Pygmalion (1977)

Alone, he stands before the statue and confesses the obsessive involvement and the anguish, amounting almost to that of being in love, he feels for the marble figure to whose creation he has so completely given himself and all his skills.

His lover, Cephise, offended at her neglect and jealously suspecting even a secret love affair, will not believe Pygmalion’s explanation that it is his creative work that has so absorbed him and kept him from her. She mocks his love for the statue and departs in anger.

Pygmalion returns to the contemplation of his work and begs Venus to take pity on him and release him from his feeling of hopeless love.

As if in answer a new light grows and music sounds as Cupid flies in and with his torch instills human life into the statue.

She, Galatea, descends slowly from her pedestal and, see- ing Pygmalion, confesses the feelings of love and devotion that rise within her for her creator.

Cupid comes down to claim his part in the triumph of love’s creative powers. At last, through Pygmalion’s skills and devotion, love has found the perfect manifestation in human form. Cupid calls the Graces, Delights and Pleasures to celebrate the event.

Gradually the Graces instruct Galatea in the differing steps of the dance; the Gavotte, Minuet, Chaconne, Passepied, Rigaudon, Sarabande and Tambourin.

Pygmalion announces that his friends and neighbors have collected outside to pay homage to Cupid and his powers. He leads them in and they sing of love’s triumph, dancing around Galatea to celebrate her newly imbued life.

Pygmalion apostrophizes love and the work ends in general rejoicing.