. 26, 'Romance',
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389:20. Pas de Naïla. Scherzo-Polka
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519:No. 18d, 'Danse circassienne',
366:17. Scène: Arrivée de Nouredda
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603:Section 1 of No. 25, 'Scène',
1:
746:Paris Conservatoire Orchestra
1132:Ballets by Arthur Saint-Léon
927:List of operas and operettas
878:>, Retrieved 15 May 2013.
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615:c) Introduction et Mazurka (
433:Act 3, Scene 2 (Léon Minkus)
414:Act 3, Scene 1 (Léo Delibes)
295:2. L'Ephémère – Scène dansée
7:
596:, arranged in reverse order
569:d) Marche dansée et Final (
489:No. 18a, 'Pas des voiles',
409:24. Marche dansée et final
292:1. Introduction fantastique
237:
180:as Naïla, choreographed by
135:Théâtre Impérial de l´Opéra
10:
1178:
1137:Ballets by Charles Nuitter
725:) – Suite 1 only (LW 5034)
692:Complete score (with cuts)
392:21. Scène et pas d'action
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22:La Source (disambiguation)
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767:English Chamber Orchestra
547:No. 20, 'Scherzo-Polka',
1127:Ballets by Ludwig Minkus
719:Suisse Romande Orchestra
674:, premiere 23 November,
301:4. Marche de la caravane
109:, who collaborated with
105:The choreography was by
517:d) Danse circassienne (
1147:Ballets by Léo Delibes
1053:Les Aventures de Pélée
827:Dover, New York, 1973.
808:19 August 2005 at the
676:New York State Theater
557:No. 6a, ' Andantino',
499:No. 18c, 'Variation',
254:
119:Jean-Baptiste Lavastre
102:
45:
20:. For other uses, see
18:La source (Balanchine)
1142:1866 ballet premieres
656:with choreography by
487:a) Pas des écharpes (
381:d) Danse circassienne
245:
93:
80:Naïla, the Waternymph
76:Naïla, die Quellenfee
54:is a ballet in three
32:
932:List of compositions
717:Victor Olof and the
668:New York City Ballet
555:c) Pas de la guzla (
509:No. 18b, 'Andante',
369:18. Divertissement
139:Guglielmina Salvioni
58:/four scenes with a
355:Act 2 (Léo Delibes)
344:13. Scène et danse
327:10. Scène et danse
307:6. Pas de la guzla
284:Act 1 (Léon Minkus)
228:Konstantin Sergeyev
785:(1930) for Odéon.
670:, choreography by
664:, Milan, 1875/1876
571:No. 23b, 'Scène',
545:b) Scherzo-Polka (
507:c) Scène d'amour (
446:The 'Naïla' valse
255:
201:Agrippina Vaganova
178:Olga Preobrajenska
115:Édouard Desplechin
103:
46:
1162:Orchestral suites
1080:
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736:Charles Mackerras
672:George Balanchine
654:Teatro alla Scala
648:Other productions
534:a) Scène dansée (
441:29 Scène et danse
372:a) Pas des voiles
350:15. Scène finale
249:, set design for
224:Mariinsky Theatre
107:Arthur Saint-Léon
72:Arthur Saint-Léon
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172:was produced in
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147:Louis Mérante
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101:, Paris, 1866
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97:as Djémil in
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425:26. Romance
419:Introduction
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395:22. Mazurka
378:c) Variation
360:Introduction
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310:a) Andantino
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62:composed by
52:(The Spring)
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44:, circa 1868
37:
26:
1005:Le Corsaire
973:Flower Duet
916:Léo Delibes
687:Discography
629:d) Finale (
464:Le Corsaire
460:Le Corsaire
304:5. Berceuse
251:La Sorgente
159:Paris Opera
129:(sets) and
64:Léo Delibes
42:Edgar Degas
1121:Categories
837:Nijinska B
742:Peter Maag
662:Saint-Léon
428:27. Final
422:25. Scène
386:19. Scène
375:b) Andante
363:16. Scène
347:14. Galop
184:. In 1907
1046:La source
1012:La source
789:Footnotes
642:La Source
471:La Source
398:23 Scène
313:b) Vivace
216:La source
194:Mariinsky
190:La source
170:La source
164:La source
141:(Naïla),
99:La Source
50:La source
38:La Source
1072:Category
1020:Coppélia
821:Searle H
806:Archived
765:and the
744:and the
721:(1953) (
700:and the
458:ballet '
438:28 Scène
404:b) Scène
324:9. Valse
318:7. Scène
298:3. Scène
238:Synopsis
186:Nijinsky
127:Chaperon
1085:Portals
1038:Related
997:Ballets
989:, 1893)
968:(1883)
633:Delibes
623:Delibes
619:Delibes
609:Delibes
605:Delibes
594:Delibes
585:Suite 3
577:Delibes
573:Delibes
563:Delibes
549:Delibes
538:Delibes
529:Suite 2
521:Delibes
511:Delibes
501:Delibes
491:Delibes
482:Suite 1
289:Prélude
253:(1889).
222:at the
203:to the
192:at the
86:History
1028:Sylvia
1023:(1870)
1015:(1866)
982:Kassya
960:(1880)
952:(1873)
941:Operas
709:Suites
682:, 1968
660:after
559:Minkus
473:suites
272:Act 3.
265:Act 2.
258:Act 1.
1111:Music
965:Lakmé
723:Decca
60:score
66:and
56:acts
82:).
36:in
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78:(
24:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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