TUTU gorgeous: that's how you might sum up La Sylphide, one of the gems of the "white" ballet repertoire, because the ethereal garment we now know as the tutu first made its appearance during the early run of performances of La Sylphide in Paris in the 1830s. In those first performances, the title role of the spirit who is loved by a mortal man, with disastrous consequences, was danced by Marie Taglioni, with choreography created by her father, who cunningly exploited the most awe inspiring tricks of the classical ballet repertoire, including breathtaking point work, tender pas de deux and expressive solos, to emphasise his daughter's otherworldly lightness and insubstantiality.
Then the Danish choreographer Auguste Bournonville created his own sumptuous version of the piece - and it is this version which will be presented in Belfast next Wednesday, Thursday, Friday and Saturday by one of the near legendary ballet companies of the former Soviet Union, the National Ballet of Latvia.
The company has, of late, been touring widely in Western Europe, far from the marble and gold leaf environs of Riga's stately opera house - which it shares with the state opera company - bringing classic images of flawless beauty to audiences for whom ballet is, now more than ever, the artistic equivalent of an exotic hothouse flower. According to Zdzeslaw Supierz, the Polish impresario who is bringing the company to Belfast's Grand Opera House, there are many moments to savour in the show - but the one which has left Dutch audiences gasping is the moment when Sylphide, you know, she goes to the heaven". With the aid of a little technical wizardry, apparently - but who's arguing'
A flautist by trade who became an impresario by accident - being a Russian speaker, he found himself translating, at first on behalf of friends and fellow musicians, and later on behalf of visiting groups from the Russian speaking countries - Zdzeslaw Supierz works a great deal with opera and ballet companies from the former Eastern Europe, and says some of the bigger companies are carrying on what amounts to an artistic juggling act, struggling to preserve standards in the face of new economic priorities, while new groups of uncertain provenance are springing up, "what shall we call them, the troops".
No such nickname for the Latvian National Ballet, whose associated ballet school is famous all over the world for its rigorous training scheme. Many top class dancers have emerged from its ranks, including Alexander Godunov and Mikhail Barishnikov, and the company, says Zdzeslaw Supierz, is as dedicated as ever to the sort of performance standards for which these artists are noted. This will be the company's first performance in the UK or Ireland - is there any particular reason why it chose Belfast for its debut? "The other way around," says Zdzeslaw Supierz. "The Grand Opera House was looking for something wonderful, something fresh and something different." Be warned, though: bring tissues, for La Sylphide is the mother of all weepies.
