Ballet fantastique in three acts and four scenes premiered on 12th November 1866 at the Théâtre Impérial de l’Opéra, Paris

Choreography: Arthur Saint-Léon

Music: Ludwig Minkus and Léo Delibes 

Premiers Rôles

Naïla: Guglielmina Salvioni

Nouredda: Eugenie Fiocre

Djémil: Louis Mérante

Plot

Summary

Acte 1

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 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.

Acte 2

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 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.

Acte 3

Scène 1

Morgab prepares magical rituals to ensnare Djémil. She plans to lure him into the tent and have Mozdock kill him. Djémil enters and Nouredda confronts him. He reminds her of her cruelty. Djémil professes his love and threatens to kill himself, but Nouredda disarms him. Naïla and Zael observe the scene. When Mozdock attacks, Zael uses the magic flower to freeze him, allowing Djémil to carry off Nouredda safely. Mozdock and Morgab regain consciousness but fail to find them.

Scène 2

The valley is now withered and cursed. Naïla, saddened, summons Djémil and Nouredda, who fall asleep. She is prepared to punish them but spares the lovers. Djémil learns from Naïla that Nouredda’s love is false. He notices her talismanic flower could make Nouredda love him, but using it would kill Naïla. Djémil hesitates; Naïla places the flower on Nouredda’s heart herself. Nouredda revives and embraces Djémil. Naïla weakens and dies, and her subjects perish with her. The lovers climb the mountain, safe and united, exchanging vows above the spring.

History

Original Production

La source is a ballet in three acts and four scenes with a score composed by Léo Delibes and Ludwig Minkus (Minkus composed Act 1 and Act 3, Scene 2 and Delibes composed Act 2 and Act 3, Scene 1). The ballet premiered in Paris in 1866 with choreography by Arthur Saint-Léon.

The initial 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. 

Delibes was second chorus master at the Paris Opéra 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. La Source was his first big success, marking him as an important composer for the ballet.

Selected Revivals

1872

Location: Théâtre National de l’Opéra, Paris

Staged for Rita Sangalli. The production was successful and remained in the repertory until 1876. New variations were introduced for her to dance, likely to music by Delibes. 

1878

Location: Wiener Hofoper, Vienna

Staged as Naïla, die Quellenfee (Naïla, the Water Nymph).

1902

Location: Imperial Mariinsky Theatre, St Petersburg

Revived by Achille Coppini for Olga Preobrazhenska. 

1925

Location: Leningrad State Academic Theatre of Opera and Ballet, St Petersburg

Staged by Agrippina Vaganova for her pupil Marina Semyonova.

London Revivals

1900 Revival

In 1900 the ballet was revived in London by Richard Hague for Harriet Linwood under the title of Naïla. Hague had originally wished to revive the ballet under the English translation of the original French title as The Spring, but neither management nor Linwood were keen on the name. Linwood pressed for the ballet to be renamed after the danseuse’s rôle (cf. Esmeralda, Ondine, Giselle) and management agreed, leading to the ballet’s revival not as The Spring but as Naïla. The production was not particularly successful, with critics considering Linwood to be ill suited to the rôle of Naïla.

Though Thompson disliked Nicholson’s moods, he did respect her as an artist and continued to revive and tailor rôles to her style. Hague, however, was more outspoken in his dislike of Nicholson.

During the 1898 revival of The Two Pigeons Hague and Nicholson had clashed with each other. Nicholson was not fond of the choreography that Hague provided for her, and Hague was unmoved by the vast majority of Nicholson’s pleas, requests or suggestions. The production was not considered a success, and each blamed each other for the failure of the work. 

Thus, when it came time for Hague to revive Naïla in 1900, he instead chose Harriet Linwood to be his Naïla. Linwood was the second most senior première at Covent Garden, at the time, Nicholson being the first. This turned out to be a misguided choice as the ballet was not in Linwood’s style, a danseuse who excelled more in earthly and virtuosa roles than airy and light ones. Indeed, her performances in the title rôle in the 1898 revival of Giselle did not receive good reviews, primarily centred on her weaker Act 2. She fared well enough in Act 1, but in the second act was criticised as “heavy”.

And so, when Hague thrust her into Naïla it was not a success. Critics mused whether or not Nicholson could have done the rôle better justice, but unfortunately Nicholson had no wish to dance a rôle for which she had been snubbed, meaning there was no way to determine the validity of their speculations.

Rôles

Naïla: Harriet Linwood

Musical Revisions

The Valse of the Pas de la Gulza was expanded. 

For the first act Pas d’Action, Hague assigned Linwood to dance Saviolini’s variation, believing that it better suited her dancing than the flute and harp variation written for Sangalli.

Two variations were added to the Grand Pas d’Action for Nouredda and Djémil. The first was a new Variation for Djémil that would later be interpolated into the Pas d’Action 1908 revival of The Fairy of the Forest. 

The second variation was interpolated into the Grand Pas d’Action for Nouredda. The music was not by Péchard but was by Bardet, and was originally written for Ysaure in the Pas d’Ensemble of the 1882 revival of The Fairies’ Goddaughter. 

For the second act Grand Pas d’Action, Hague decided to include both Saviolini’s Polka as a Scène Dansante preceding the pas, and Sangalli’s variation as Linwood variation in the pas proper. This was not completely successful, as Linwood was nowhere near the jumper that Sangalli had been. Critics called Linwood’s jumps “lacking the appropriate amount of finesse and elevation” and led some to even go so far as to wonder if Linwood had been miscast in the rôle. However, there were fewer criticisms of her acting and dramatic portrayal of the rôle, which seemed to be considered at least “good enough” by all.

The Marche Dansée was used as the Coda Générale of the Grand Pas d’Action.

Résumé des Scènes et Danses

Acte 1

1) Prélude

2) Introduction Fantastique

3) Scène Dansante – l’Ephémère

a) Introduction

b) Polka

c) Vivace

4) Scène

5) Marche de la Caravane

6) Berceuse

7) Pas de la Guzla

a) Valse (expanded)

b) Galop

8) Scène

9) Scène Dansante – Apparition de Naïla

10) Pas d’Action

a) Valse 

b) Andante

c) Danse des sylphes et des lutins

d) Variation de Naïla (pour Mlle Salvioni) 

e) Coda

11) Scène Finale

Acte 2 

12) Introduction

13) Scène

a) Action

b) Pas des Favorites

14) Scène – Arrivée de Nouredda

15) Divertissement

a) Pas des voiles

b) Andante

c) Variation

d) Danse Circassienne

16) Scène

17) Scherzo-Polka

18) Grand Pas d’action

a) Andante

b) Mazurka

c) Variation de Djémil

d) Variation de Nouredda (supplemental variation written for Ysaure in the Pas d’Ensemble in the 1882 revival of The Fairies’ Goddaughter)

e) Variation de Naïla (pour Mlle Sangalli)

f) Coda Générale

Acte 3

Scène 1

19) Introduction

20) Scène

21) Romance – Scène Dansée

22) Scène Finale

Scène 2

23) Introduction

24) Scène

25) Pas du Talisman

26) Scène Finale

1906 Revival

In 1906 the ballet was revived for Carolina Ferreira, abridged to two acts and three scenes.

Ferreira had arrived at Covent Garden in 1905 and made her debut in The Vivandiere, then in Giselle. She had signed a two-year contract, and as part of her contract a ballet of her choice was to be revived for her during the 1906 season. Ferreira examined the repertory of the troupe and settled on her choices: she would either have Esmeralda, Coppelia, Naïla or Faust.

Naïla was settled on as the revival, abridged from three acts and four scenes to two acts and three scenes, with the libretto edited by Hague and the music edited by Henry Scott. The 1906 revival fared better than the 1900 revival, principally due to Ferreira’s fleet-footed portrayal of Naïla which was better received than Linwood’s portrayal had been in 1900. However, critics at first considered her acting and mime lacking, with some attributing this to her music hall origins,  though it was stated that her portrayal improved as the run continued. 

Act 1 remained mostly intact. Act 2 was abridged to become Act 2, Scene 1 and Act 3, Scenes 1 and 2 were heavily abridged to become Act 2, Scene 2.

Ferreira was invited to dance another season in 1907 and again danced in the abridged version of Naïla. The ballet was retired from the repertory upon Ferreira’s 1907 departure. 

Revised Plot

Acte 1

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 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.

Acte 2

Scène 1

In the grand palace gardens, where the court of Khan is awaiting Nouredda’s arrival, entertainment is offered to the guests: a dance for the favourites. A fanfare proclaims a visitor, incognito (Djémil), who proffers presents for the Khan and his bride. The visitor 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.

Scène 2

Morgab prepares magical rituals to ensnare Djémil. She plans to lure him into the tent and have Mozdock kill him. Djémil enters and Nouredda confronts him. He reminds her of her cruelty. Djémil professes his love and threatens to kill himself, but Nouredda disarms him. When Mozdock attacks, Zael appears with the magic flower, freezing Mozdock and Morgab. Naïla reveals herself. Djémil begs Naïla to save him and Nouredda, as well as make Nouredda truly love him. She replies she can do so with her talisman, but such would cause her to expire. Djémil hesitates upon hearing this, but Naïla, moved by Djémil’s love, places the flower on Nouredda’s heart herself. Nouredda revives and embraces Djémil and the lovers escape. Naïla weakens, and asks Zael to watch over the lovers and ensure they come to no harm. As she dies, Mozdock and Morgab regain consciousness but fail to find Djémil and Nouredda. As Djémil and Nouredda exchange vows on the mountain with Zael’s protection, the spring below them falters, and finally ceases to flow.

Rôles

Naïla: Carolina Ferreira

Musical Revisions

The Divertissement of the first scene of the second act (formerly Act 2) was completely cut.

The Scherzo-Polka preceding the Grand Pas d’Action of the first scene of the second act was cut.

Résumé des Scènes et Danses

Acte 1

1) Prélude

2) Introduction Fantastique

3) Scène Dansante – l’Ephémère

a) Introduction

b) Polka

c) Vivace

4) Scène

5) Marche de la Caravane

6) Berceuse

7) Pas de la Guzla

a) Valse

b) Galop

8) Scène

9) Scène Dansante – Apparition de Naïla

10) Pas d’Action

a) Valse 

b) Andante

c) Danse des sylphes et des lutins

d) Variation de Naïla (pour Mlle Salvioni) 

e) Coda

11) Scène Finale

Acte 2 

Scène 1

12) Introduction

13) Scène

a) Action

b) Pas des Favorites

14) Scène – Arrivée de Nouredda

15) Scène

16) Grand Pas d’action

a) Andante

b) Mazurka

c) Variation de Djémil (1900)

d) Variation de Nouredda (supplemental variation written for Ysaure in the Pas d’Ensemble in the 1882 revival of The Fairies’ Goddaughter)

e) Variation de Naïla (pour Mlle Sangalli)

f) Coda Générale

Scène 2

17) Introduction

18) Scène

19) Romance – Scène Dansée

20) Scène Finale