In the published score, as with the title of the ballet, Henze also retained the original spellings of the character names. She is in a white dress, her head covered with the veil Giannina left behind. [12], Although the narrative is not strong, the setting is and displays a "most convincing feel of the sea" and the "shimmer of water" which is very effective in this ballet which is filled with images of water and particularly of the sea. The story derives from Fouqué's novella Undine, the tale of a water-nymph who marries a mortal. [8] Henze's glittering music is the dominating force, although it is a difficult score to dance to, with the pulse well hidden within its general sheen, but it is atmospheric and often exciting, bringing the close of Act I to a climax. Palemon deserts Berta, whom he has been courting, and decides to marry Ondine. Henze also uses the original name Beatrice rather than Berta. Eventually, the three of them decided that Ondine would have a "gothic-revival" setting. She meets the hero, Palemon, and is astonished when she feels his heartbeat as she doesn't possess a heart. [6] Yet the music does seem to fit its watery theme well: there are some beautiful passages to Ondine's Act 3 "swimming" solo where the music seems thin and transparent as watercolour, and entirely suited to this sketch of the sea. 11 July] 1851, Perrot presented his production for a performance at Peterhof Palace staged especially for the celebrations held in honor of the name-day of the Grand Duchess Olga Nikolaevna, daughter of Emperor Nicholas I. Brass fanfares then introduce the pas de seize and this adagio contrasts the horns with high woodwind, while the harp adds to this effect. The story derives from Fouqué's novella Undine, the tale of a water-nymph who marries a mortal. The moon is shining. [2] The strings gently introduce the Dance of Sorrow, which then gains in intensity with a richer string texture. They had worked together before on a ballet called The Quest for the Sadler's Wells company in 1943,[3] and agreed to collaborate again for the 1955–56 season; they decided on Macbeth as their subject. Palemon survives the shipwreck created by the angry Ondines and believing Ondine is lost ends up marrying Berta. Accordingly, the music was commissioned from Henze, who titled the score Undine.[4]. The con elegenza that follows is marked by the sweeping sound of violins. [neutrality is disputed] The score combines various genres, including the Neoclassicism from his early years. 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. Ashton's choreography has so far had only one full production outside The Royal Ballet, by the Ballet of the Teatro alla Scala, Milan on 21 April 2000. Marius Petipa revived Perrot's La Naïade et le pêcheur for the Imperial Ballet on several occasions throughout his career as Premier Maître de Ballet during the latter half of the 19th century. The tempo of the pas de seize varies and quiet lyrical moments may suddenly be interrupted by incisive brass and timpani. [6] Henze's modern music is also perceived as a reason for the few performances of this ballet before its revival in the 1990s. Other choreographers have used Henze's music, including Youri Vámos for the ballet of the Deutsche Oper Berlin (1987)[14] and Torsten Händler in Chemnitz[15] and the Semperoper Ballett in Dresden, Germany has staged it regularly from 1989 as part of its repertoire using modern design. The première of the ballet took place at the Royal Opera House, London, on 27 October 1958, with the composer as guest conductor. The boat approaches a deserted shore. The ballet was originally intended as a vehicle for The Royal Ballet's then prima ballerina, Margot Fonteyn and the title role of Ondine was choreographed specially for her and led one critic to describe the ballet as "a concerto for Fonteyn". He is insanely happy and declares his love to Ondine. He is the uncle of Ondine and also Lord of the Mediterranean Sea. Henze later arranged the Wedding Music for wind orchestra in 1957 and a further two orchestral suites in 1958. [2] The following variation is typical of 19th century ballet music and begins with the violins before spreading to the rest of the orchestra. [5] However, Henze and Ashton had decided not to make their ballet a mix of all the great works of the nineteenth century, but rather that it would be the product of their own contemporary sensibilities with references to other works. The Times, a London newspaper, described Pugni's score as .mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 40px}.mw-parser-output .templatequote .templatequotecite{line-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0}. [8], When Fonteyn danced the lead, the ballet was about her and her performance; however good today's interpreters may be, none has the mystique to reduce everyone else to the background, and so the supporting roles are now much more visible and need to be much more strongly depicted. [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. Palemon deserts Berta, whom he has been courting, and decides to marry Ondine. Their only point in common appears to be the ill-fated love of a water sprite, Ondine, with for a mortal man who already has a mortal sweetheart. Hans is a knight-errant who has been sent off on a quest by his betrothed. Petipa later staged his own complete revivals of the full-length work: Cesare Pugni's grandson, Second Maître de Ballet of the Imperial Theatres and former premier danseur Alexander Shiryaev, mounted a revival of La Naïade et le pêcheur especially for the prima ballerina Anna Pavlova. During a particularly strong storm while at sea, Ondine is lost overboard. Her love for Palemon is deep, which is what makes his unfaithfulness so devastating and dramatic. This is evoked by the use of high violins and wind chords together, similar to that of Stravinsky's The Rite of Spring. However, the music then launches into a quicker tempo, brass fanfares propelling the music along with a rhythmically incisive motif.

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