Ballet pantomime in three acts and eight scenes premiered on 22nd June 1842 at the Théâtre de l’Académie Royale de Musique, Paris

Choreography: M de Saint-Georges and M Albert

Music: Adolphe Adam

Premiers Rôles

Béatrix: Carlotta Grisi

Bénédict: Lucien Petipa

San Lucar: M Albert

Julie: Mlle Maria

Agnès: Adèle Dumilâtre

Diane: Louise Fitzjames

Plot

Summary

Acte 1

Scène 1

The first act is set in Ghent and opens in the shop of the rich goldsmith Cesarius. At the back is a glazed door, with a stained glass window each side, looking onto the main street. The dancing-master Zéphiros is teaching Béatrix, a proficient dancer, and her clumsier younger sister Agnès. Agnès laughs at the affectations of their teacher.

His best pupil, however, is the girls’ cousin, Julie, who joins them. They dance a minuet together. Bénédict, the nephew of Cesarius, is betrothed to Béatrix. He enters, offering her a bouquet, but she takes it with some indifference, to the mockery of Julie, while Agnès tries to comfort him. Julie has received a letter from a nobleman who is bestowing his attentions on her and she shows this to Béatrix and eventually reads it to her. Cesarius enters, accompanied by a notary, and greets Bénédict, although he is clearly much colder towards Julie. Béatrix and Bénédict are to marry the next day, and he is delighted, while Béatrix is less happy at the prospect. Agnès congratulates her, but Julie is well aware that Agnès too is in love with Bénédict. A fanfare is heard, announcing the coming fair. Bénédict goes to dress for the occasion and to call together Béatrix’s friends. He is followed out by Zéphiros. The Marquis de San Lucar and his friend, the Spaniard Don Bustamente, enter the shop and Julie points out the Marquis to Béatrix, who has already noticed him. The Marquis turns his attention to Béatrix, while Cesarius and Julie show jewels to their customers. The Marquis buys a richly ornamented jewel-casket for himself and some trinkets for the girls. Bénédict rejoins them, now in his best clothes, and is introduced by Cesarius to the Marquis, with the news that Bénédict is his future son-in-law and is to marry Béatrix the next day. The Marquis is displeased to hear this, but Julie enjoins patience, making it clear that Béatrix does not love Bénédict. All is now ready for the fair and the Marquis offers to take Cesarius and his family in his carriage. Julie is happy to accept at once and Bénédict is left alone, eventually accompanied by Agnès, who returns to go with him to the fair.

Scène 2

The second scene is set in the main square of the city, as the crowds flock to the fair. Bowmen, the town guilds and pageant wagons, escorted by young girls in white, march in. Bénédict searches in vain for Béatrix, but at last the Marquis arrives and he runs to her, making her sit in an arbour from where she can watch the bowmen compete for the garland of white roses, hanging from a pole.

A series of Divertissements follows. The bowmen fail in their contest, followed by Don Bustamente, who only succeeds in shooting through the wig of Zéphiros. Bénédict is nearly successful, but it is the Marquis who finally triumphs, giving the garland to Béatrix, while Cesarius tries to console Bénédict with thoughts of his coming wedding. Julie praises the Marquis to Béatrix, who, observed by the Marquis, gives her a key, so that they can talk later in her room.

The festivities continue with dances and a waltz ends the celebration, but this is interrupted by the outbreak of a storm. The dancers disperse and the Marquis tries to make off with Béatrix, but is forestalled by Bénédict. Not to be outwitted, the Marquis pretends to protect Julie and takes Béatrix’s key from her, as the storm grows louder.

Scène 3

The third scene is set in Béatrix’s room. It is simply furnished, with a bed, a prie-dieu and crucifix, and a wooden clock. The windows overlook the open countryside. Béatrix comes in, accompanied by her father and Bénédict. Cesarius reproaches her for her lack of spirits and she tries to comfort Bénédict. The old man blesses the couple and gives his daughter a medallion, with his portrait. Leaving, he embraces her, and goes, accompanied by Bénédict. Now alone, she decides that she will marry her lover, as she should. She remembers the Marquis, as she takes off the garland he had given her and starts to undress. There is a sound at the door and she opens it to find, to her alarm, the Marquis. She runs to the bed, wrapping herself in the bed-curtains and begging him to leave her. The Marquis, however, closes the door and kneels, begging her to listen. The door now opens and Julie comes in. Béatrix explains what has happened, while the Marquis le hopes for her support, which she gives him by reminding Béatrix of his wealth and position. In desperation the Marquis takes out a dagger and threatens to kill himself, but they rush to prevent him. There is a knock at the door and Julie hides the Marquis behind the bed-curtains, while Béatrix opens the door to Agnès, come with the news that the wedding is to be at six o’clock the next morning. She is surprised at their frightened looks but embraces her sister and makes to leave, signing to Julie to follow. Julie helps the Marquis to make his escape through the window, before she follows Agnès out. Left alone, Béatrix gives thanks to God, before going to bed.

Acte 2

Scène 1

The second act opens in the Venetian Palazzo of the Marquis, who has abducted Béatrix and made her his mistress. She reclines on a sofa, listening to his words of love, while merchants bring her shawls and jewels. She is content, however, with his love. Friends arrive, making much of Béatrix. Zéphiros seeks patronage from the Marquis for the ball he is giving that evening and is delighted to see Béatrix, congratulating her, to her embarrassment, on her marriage. He asks her about her dancing and starts to give her a lesson. Julie now enters. She has become a dancer and her teacher Zéphiros presents her to the Marquis. She is accompanied by a nobleman, Count Leonardo, not, as expected Don Bustamente. Béatrix expresses her displeasure at this fickleness but Julie assures her that she will find herself in the same position. They are joined by Don Bustamente, who is accompanied by Diane, the première danseuse at La Fenice. He ignores Julie and presents Diane to the Marquis, who is impressed by her. Béatrix is annoyed and reproaches her lover, while Julie is angry with Don Bustamente. He and Count Leonardo threaten each other, while Béatrix and Diane quarrel. Zéphiros tries to intervene but is accused of being at the root of the trouble and it is left to the Marquis to pacify them. Carnival music is heard and Zéphiros invites the guests to the ball. Béatrix looks sadly at the medallion, with her father’s miniature, that she still wears. The Marquis soothes her and orders carnival costumes to be brought. They each choose a mask and a domino and led by torch-bearers set out with Zéphiros for the ball.

Scène 2

The magnificent ball-room is full of masked revellers, the Marquis and Béatrix among them, as Zéphiros announces the start of the entertainment. Diane dances, accompanied by nymphs, and the Marquis congratulates her, provoking Béatrix to jealousy. There follows a Polish dance, a Cracovienne, and a Pas Seul. Now Béatrix dances, dressed as the huntress Diana, and is triumphant, a performance that won Carlotta Grisi special praise. Flowers are showered on her and from these she takes a rose and gives it to the Marquis. All the dancers now join in a wild galop. The Marquis places a garland on Béatrix’s head, but a mysterious figure emerges from the crowd and hurls it to the ground. He is revealed as Cesarius. Béatrix seeks his pardon but he orders her to leave. Two other dancers are revealed as Bénédict and Agnès, who seek pardon for Béatrix. The Marquis intervenes and Bénédict draws his sword, but is prevented from further action by Cesarius, who regards the behaviour of the Marquis as beneath contempt. The old man goes on to demand that she make her choice and when she hesitates, he curses her. Béatrix faints, falling into the arms of the Marquis, and the dancers make way for Cesarius, as he leaves, supported by Bénédict and Agnès.

Acte 3

Scène 1

The last act opens in the garden of the villa of the Marquis near Venice. The moon is shining, its light reflected from the waters of the River Brenta that flows by the borders of the park. The garden is lit by lanterns. Guests, some disguised as nymphs or bacchantes, mingle, while others lie on the grass. There are tables laden with rich food and at one of these are seated the Marquis, Béatrix, Don Bustamente, Diane, Julie and Zéphiros. The Marquis tries to distract Béatrix, as one of the women dances for her. Then they turn to gambling and Zéphiros loses all his money to Julie. Béatrix and the Marquis stroll in the park and he shows her the rose she gave him after her dance as Diana the Huntress, a flower that he wears on his cloak. Don Bustamente invites the Marquis to gamble but Béatrix tries to dissuade him. Eventually he gives way to Don Bustamente and soon loses everything, but Béatrix assures him that they can live on her jewels. These he stakes, and loses. Don Bustamente now wagers all his winnings against Béatrix, represented by the rose she had given the Marquis. He hesitates but then plays and loses, allowing Don Bustamente to take the rose, which he now wears. Béatrix, returning, mistakes Don Bustamente, still masked but wearing her rose, for the Marquis and begs him to stop gambling. The don, however, leads her to a gondola and they leave together, to the amusement of the guests.

Scène 2

The scene changes to a boudoir in the Palazzo of the Marquis illuminated by the light of the moon. Don Bustamente, masked, leads Béatrix in. She urges him to remove his mask, but he refuses and embraces her. The Marquis bursts in with his sword drawn, but Béatrix tries to intervene and learns that he has gambled her away. The two men fight and Don Bustamente is killed, his body falling into the canal. Béatrix runs away from the scene, horrified, while the Marquis, distraught, rushes away in the opposite direction.

Scène 3

The following scene is set in the square of a village near Ghent. In the background is a cliff and there are steps cut into the rock. To the left is a pretty village house and to the right a church. Agnès and Bénédict are seen, with a notary, while villagers offer the bride bouquets. Bénédict goes into the house, followed by Agnès, the notary and the old family governess. The villagers dance, joined by Zéphiros with a gypsy band and, the centre of attention, Julie. Béatrix enters, weak and hardly able to stand, and sits on a stone bench. Julie recognises her and invites her to join the dancers, but she refuses. Bénédict returns, about to lead his bride to the altar. He throws money to the crowd but does not recognise Béatrix, to her dismay. The crowd disperses and Béatrix is left alone. The wedding procession now emerges from Cesarius’s house and Béatrix learns, in response to her anxious questions, that her father is dead. In the greatest distress, she seems to lose her wits, climbing the rocky steps, ready to throw herself down into the chasm below.

Scène 4

In a final scene Béatrix awakes in her own bedroom. She looks around at first in fear and sees the crown of roses. She falls to her knees and prays. Now the clock strikes six, the time when she had planned to elope with the Marquis, but her memories of her dream dissuade her. She opens the window and sees the Marquis, but then turns to the door, where Cesarius, Agnès and Bénédict are waiting for her. To the anger of the disappointed Marquis, who makes off, father and daughter embrace, Bénédict kneels before her and Agnès places on her head a garland of roses. Cesarius joins their hands and the true wedding procession forms.

History

Original Production

La Jolie Fille de Gand was originally choreographed in three acts and nine scenes for the celebrated Carlotta Grisi.

In 1891 Thompson decided to revive the ballet for Marta Draeger under the title of The Beauty of Ghent (the same title would be used for subsequent London revivals of the ballet). Thompson remained rather faithful to much of the score, making only minor changes and revisions to what he personally considered to a danceable and well made score.

Selected Revivals

3 August 1847

Location: Théâtre Royal de la Monnaie, Brussels

Staged by M Barrez for Mlle Dubignon with musical revisions by M Bosselet.

1851

Location: Imperial Bolshoi Kamenny Theatre, St Petersburg

Staged with musical revisions by Pugni under the title of La Belle Flammande.

London Revivals

1891 Revival

In 1891 William Thompson revived the ballet for Marta Draeger under the title of The Beauty of Ghent. 

The ballet’s course to revival had not been an entirely smooth one. Thompson was quite fond of the ballet and had expressed a wish to revive the work as early as 1880 and again in 1886. However, there was little enthusiasm from Isabella Velluti, Marguerite Lemoine or James Henry Mapleson (the Manager of Her Majesty’s Theatre at the time), nor did François Bardet seem particularly enthusiastic to revise the score. Nevertheless, Thompson did manage to stage extracts of the ballets for galas, staging the Pas Bohémien in the Golden Jubilee gala of 1887. 

Following the success of Alice’s Adventures in Wonderland in 1890, Augustus Harris (the Manager of Covent Garden at the time) seemed more receptive to the idea of granting Thompson’s request to revive the ballet. Once Thompson managed to convince Draeger that she would enjoy portraying the rôle of Béatrix and Péchard seemed willing to perform any needed musical revisions, it was officially decided to revive The Beauty of Ghent for the 1891 season. 

The ballet was revived in lavish style in three acts and nine scenes. Though some critics were less than pleased with the fact that more than half of the ballet amounted to an extended dream sequence, the production was considered a success with Draeger dazzling as the heroine Béatrix and Adam’s tuneful music providing the basis for the buoyant and well arranged dances. 

The production was praised overall, but the Divertissement of the second scene of the second act received the most consistent praise: 

• The Cracovienne in Act 2 Scene 2: The was a character dance danced by a sujet couple (Miss Clara Whitmore and a danseur). It received praise for its well executed and applause worthy athleticism
• The Pas Seul in Act 2, Scene 2: This pas was danced by Anna Blunt in the rôle of Diane, who in this pas was portraying the rôle of Galatée. Blunt was a coryphée at the time and had initially only been the understudy of the rôle of Diane until less than a week before the premiere, when Lucia Rinaldi, the female sujet who had been originally cast in the rôle, injured herself in a rehearsal and was forced to withdraw. Blunt was allowed to step into the rôle and managed to impress Thompson with the strength and finesse of her technique, leading him to revise sections of the pas to be more suited to her style of dancing. Blunt rose to the challenge, delivering a commendable performance of the pas and receiving good reviews. Her success in the rôle led to her promotion to sujet the following season
• The Pas de Flore (also referred to as the Pas de Deux de Flore or the Pas de Julie) in Act 2, Scene 2: Danced by Nicholson’s Julie as Flore and an unnamed male cavalier (Antoine Férat) as Favonius. Thompson was mildly disappointed that this pas received more praise than the Le Carillon, as Le Carillon was so well-received at its 1842 première and was the main Pas de Deux of Béatrix and Bénédict. Critics praised the dynamic between Nicholson and Férat, and one critic even went so far as to suggest that Le Carillon ought to have been replaced with the Pas de Flore as it was the more pleasing of the two Pas de Deux
• The Pas de Diane Chasseresse in Act 2, Scene 2: In this pas, Draeger’s Béatrix appeared as Diana the huntress supported by a suite of eight nymphs. Draeger received special praise for her technically brilliant and intricate variation (newly composed by Péchard) which was executed in the apparent ease that Draeger was praised for

Extracts from the ballet were also inserted into the State Performance of Gounod‘s Romeo and Juliette given at Covent Garden on the 4th July 1893 as part of the celebrations for the Wedding of the Duke of York and Princess Mary of Teck. For this State Performance, a ballet was to be inserted into the second scene of the fourth act, so that the Royal Ballet (renamed as such in 1892) could pay homage alongside the opera company. 

Though the original work did not include a ballet, Gounod was obliged to provide ballet music when the work was staged at the Paris Opéra in 1888. However, the ballet was not exported with the rest of the opera and so was unknown in London. Thus, Thompson was commissioned to arrange a new Divertissement to be inserted into the fourth act celebrations for Juliette’s wedding to Pâris (the same place Gounod’s 1888 ballet had been inserted). As for the music, Thompson turned to The Beauty of Ghent, extracting the well-received pas of the Cracovienne and the Pas de Diane Chasseresse to be interpolated into the opera. Draeger was to reprise her rôle as Béatrix in the Pas de Diane Chasseresse and Whitmore was to reprise her rôle in the Cracovienne with Hale (who had danced the rôle of Bénédict in 1891) as her partner.

However, Nicholson was furious at being excluded on such an occasion. She pressed for her inclusion, with the interpolation of one of her pas that she danced as Julie in 1891: the Pas de Trois of the first act, the Pas de Deux de Julie of the second act or the Pas Bohémien of the third act. However, another pas could not be interpolated, lest the Divertissement become too long an interruption in the opera. Thus, Nicholson demanded that she be given the Cracovienne to dance with Hale, citing the fact that Covent Garden had not one, but two première danseuses, and the inclusion of one with the exclusion of the other would send the wrong message to the public and royals present. With this last point, Harris (the Manager of Covent Garden) reluctantly was obliged to agree, and so Nicholson replaced Whitmore in the Cracovienne for the State Performance.

Rôles

Béatrix: Marta Draeger

Bénédict: Frederick Hale

Julie: Sarah Nicholson

Zéphiros: Charles Jennings

Agnès: Ivy Gregson

San Lucar: Rafael Caravetti

Diane: Anna Blunt

Musical Revisions

A Pas de Deux originally composed for Adèle Dumilâtre (presumed to have been composed as a replacement for Le Carillon for her performances as the heroine Béatrix) was interpolated into the second scene of the second act for Julie as Flore and an unnamed cavalier as Favonius. 

A variation was added for Béatrix in the Pas de Diane Chasseresse of the second scene of the second act