Léo Delibes was born in St. Germain-du-Val, France, on February 21,
1836. After attending the Paris Conservatory from 1848 on, he became an
accompanist for the Théâtre Lyrique and organist of the Church of
St.-Jean et St.-François in Paris in 1853. Between 1855 and 1865 he
wrote a dozen operas, none of them successful. In 1865 he was appointed
chorusmaster of the Grand Opéra where he was encouraged to write music
for ballet; the first of these was _La Source_ in 1866 (renamed _Naila_
when later given in Vienna). His most successful ballets were _Coppélia_
in 1870 and _Sylvia_ in 1876, both still vital in the repertory. In 1873
his most important opéra-comique, _Le Roi l’a Dit_, was introduced by
the Opéra-Comique; Delibes’ most important opera, _Lakmé_, was first
performed on April 14, 1883 by the Paris Opéra. Meanwhile, in 1881,
Delibes was appointed professor of composition at the Conservatory.
Three years after that he became a member of the French Academy. He died
in Paris on January 16, 1891.
Delibes is often described as the creator of modern ballet music. He was
the first composer to write symphonically for the dance, to bring to
ballet music the fullest creative and technical resources of the skilled
serious composer. Thus he opened a new field of compositions which later
composers (Tchaikovsky, Stravinsky, and Ravel among many others)
cultivated with fertility. The elegance of Delibes’ style, the caressing
warmth of his lyricism, the richness of his harmonic and rhythmic
language, the delicacy of his orchestration endow his ballet music with
interest even when it is divorced from its choreography.
_Coppélia_ is a staple in the classic ballet repertory. It was
introduced at the Paris Opéra on May 25, 1870, choreography by A.
Saint-Léon, and scenario by C. Nuitter and A. Saint-Léon based upon _The
Sandman_, a story by E. T. A. Hoffmann. _Coppélia_ is the first
successful ballet to utilize the subject of a doll become human.
Coppélia is a doll created by Dr. Coppélius. She comes to life and gets
out of control. Franz, thinking she is human, falls in love with her.
But when he realizes she is but a doll he becomes reconciled with his
former sweetheart, Swanilda.
Delibes’ score is one of the earliest in ballet to make successful use
of such folk dances as the Mazurka and the Czardas; because of his
success in this direction, many later composers of ballet music were
encouraged to follow suit.
An orchestral suite adapted from the score never ceases to delight
audiences at both symphonic and semi-classical concerts. It opens with
the “_Valse lente_,” a suave waltz to which Swanilda dances as she
strives to attract the attention of Coppélia, of whom she is jealous.
This is followed by the “Mazurka,” a gay episode danced by a group of
villagers after Franz has mistaken Coppélia for a human and salutes her.
The “Ballade” then comes as a pensive interlude; to this music Swanilda
puts a stalk of wheat to her ear, following a long existing
superstition, to discover if Franz has been faithful to her. When the
answer is in the negative, she breaks the stalk savagely before his very
eyes. “_Theme Slave Varié_” is danced by Swanilda; this section
comprises a tuneful Polish melody and five variations. The stately and
at times fiery “Czardas” which concludes the first act is a corybantic
in which all villagers join. “_Valse de la poupée_” (or “Dance of the
Doll”) is probably the most familiar musical number in the entire
ballet, an elegant waltz danced by Swanilda as she assumes the dress,
and imitates the actions, of Coppélia.
The _Naila Waltz_ (or _Pas des Fleurs_) was written by Delibes in 1867
as an intermezzo for the revival in Paris of Adolph Adam’s opera _Le
Corsaire_, in Paris. When Delibes’ early ballet, _La Source_, was
introduced in Vienna as _Naila_, this waltz was interpolated into the
production. A short, vigorous introduction for full orchestra and
several notes in the basses lead to the lilting waltz melody in strings,
with the woodwinds soon joining in. Ernst von Dohnányi made an effective
transcription of this waltz for the piano.
_Le Roi l’a dit_ (_The King Said So_) is an opéra-comique with libretto
by Edmond Gondinet, introduced at the Opéra-Comique in Paris on May 24,
1873. The plot revolves around a peasant boy whom a Marquis is trying to
pass off before the king as his own son. The peasant makes the most of
this situation to the continual embarrassment and chagrin of the Marquis
who finally manages to get rid of him by marrying him off to a maid with
whom the boy is in love.
The popular overture to this light opera opens with a brisk march in
full chords. A gracious little melody then unfolds in the strings. After
a return of the march music in a more subdued vein, a romantic song is
offered by the clarinets against plucked strings. The music now grows
livelier as a principal thought is given by chattering strings and
woodwind. Extended use is now made of the first graceful melody. The
opening march is at last recalled to bring the overture to a boisterous
end.
The second of Delibes’ famous ballets, _Sylvia_, was introduced at the
Paris Opéra on June 14, 1876. The choreography was by Louis Mérante, and
the text by Jules Barbier and Baron de Reinach. The classical subject is
derived from mythology. Aminta, a shepherd, comes to a sacred grove
seeking a huntress he had once seen there. She is Sylvia, who soon
appears with her nymphs. She is later captured by Orion, the black
huntsman. But her escape is effected by Eros, and she and Aminta are
reunited in love.
Like _Coppélia_, _Sylvia_ has a popular orchestral suite adapted from
the ballet score. After a brief Prelude comes “_Les Chasseresses_” (“The
Huntresses”), sprightly music with which Sylvia and her nymphs make
their first appearance; to its rhythmic strains they dance before a
statue of Eros. A gentle “Intermezzo” follows, describing the nymphs as
they rest near a stream. In the “_Valse lente_” Sylvia dances to a
graceful musical episode. The “Barcarolle” highlights a saxophone solo;
to this background music appears a ship bearing Eros, disguised as a
pirate. The most celebrated single number in the entire suite comes
next, the “Pizzicato,” a delicate dance performed by Sylvia disguised as
a slave. The “_Cortège de Bacchus_” (“March of Bacchus”) is the dynamic
music with which a bacchanalian rite is being celebrated.