Two versions of La Sylphide by Filippo Taglioni performed in Madrid in 1842

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Two versions of La Sylphide by Filippo Taglioni performed in Madrid in 1842

Hormigon Laura

Abstract

In October 1842, two different versions of Filippo Taglioni's La Sylphide (Paris, 1832)--considered by dance historians to be the first great Romantic ballet--were performed in two of Madrid's theatres. This article aims to highlight the similarities and differences between these productions with respect to the original Parisian production of 1832 and the Milanese production of 1841 on which they were based. The article presents a comparative analysis of the four libretti and hemerographic materials alongside materials preserved from the original version of La Sylphide. This study suggests that the most relevant aspect of the two coinciding Madrid productions is that is marked the arrival in Madrid of romantic ballet--a style that was common in Europe, but still unknown in Madrid, where it was quickly established for many years.

Keywords: Romantic ballet in Spain, La Sylphide in Madrid, Marius Petipa, Federico Massini, Victor-Claude Bartholomin, Filippo Taglioni.

Аннотация

production milanese libretto

Две версии балета «Сильфида» Филиппо Тальони, поставленные в Мадриде в 1842 году

Ормигон Лаура

В октябре 1842 года в двух театрах Мадрида были показаны две разные версии «Сильфиды» Филиппо Тальони (Париж, 1832), которую историки танца считают первым большим романтическим балетом. Цель данной статьи - указать на общие и различные характеристики обеих постановок и их различия по отношению к оригинальной парижской 1832 года и миланской 1841 года, на которых они были основаны. Для этого были проанализированы и сопоставлены четыре либретто и гемерографические материалы, а также сохранившиеся материалы оригинальной версии «Сильфиды». Это исследование показало, что действительно важным в преднамеренном временном совпадении двух мадридских премьер было то, что оно позволило появиться в Мадриде романтическим балетам, стилю, который уже был распространен в Европе, но все еще неизвестен на мадридских сценах, где он быстро прижился в течение нескольких лет.

Ключевые слова: романтический балет в Испании, «Сильфида» в Мадриде, Мариус Петипа, Федерико Массини, Виктор-Клод Бартоломин, Филиппо Тальони.

Main part

The ballet La Sylphide, choreographed by Filippo Taglioni and premiered in Paris in 1832 This article is part of the research project P. E. I+D+i Tras lospasos de la Silfide. Una historia de la danza en Espana, 1836-1936 (ref. PGC2018093710AI00), financed by (MCIU/AEI/ FEDER, UE). All the tables are made by the author. La Sylphide. J. N. Barba. Paris, 1832. Harvard Theatre Collection (HTC), TS 5000.9. Many thanks to Irina Klyagin for providing me a copy of this libretto in time to complete this work during COVID period., is considered by dance historians to be the first great Romantic ballet. The performance, with music by Jean Schneitzhoeffer According to Guest, Ivor. The Romantic ballet in Paris. Great Britain. Dance books, 2008, p. 20, it was the best of his six ballets., libretto by tenor Adolphe Nourrit Inspired, in turn, by Trilby ou le lutin d'Argail (1822) by Charles Nodier., set design by Pierre-Luc-Charles Ciceri and Henri Dupon - chel, and costumes by Eugene Lami, was a great success for Marie Taglioni who took danced this role exclusively in the Paris Opera for six years (until 1838), and whose image is forever as sociated with that of the ethereal Sylph.

The choreography underwent modifications very early on, and even the choreographer himself made changes when he staged it in other theatres. Between 1837 and 1861 „no fewer than 27 productions of La Sylphide appeared [in Italy], created by 14 different choreographers, and appeared in 22 theatres in 18 cities", Ornella Di Tondo: „The Italian Silfide and the contentious reception of the ultramontane ballet", Marian Smith (ed): La Sylphide Paris 1832 and beyond. Great Britain: Dance Books, 2012, p. 179. For example, when the ballet was revived in Paris in 1840, the first act included a pas de trois performed by Effie, James and the Sylph, originally choreographed for L'ombre¹ (St. Petersburg, 1839).

Romantic ballet, a style that was already common in Europe, first arrived on the Madrid stage ten years after the Parisian premiere of La Sylphide. When Romantic ballets first appeared in Madrid theatres their style and subject matter rapidly became popular, and within a few years they had all but replaced the historical or mythological ballets on the city's billboards, although they still coexisted in the playbills for a few years.

In October 1842, an important event took place in Madrid, namely, the performance of two different versions of Filippo Taglioni's La Sylphide. On October 7th, the French version was staged at the Teatro del Principe under the title La Silfida (sic), and on October 10th Di Tondo, O. „The Italian Silfide...“, p. 184. The date was not chosen at random. October 10 was the birthday of Queen Isabel II and theatres were usually lit up for the occasion, something that would undoubtedly benefit the premiere of La Sylphide in the Teatro del Circo. In fact, according to the Diario de Avisos de Madrid (10-X-1842) „the new stage lighting directed by Eusebio Lucini will be premiered" in the theatre. the Italian version of the ballet was premiered at the Teatro del Circo under the title La Silfide.

Two different versions of La Sylphide performed in Madrid at the same time inevitable prompted comparisons in the press. But what were the special characteristics about each of these versions, and how did they differ, if at all, from the original Paris version of 1832? And What about the Scala version of 1841 on which one of them was based? This will be discussed below by analysing and comparing the four librettos, newspaper articles written about the performances, and some engravings of the original production of 1832.

La Sflfida (sic) in the Teatro del Principe and La Silfide in the Teatro del Circo

The idea of staging two versions of Taglioni's ballet in different theatres was a purely commercial strategy agreed upon by the theatre impresarios who hoped this deliberate rivalry would considerably increase audience numbers, because anyone claiming to be acquainted with the latest theatrical events in the capital had to see both performances in both theatres in order to compare them and talk about them in the «salons» attended by Madrid's cultural elite. Also called „sociedad del buen tono“ („society of good tone"). Something similar occurred in 1844, when Verdi's Ernani was premiered simultaneously in the Teatro del Circo and the Teatro de la Cruz.

Table 1

La Silfida (sic) performed at the Teatro del Principe with the subtitle «fantastic ballet»¹, was staged by French dancer and choreographer Victor-Claude Bar - tholomin (1799-1859), director of the theatre's dance company who had worked in Barcelona since 1840, and who in 1835 had staged Taglioni's La Sylphide in Brussels. La Silfida. Biblioteca Nacional de Espana, BNE, T/25184. Bartholomin worked in Lyon and Marseilles before coming to Madrid. After leaving Spain he went to the USA. Hippolyte Monplaisir and Adele Bartholomin, daughter of Victor and future wife of Hippolyte, were the principal dancers in the Madrid company. In the Madrid programme, Bartholomin does not appear as choreographer, but rather as the person in charge of «staging the Taglioni ballet in the same way it had been performed in Paris» ElHeraldo, Madrid, 6-X-1842.. He also danced the part of the witch Magde.

Federico Massini Before coming to Spain, Massini had worked in Milan, Ferrara, Modena, Genoa, and Corfu. Gaetano, Carolina and Amalia Massini were also members of the Teatro del Circo ballet company. Cf. Hormigon, Laura. El Ballet Romantico en el Teatro del Circo de Madrid (1842--1850), Madrid, Asociacion de Directores de Escena de Espana, 2017, pp. 140--141. During Carnevale season 1860-61 Massini staged La Sylphide in Milan and Turin. Di Tondo. „The Italian silfide...", p. 202., the Italian director of the Circo's dance company, was put in charge of staging the «mythological ballet» La Silfide. BNE, T/15298.La Silfide and of dancing the role of Fire in the mythological ending. He also used Taglioni's version, albeit not the 1832 Paris original but the one arranged by Taglioni himself in May 1841 for the Scala in Milan La Silfide. BRT, Coll.S.0.64. It was only performed three times, because Antonio Cortesi had premiered his Sylphide a few months earlier in the same theatre, so audiences were already familiar with the ballet and Taglioni's version contributed nothing new. „(...) Le cose riprodotte, mancando del prestigio della novita, non possono piu eccitare sensazioni violente, meraviglia e sorpresa; certo e che al signor Taglioni dev'essere mancato il tempo per allestire il suo ballo come avrebbe voluto e potuto; (...) Senza interesse, senza forti situazioni drammatiche, e pressoche frivolo ne e l'argomento; e noi vogliamo veder la Taglioni non solamente danzare, ma agire pur anco (...)", R. (sic), „Cronaca del giorno. Quarta rappresentazione di Maria Taglioni colla Silfide, ballo fantastico in tre atti all'i teatro alla Scala 29 maggio", Il Pirata, Giornale Artistico, Letterario e Teatrale, 1-VI-1841.

The same set design might have been used in both versions. Cf. Di Tondo. „The Italian silfide.", p. 196., although Massini kept two acts instead of three and added a mythological ending.

Both libretti of La Sylphide staged in Madrid maintained the original plot: James is engaged to Effie but falls in love with a sylph who only he can see. He abandons his fiancee and follows the Sylph into the woods. There, he tries to trap her using a poisoned shawl given to him by the witch Magde, but as soon as he manages to bind her to him the Sylph loses her wings and dies. The first act takes place in a house in Scotland, and the second in the forest where the sylphs live.

The Teatro del Circo's libretto, though based on the Scala version not divided into scenes, was in turn a summary of the plot of the original Parisian ballet, but differs from both the Milan version and the French original. For example, preserves the division in two acts not in three as in the Scala; the witches' scene that opens the second act in the Parisian version and fills all the second act in Milan, was placed at the end of the first act in the Circo version; in la Scala appears as «ballo fantastico»¹, while in the Circo points out «baile mitologico» («mythological ballet»), which supposes an important change of typology that is evident after the death of the Sylph and supposes the most significant difference in the Circo's version, where Massini introduces an Italian-style mythological ending in which various gods welcome the Sylph to Mount Olympus / heaven after her death. In other Italian versions of this ballet, such as that by Antonio Cortesi staged in 1841, the Sylph is revived and lives happily, but in this case Massini kept the tragic ending, in which James also died, albeit without Effie and Gurn's wedding in the background, as in Paris and Milan and added the ending at Olympus, which was not present in Taglioni's version in la Scala.

Table 2

According to Di Tondo Di Tondo. „The Italian silfide...“, p. 202., the set design of the Olympus scene was intended to reflect the locus amoenus popularly used in the penultimate scene or act of Italian ballets at that time, and which featured the lush landscape with nearby lake that Massini included in the end of his Madrid version of La Silfide.

In terms of music, at the time of the Paris premiere of La Sylphide (1832) it was still common practice to reuse scores from operas or other ballets. On borrowed music in ballets see Smith, Marian. Ballet and Opera in the age of „Giselle". Princeton University Press, 2000, chapter 4. Although most of the music in La Sylphide was original-something that impressed the Parisian critics, who pointed out the amount of original music it contained-Butkas notes that Schneitzhoeffer continued to use borrowed music¹ (table 3) but managed to create a score that was both technically and aesthetically consistent. La Sylphide was in fact one of the last ballets to be composed of musicals collages and marked the beginning of the composition of original scores for each ballet. Butkas Ertz, Matilda. „Schneitzhoeffer's music for La Sylphide“, Smith, M. (ed), La Sylphide Paris 1832..., p. 58. Butkas Ertz. „Schneitzhoeffer's music...“, p. 84. Although in the 1st act of 1832 La Sylphide existed a Pas de cinq, entitle as Vieillards ecossais, this should be different because the music for Madrid was new. La Sylphide. HTC, TS 5000.9, p. 6.

In Madrid, unfortunately, neither the score of the ballet nor of the repetiteur survives. These would be very useful, not only for the music itself, but also for the annotations, which provide a lot of additional information about how the music and movements were synchronized. We know that the Teatro del Principe's production used the music of Schneitzhoeffer, so Bartholomin might have used a copy of his repetiteur's score from Brussels in 1835, which was like the one used in Paris. Nevertheless, he introduced changes in Madrid, including the pas de cinq or Montanesa³ performed by Spanish dancers, attributed by Cesar Romano Eco del Comercio, Madrid, 12-X-1842.-pseud - onym of the playwright Ramon de Castaneira Ossorio y Bernard, Manuel. Ensayo de un catalogo de periodistas espanoles del siglo XIX. Madrid, Impr. Palacios, 1903, Vol. 2, p. 77.-to Hippolyte Gondois Cesar Romano. „La Silfida (sic)“, Eco del Comercio, Madrid, 9-X-1842. (18111884), a composer who regularly worked with Bartholomin in Spain and who introduced new dances in some of his other ballets. According to Juan del Peral, the music was «beautiful, but difficult to execute [and] in the Principe it was poorly performed» by the orchestra. Juan del Peral. „Teatros del Principe y del Circo“, Gaceta de Madrid, 12-X-1842.

The author of the score used by Massini was not mentioned in either the Cir - co's libretto nor the press. Furthermore, one newspaper Cesar Romano. Eco del Comercio, Madrid, 12-X-1842. noted that the Circo's La Silfide had not its own music, but used parts of operas by Rossini and Bellini, among other borrowings (table 3). Neither is there any evidence that the original music used in Paris was ever used by Taglioni in Italy, and Di Tondo suggests that as it was only performed three times it is highly likely that he used the same score used by Cortesi a few months earlier in order to save money. Di Tondo. „The Italian silfide...“, p. 204.According to the same author, from Milan, only the author of the music of the lead dancers' third act pas de deux was noted, which was an existing score by Giacomo Panizza.¹

Table 3

Regarding to the sets, at the Principe, as in Paris, were used two, while four sets were used in the Circo's production. Both librettos describe what the sets should look like at the beginning of each act, and both versions included the stage machinery typically used in this ballet; therefore, both theatres maintained the effects used earlier in Paris: the disappearance of the Sylph up the chimney and behind the armchair during the first act, or her descent through a window. However, its execution must be somewhat clumsy. The most important scenographic difference between the productions was that in Massini's Circo production the sylphs did not fly in the second act. In fact, according to Soriano Fuertes, in terms of sets and costumes «the Circo was best in terms of novelties; but the Principe won on flying « Soriano Fuertes . „Variedades“, Iberia musical y literaria, Madrid, 16-X-1842. The Paris production had as many as twelve ballerinas flying over the stage, making this „the most complex flying the Opera had so far achieved", Guest. The Romantic ballet in Paris..., p. 212.. Cesar Romano complained that in the Circo the flying sylphs had been replaced with «a series of lacklustre cupids in cradles hanging from ropes « Cesar Romano. Eco del Comercio, Madrid, 12-X-1842., and the backdrop was so light that the audience could clearly see the ropes as the cupids descended, so although the set was «well designed», it was far too transparent, and the effects were «poorly executed»¹. Juan del Peral was of the same opinion, for whom a «cupid in the air causes complete illusion; if hangs from a rope, he causes laughter and looks ridiculous». Cesar Romano. Eco del Comercio, Madrid, 12-X-1842. Juan del Peral. „Teatros del Principe y del Circo", Gaceta de Madrid, 12-X-1842.

One of the best sets in the Circo's production was the Olympus, shown as «a hill covered with flowers with a small lake at the bottom» La Silfide. BNE, T/15298.. In fact, after the second performance the audience was so taken with the arrangement that the set designer was called out to take a bow. The reporter from the Eco del Comercio (12-X-1842) was not impressed with the Teatro del Principe's use of theatrical machinery, directed by Francesco Lucini, but executed by Francisco Compani. „Teatros. Principe", Gaceta de Madrid, 12-X-1842.

In Madrid, the sets for La Silfide were designed by two members of the Lucini family, one of the foremost set designer dynasties in Spain in the 19th century who carried on the Italian tradition and were masters of theatrical machinery. Arias de Cossio, Ana MA Dos siglos de escenografia en Madrid. Madrid: Mondadori, 1991. The sets in the Principe were designed by the father, Francesco (1789-1846), and those in the Circo by his son, Eusebio (1814-1881), who between 1842-1850 created the sets and machine effects for the operas and ballets staged at the Teatro del Circo From the middle of 1848 he combined this work with his activity in El Liceo Theatre in Barcelona, until he returned to the Teatro del Circo in 1850. Cf. Hormigon, L. „Eusebio Lucini, escenografo de los ballets representados en el teatro del Circo de Madrid en la decada de 1840", Archive Espanol De Arte, 93 (372), 2020, pp. 375--390. https://doi.org/10.3989/ aearte.2020.25, and between 1851-1856 designed the sets for the Teatro Real in Madrid.

The dancers who took part in the two Madrid productions of La Silfide (table 4) became and were trained in the three schools established in Madrid at that time: the Spanish, the French and the Italian. This is further evidence that during the 1840s Madrid participated both in the artistic circulation and in the international theatrical connections of the time, one of the most important features of that era, according to Garafola. Garafola, Lynn (ed.). Rethinking the Sylph. New perspectives on the romantic ballet, Middletown, Wesleyan University Press, 1997, pp. 1--10. Several of these artists had successful careers and artistic tours in both Europe and America. It should be noted that the Circo Theatre had, until 1850, its own Dance Academy Was directed by Victorino Vera for the national dances and Hippolyte Monet in ballet. More about this dance academy in Hormigon, L. El Ballet Romantico en el Teatro del Circo... pp. 135-- 139. in which future dancers of both sexes were trained in «national dances» (Spanish dances) and in «French or foreign dance» (ballet).

Table 4

Neither of the La Silfide librettos from Madrid provides any details of the choreography. However, both indicate the dances performed (table 5). Bartholomin's libretto specifies all the dances and who performed them-as in the Parisian libretto of 1832 La Sylphide. HTC, TS 5000.9, pp. 5--7.-and also includes certain references, such as in the fourth scene of the first act, where the Sylph executes «her aerial steps « La Silfida. BNE, T/25184, p. 12. La Silfida. BNE, T/25184, p. 13.; or in the sixth scene of the same act where it says that «(…) young people dance: divertissement¹¹⁵; and that James, when he chases the Sylph during the wedding «disrupts the contredanse». La Silfida. BNE, T/25184, p. 13. In the second act, it notes that the Sylph distracts James with «her light-footed dances». La Silfida. BNE, T/25184, p. 19.

Tab le 5/ La Sylphide dances

Massini's Circo libretto, however-like Milan's libretto where no reference about the dances its included-was less specific in terms of dances, although it contains some indications, such as in the seventh scene of the first act, where the characters «have fun dancing national [Scottish] dances»¹; or in the second scene of the second act, where the Sylph performs «light and voluptuous dances» La Silfide. BNE, T/15298, p. 10. La SUfide. BNE, T/15298, p. 14. to entertain James. This version had fewer dances than Bartholomin's version, and according to the press, the garland dance - second scene of second act-in Circo's production was «better arranged, more tasteful and attractive» Cesar Romano. Eco Comercio, Madrid, 12-X-1842., highlighting, in general, the «pleasing dances». La Posdata, Madrid, 12-X-1842.

We should stop briefly in the Schottisch danced by Joseph Mazilier (James) in the second act. Pierre Lacotte in his version of La Sylphide (Paris, 1972) maintained this variation for James. One of the most repeated arguments by some ballet historians affirms that, during the romantic ballet, the male dancer was overshadowed by the ballerina, almost disappearing from the stage. The existence of this dance created for Mazilier in 1832, would be a new example, together with the works of Marian Smith Smith, Marian. „Levinson's Sylphide and the danseur's bad reputation". La Sylphide Paris..., pp. 258--290. Smith, M. „The disappearing danseur", Cambridge OperaJournal n° 19, 1: 2007, pp. 33--57., which should make us reflect on the true presence of male dancers in the Romantic ballets during the mid-nineteenth century and analyze the real information without repeating the inherited discourses. On this matter, Garafola also wrote that during the romantic period the «rejection of male talent was not absolute» and the dancers never totally vanished from the choreographies. Even when, during the second half of the 19th century, travesty dancers abounded on the Parisian stages, the male dancers did not stop playing roles. Garafola, Lynn. „The travesty dancer in XIX century ballet", Dance Research Journal 17. 1985--86, p. 35. This is also corroborated by the data published by Olivesi who points out that «By mid-century, women constituted 70% of the corps de ballet, and, where soloists were concerned, women easily dominated the category with twenty ballerinas for nine male dancers». V. Olivesi. „Between pleasure and censure: Marie Taglioni, choreographer during the Second Empire", Clio. Women, Gender, History,2017/2, n° 46, p. 55. Indeed, there were more women than men, but they did not vanish from the ballet companies.

The reviews of both performances in Madrid were often at odds, insofar as some newspapers criticized elements that others praised. Nearly all, however, remarked on the care and attention to detail taken by both theatres in their staging's, and the critics trusted that the public would appreciate the extraordinary expense involved in representing this ballet.¹ However, one critic complained that the Cir - co's staging had not received the «reward» it deserved. Diario de Avisos de Madrid, 10-X-1842. La Posdata, Madrid, 12-X-1842. Soriano Fuertes congratulated the company on its success and encouraged them to continue in that line. Soriano Fuertes. „Variedades", Iberia musicaly literaria, Madrid, 16-X-1842.Praise was also lavished on the perfect stage direction and the «pleasing dances» La Posdata, Madrid, 12-X-1842.of the Circo's production because, although the performance was «artistically inferior», it included «more effects» Cesar Romano. Eco del Comercio, Madrid, 12-X-1842. and the «dances liked more». Juan del Peral. „Teatros del Principe y del Circo", Gaceta de Madrid, 12-X-1842. Nevertheless, Cesar Romano considered that Bartholomin's version «carries the stamp of perfection that Massini's cannot aspire to» because it had «the advantage of propriety, truth and good taste lacking in the Circo». Cesar Romano. Eco del Comercio, Madrid, 12-X-1842. This critic obviously preferred the Parisian version of the ballet.

While Bartholomin's La Silfida (sic) lasted only one season, with around 15 performances, the Teatro del Circo's version remained in the company' programme for three seasons and was performed forty-three times. In addition, this ballet company eventually consolidated its position in Madrid until 1850, when the Teatro Real (Royal Theatre) opened.

Performances of La Sylphide in Madrid after 1842 and beyond

In January 1843, La Silfide continued to be performed in the Teatro del Cir - co. In September of the same year, it was chosen as the opening ballet of the new season. The Revista de Teatros confirm that, although Federico Massini was no longer in charge of the company, the ballet was the same as that performed the previous year, even though it had been advertised as «La Silfide by Mr. Taglioni». Revista de Teatros, Madrid, 6-IX-1843.

After the 1843 season, La Silfide was not repeated at the Circo until May 1845, when it was staged by Jean Antoine Petipa, director of the theatre's dance company Jean Antoine Petipa arrived in Madrid when his son Marius had been working at the Teatro del Circo for almost a year. Jean Antoine directed the Circo's ballet company between February 1845 and March 1847 and staged six ballets during this time. Hormigon, L. El Ballet Romantico en el Teatro del Circo..., pp. 140, 147--150., who chose to use his own interpretation of the French Taglioni's version rather than the Italian version. One critic pointed out that Petipa had «notably improved the dances, rehearsed the scenes, and arranged the groups in a way that proves his good taste and considerable choreographic skill».¹ It was also said that the ballet was unrecognisable due to the «extraordinary opulence» of the new staging, to the point that it «barely resembled» El Clamor Publico, Madrid, 22-V-1845. El Clamor PUblico, Madrid, 22-V-1845. the 1842 production. A new set designed by Eusebio Lucini was also presented in the first act. This new staging featured Marie Guy-Stephan as the Sylph, and possibly Marius Petipa as James, although curiously enough there was no mention of him in this role in the press. Despite various improvements made in the 1845 production, La Silfide was not particularly successful and was only performed four times.

La Silfide was not performed again in Spain until 1853 in Cadiz (Andalucia), staged by Flora Fabbri's and Luigi Bretin's ballet company. The couple Fabbri - Bretin were engaged at the Madrid Royal Theatre, and when their contract there finished, they made a tour performing in several Andalusian cities. Cf. Hormigon, L. „El ballet romantico en Madrid (1842--1853)", Romanticismi. C.R.I.E.R, Verona University, V 5, 2020. https://doi.org/10.13136/2465-2393/1054.

Many years later, in 1879, La Silfide «by Hipolito (sic) Monplaisir», was staged in Toledo's Theatre performed by the ballet company directed by Manuel Guerrero and with Josefina Pinchiara as the Sylph. Cf. Torres Lara, Agustina. La escena toledana en la segunda mitad del siglo XIX, Tesis UNED, 1995--96, p. 214.

In conclusion

We have seen that the two versions of Filippo Taglioni's La Sylphide performed in Madrid in 1842 were generally true to the original 1832 version, although each introduced some new features, such as the mythological ending in the Teatro del Circo, where the sylphs did not fly, or new dances in the Teatro del Principe, production closer to the romantic ballets' ideas.

Although Romantic ballets arrived in Madrid nearly a decade after it had started in France, the double premiere of La Sylphide in October 1842 ensured that this style of ballet would dominate the capital's billboards for many years. Thus, the true success and significance of the performances of La Sylphide in Madrid lies not so much in the lukewarm reception they received, but in the fact that this type of choreography, specially Bartholomin's version, marked a paradigm shift in ballet and paved the way towards a new style hitherto practically unknown in Madrid. At the same time, audiences opted quick to embrace Romantic ballets instead of more pre-Romantic, and pantomime, performances.

The Teatro del Circo went on to stage the same ballets that could be seen in France, England, Italy, and Russia, and earned it its place on the European ballet circuit, a fact largely ignored by ballet historians. This brought first class dancers to Madrid, such as Marius Petipa and his father, Jean Baptiste Barrez, Marie Guy-Stephan, Sofia Fuoco and, later, Fanny Cerrito and Arthur Saint-Leon, who performed at the Teatro Real in 1851.

Bibliographical references

1. Arias de Cossio, Ana M.~.Dos siglos de escenografia en Madrid. Madrid, Mondadori, 1991. P 342.

2. Bailes // La Posdata. Madrid. 1842. 12 Oct. P 4.

3. Bartholomin Victor Claude. La Silfida (sic). Teatro del Principe. 1842. Biblioteca Nacional de Espana (BNE). T/25184.

4. Comunicado // Revista de Teatros. Madrid. 1843. 6 Sept. P 4.

5. Cortesi Antonio. La Silfide. Scala de Milan, 1841. Biblioteca Britanica.

6. Diversiones Publicas // El Clamor Publico. Madrid. 1845. 22 May. P 4.

7. Espectaculos // El Heraldo. Madrid. 1842. 6 Oct. P 4.

8. Garafola, Lynn. (ed.). Rethinking the Sylph. New perspectives on the romantic ballet. Middletown: Wesleyan University Press, 1997. P 307.

9. Garafola, Lynn. The travesty dancer in XIX century ballet // Dance Research Journal 17. 1985 - 86. P 35-40.

10. Guest, Ivor. The Romantic ballet in Paris. Gran Bretana: Dance books, 2008. 474 p.

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17. Passo a due nel ballo La Silfide danzato alla Scala dalla somma Taglioni e dall'egregio sig. Merante accompagnato col piccolo clarino dal celebre sig. E. Cavallini / musica del maestro G. Panizza; ridotta per pianoforte dal M. Luigi Truzzi. Milan, Ricordi, 1841. Biblioteca Conservatorio di musica «Giuseppe Verdi», Milan-MI-1.A.437.3.

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