Talk:La Sylphide

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Why the French title 'La Sylphide'??[edit]

This article perpetrates the usual nonsense of conflating the real La Sylphide—Filippo Taglioni's 1832 Paris ballet with music by Jean-Madeleine Schneitzhoeffer—with August Bournonville's 1836 Royal Danish ballet with music by Herman Løvenskjold.

Copenhagen-born Bournonville, a Dane, created a ballet in Denmark with a Danish tile: Sylfiden. There is no reason whatsoever for giving it the French title La Sylphide, unless one is a French writer writing in French.

208.87.248.162 (talk) 21:56, 12 March 2012 (UTC)[reply]

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The comments about Kobborg's version[edit]

I read all of this with surprise, as I've seen Kobborg's production in London in 2005 and also this year (2023) in Sarasota. Kobborg's version is not new choreography. There are a few interpolations - I have changed the wording to one more accurate and enumerated what the interpolations were. I also removed the last sentence, because everything in it was factually incorrect: There is no "cliffhanger" ending. That's a misinterpretation of the Kommersant review. Sorella Englund, who did the part in Denmark for years before this production, *sometimes* used to show traces of a tulle sylph skirt under her rags at the very end, to suggest that Madge was a "broken" sylph, but that was as much Englund as Kobborg. Other times she did not, and other sylphs don't do it - neither did in '23. The ending, as done in '23, was largely the same as in all Danish productions. The "young" Madge was also an accident of casting, not specific to the production's interpretation. In '05 he used Englund, who played Madge as older, and Deirdre Chapman, who was younger. In '23 he used a man, Ricki Bertoni, who played Madge as weathered, and Lauren Ostrander, who was younger. So age is a variable factor, not intrinsic to the interpretation of the production. 108.21.32.29 (talk) 20:15, 29 March 2023 (UTC)[reply]