ABT Sylvia Review
July 10, 2026 | Metropolitan Opera House – New York, NY, USA
It was such a pleasure to see American Ballet Theatre’s revival of Sylvia at the Metropolitan Opera House as part of the company’s summer season in New York. This enchanting ballet is a precious gem in the classical repertory, featuring all the necessary ingredients of a classical ballet treasure: incandescent music, sparkling choreography, witty storytelling, and opulent visual designs.
The ballet itself has a fascinating history. French composer, Léo Delibes, composed Sylvia, ou La Nymphe de Diane 150 years ago for the Paris Opera Ballet, creating a score that was notable for its melodic richness and dramatic power. Yet the original production, choreographed by Louis Mérante, didn’t make a lasting impression on critics and audiences, and the ballet quickly faded from the repertory.
Only in 1952, when Sir Frederick Ashton made his celebrated version of Sylvia for The Royal Ballet (at the ballet premiere, the title role was danced by the great Margot Fonteyn herself), did Delibes ballet get a second life.
The current production, featuring Ashton’s choreography, was first premiered by ABT nearly 20 years ago. Its return to the Met this season confirms the ballet’s status as a modern masterpiece.
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ABT Sylvia Review
In Sylvia, the action takes place in mythological Greece. From the first moments, the audience is transported to the fascinating world inhabited by gods, huntresses, shepherds, nymphs, naiads, and fauns.
The ballet’s plot – a blend of pure fantasy, comedy, and drama – revolves around Sylvia, a beautiful huntress, who is also a devotee of Diana, the goddess of chastity. True to her ideal, Sylvia rejects all thoughts of love and romance and instead dedicates herself to the hunt.
The young shepherd Aminta, however, falls deeply in love with her. His devotion is rewarded only after a series of improbable adventures involving the jealous hunter Orion, a helpful hand (or rather an arrow) from Eros, the god of love, and an emotional journey of self-discovery that leads Sylvia to embrace love.
The ballet’s story is episodic and somewhat trivial, but Ashton understood that the ballet’s success lies less in narrative sophistication than in the interplay between character and dance.
This production’s visual designs are sumptuous and effective in establishing the ballet’s mythical atmosphere. The striking sets (originally created by Robin and Christopher Ironside, with additional designs by Peter Farmer) evoked a magnificent landscape of forests, mountains, and pastoral vistas without overwhelming the stage.
The costumes complemented the scenery, ranging from Sylvia and her retinue’s elegant huntress attires to the colorful clothing worn by the numerous mythological creatures and the villagers. The overall effect was richly theatrical, enhancing the fairy-tale quality that lies at the heart of the ballet.
Yet the choreography was the real star of the show. It was a true gift to watch the ABT cast bringing Ashton’s genius to life. Delibes’ score was not merely played but embodied. Swift footwork, unexpected changes in direction, and intricate epaulement animated nearly every phrase. Even moments that seemed decorative revealed many layers of rhythmic complexity.
Catherine Hurlin was pure gold in the title role.
She possesses a unique quality of movement which combines impressive technical precision with wonderful lyrical phrasing. This quality perfectly suited this role.
In Act I, in her opening sequences, Hurlin, sporting a bow and arrow, was a picture of confidence, strength and freedom – a warrior devoid of romantic feelings. Yet as the story progressed, Hurlin’s interpretation revealed her heroine’s touching vulnerability and tenderness.
The role’s main challenge lies in tracing Sylvia’s emotional change without sacrificing the character’s innate strength. And the ballerina met this challenge with aplomb: by the final act, the transformation of the main heroine from a cold intrepid huntress to a woman deeply in love felt genuine rather than imposed by the plot.
Joo Won Ahn delivered a memorable performance as a love-stricken shepherd Aminta. Tall and good-looking, with a perfectly built physique, the dancer brought a sense of nobility and genuine warmth to his role. His dancing was admirable throughout, his soaring leaps expansive and assured.
Even though Sylvia is a ballerina’s ballet (the main heroine claims center stage nearly for the entire duration of the performance), Ahn shone brightly at each scene he appeared, his dancing and acting providing a strong foundation for the ballet’s central romance.
Jose Sebastian brought ample dramatic energy and imposing stage presence to the role of the evil hunter Orion; while Takumi Miyake as the mischievous Eros delighted the audience with dancing full of lighthearted humor and charm.
The corps de ballet had plenty of moments to shine in this production. Ashton’s choreography demands precision, stylistic refinement and musicality.
ABT’s ensemble rose to the occasion, dancing with unison and energy while preserving the crisp musical tapestry essential to the ballet’s style.
What I admire most about Sylvia is its refusal to fit neatly into modern expectations of traditional ballet drama. The ballet combines elements of mythological pageant, romantic comedy, and classical divertissement to a wonderful effect. Its chief pleasure arises not from spectacle alone but from the conversation between music, movement, and character – a conversation that, in this performance, remained eloquent throughout.
Featured Photo of American Ballet Theatre‘s Catherine Hurlin in the title role and company dancers in Sir Frederick Ashton’s Sylvia. Photo by Nir Arieli.
