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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.
473:'. 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 '
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160:(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
271:
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
278:
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
172:
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.
272:
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.
285:
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.
40:
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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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81:(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
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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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792:(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
237:, St. Petersburg, may be found on YouTube, the choreography credited to
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a) Nouvelle variation de Naïla (Mlle Sangalli) (1872, replacing No. 20)
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222:– 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
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and the Orchestra of the Royal Opera House (1956) (EMI)
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864:/ ru: Marina Semenova / Семенова Марина Тимофеевна
290:Musical numbers, following the piano score of 1880
887:http://www.charm.kcl.ac.uk/about/about_structure
786:Orchestre du Théâtre national de l'Opéra-Comique
586:, followed by No. 24, 'Marche dansée et Final',
144:(costumes). The first production opened at the
815:, Ballet Notes, 2001. Retrieved 11 June 2005.
124:in the libretto. The original designs were by
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854:. Faber & Faber, London and Boston, 1981.
768:'s 'Le Corsaire', including the 'Naïla' waltz
347:a) Variation de Naïla (Mlle. Salvioni) (1860)
8:
836:Ballet music – an introduction, 2nd edition.
1168:Ballets premiered at the Paris Opera Ballet
918:
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764:Le jardin animé – Delibes contribution to
628:No. 23a, 'Nouvelle Variation de Naïla',
216:Theatre of Opera and Ballet in Leningrad
168:Delibes was second chorus master at the
1100:
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741:Excerpts from Delibes part of the score
572:, followed by part of No. 16, 'Scène',
199:made his solo debut in the last act of
603:Sections 2 and 3 of No. 25, 'Scène',
332:8. Scène dansée (Apparition de Naïla)
7:
341:11. Danse des sylphes et des lutins
461:Delibes was asked in 1867 to add a
148:in Paris on 12 November 1866, with
713:Orchestra of the Royal Opera House
258:Una gola in mezzo ad alte montagne
231:Vaganova Academy of Russian Ballet
210:The ballet was revived in 1925 by
85:. In 1878 in Vienna it was called
25:
1163:Collaborations in classical music
632:, followed by No. 22, 'Mazurka',
618:, followed by No. 26, 'Romance',
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1103:
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1077:
400:20. Pas de Naïla. Scherzo-Polka
530:No. 18d, 'Danse circassienne',
377:17. Scène: Arrivée de Nouredda
614:Section 1 of No. 25, 'Scène',
1:
757:Paris Conservatoire Orchestra
1143:Ballets by Arthur Saint-Léon
938:List of operas and operettas
889:>, Retrieved 15 May 2013.
626:c) Introduction et Mazurka (
444:Act 3, Scene 2 (Léon Minkus)
425:Act 3, Scene 1 (Léo Delibes)
306:2. L'Ephémère – Scène dansée
607:, arranged in reverse order
580:d) Marche dansée et Final (
500:No. 18a, 'Pas des voiles',
420:24. Marche dansée et final
303:1. Introduction fantastique
191:as Naïla, choreographed by
146:Théâtre Impérial de l´Opéra
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1148:Ballets by Charles Nuitter
736:) – Suite 1 only (LW 5034)
703:Complete score (with cuts)
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403:21. Scène et pas d'action
33:La Source (disambiguation)
26:
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778:English Chamber Orchestra
558:No. 20, 'Scherzo-Polka',
1138:Ballets by Ludwig Minkus
730:Suisse Romande Orchestra
685:, premiere 23 November,
312:4. Marche de la caravane
120:, who collaborated with
116:The choreography was by
528:d) Danse circassienne (
1158:Ballets by Léo Delibes
1064:Les Aventures de Pélée
838:Dover, New York, 1973.
819:19 August 2005 at the
687:New York State Theater
568:No. 6a, ' Andantino',
510:No. 18c, 'Variation',
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130:Jean-Baptiste Lavastre
113:
56:
31:. For other uses, see
29:La source (Balanchine)
1153:1866 ballet premieres
667:with choreography by
498:a) Pas des écharpes (
392:d) Danse circassienne
256:
104:
91:Naïla, the Waternymph
87:Naïla, die Quellenfee
65:is a ballet in three
43:
943:List of compositions
728:Victor Olof and the
679:New York City Ballet
566:c) Pas de la guzla (
520:No. 18b, 'Andante',
380:18. Divertissement
150:Guglielmina Salvioni
69:/four scenes with a
366:Act 2 (Léo Delibes)
355:13. Scène et danse
338:10. Scène et danse
318:6. Pas de la guzla
295:Act 1 (Léon Minkus)
239:Konstantin Sergeyev
796:(1930) for Odéon.
681:, choreography by
675:, Milan, 1875/1876
582:No. 23b, 'Scène',
556:b) Scherzo-Polka (
518:c) Scène d'amour (
457:The 'Naïla' valse
266:
212:Agrippina Vaganova
189:Olga Preobrajenska
126:Édouard Desplechin
114:
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18:La source (ballet)
1173:Orchestral suites
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1090:
747:Charles Mackerras
683:George Balanchine
665:Teatro alla Scala
659:Other productions
545:a) Scène dansée (
452:29 Scène et danse
383:a) Pas des voiles
361:15. Scène finale
260:, set design for
235:Mariinsky Theatre
118:Arthur Saint-Léon
83:Arthur Saint-Léon
16:(Redirected from
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183:was produced in
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122:Charles Nuitter
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162:Rita Sangalli
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158:Louis Mérante
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112:, Paris, 1866
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108:as Djémil in
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106:Louis Mérante
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436:26. Romance
430:Introduction
424:
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406:22. Mazurka
389:c) Variation
371:Introduction
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321:a) Andantino
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134:Auguste Rubé
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73:composed by
63:(The Spring)
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55:, circa 1868
48:
37:
1016:Le Corsaire
984:Flower Duet
927:Léo Delibes
698:Discography
640:d) Finale (
475:Le Corsaire
471:Le Corsaire
315:5. Berceuse
262:La Sorgente
170:Paris Opera
140:(sets) and
75:Léo Delibes
53:Edgar Degas
1132:Categories
848:Nijinska B
753:Peter Maag
673:Saint-Léon
439:27. Final
433:25. Scène
397:19. Scène
386:b) Andante
374:16. Scène
358:14. Galop
195:. In 1907
1057:La source
1023:La source
800:Footnotes
653:La Source
482:La Source
409:23 Scène
324:b) Vivace
227:La source
205:Mariinsky
201:La source
181:La source
175:La source
152:(Naïla),
110:La Source
61:La source
49:La Source
1083:Category
1031:Coppélia
832:Searle H
817:Archived
776:and the
755:and the
732:(1953) (
711:and the
469:ballet '
449:28 Scène
415:b) Scène
335:9. Valse
329:7. Scène
309:3. Scène
249:Synopsis
197:Nijinsky
138:Chaperon
1096:Portals
1049:Related
1008:Ballets
1000:, 1893)
979:(1883)
644:Delibes
634:Delibes
630:Delibes
620:Delibes
616:Delibes
605:Delibes
596:Suite 3
588:Delibes
584:Delibes
574:Delibes
560:Delibes
549:Delibes
540:Suite 2
532:Delibes
522:Delibes
512:Delibes
502:Delibes
493:Suite 1
300:Prélude
264:(1889).
233:at the
214:to the
203:at the
97:History
1039:Sylvia
1034:(1870)
1026:(1866)
993:Kassya
971:(1880)
963:(1873)
952:Operas
720:Suites
693:, 1968
671:after
570:Minkus
484:suites
283:Act 3.
276:Act 2.
269:Act 1.
1122:Music
976:Lakmé
734:Decca
71:score
77:and
67:acts
93:).
47:in
1134::
850:.
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89:(
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