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| 柴可夫斯基的芭蕾舞剧作品 |
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《睡美人》 (俄语：«Спящая Красавица»，拉丁转写：Spyashchaya Krasavitsa，作品号六十六）是俄国作曲家柴科夫斯基所谱曲的三幕芭蕾舞剧。全剧的音乐在1889年完成，是柴氏三部芭蕾舞剧之中的第二部。原装场景由伊凡·弗谢沃洛依斯基(Иван Александрович Всеволожский)基于法国作家夏尔·佩罗(Charles Perrault)的童话《林中睡美人(La Belle au bois Dormant)》改编而成。首次排演的编舞是毛利斯·佩蒂巴 (Marius Petipa)，1890年首演于圣彼得堡马林斯基剧院。该剧是各大芭蕾舞团的经典保留剧目之一，也相当为世人所熟悉。
历史
创作经历
1888年5月25日，俄罗斯圣彼得堡皇家剧院总监伊凡·弗谢沃洛依斯基找柴可夫斯基商议将水鬼乌丁娜(Undine)的故事编为芭蕾舞剧。但他们后来觉得佩罗的童话《林中睡美人》是一个更好的题材，交给柴可夫斯基作曲，佩蒂巴编舞。柴可夫斯基毫不犹豫的接受委托，纵使他的第一部芭蕾舞剧《天鹅湖》首演之时，不太成功。柴可夫斯基依据的剧本是根据格林兄弟所翻译的，佩罗童话的德语译本，也就是最重的结局是整个宫廷沉睡了100年后醒来，庆祝睡美人公主的婚礼。与此同时，弗谢沃洛依斯基还把佩罗所创作的，在其他故事中出现的角色，也一并到剧本中出，如穿靴子的猫和小红帽等等。而柴可夫斯基也向弗谢沃洛依斯基表示自己的创作过程很愉快，而且有足够的灵感去完成作品。
负责首演编舞的是皇家芭蕾剧院总监毛利斯·佩蒂巴，详细以清单写下了自己对音乐的需求给柴可夫斯基。柴可夫斯基随即在家中开始创作。1888年冬完成初稿，次年5月便开始配乐。
这部芭蕾舞剧主要是讲述紫丁香仙子和卡拉波斯之间的正邪之争，全剧充满两人的主导动机，成为交代剧情的重要线索。而在第三幕，两人的主导动机分别消失，继而集中在个人的风格舞蹈和几题的宫廷舞蹈。
Performance history
Template:Tchaikovsky stage works St. Petersburg Premiere (World Premiere)
- Date: 15 January 1890
- Place: Imperial Mariinsky Theatre, St. Petersburg
- Balletmaster: Marius Petipa
- Conductor: Riccardo Drigo
- Scene Designers: Mikhail Bocharov, Henrich Levogt, Ivan Andreyev, Matvey Shishkov
- Costumes: Ivan Vsevolozhsky
Moscow Premiere
- Date: 17 January 1899
- Place: Moscow Imperial Bolshoi Theatre
- Balletmaster: Aleksandr Gorsky
- Conductor: Andrey Arends
- Scene Designers: Anatoliy Geltser, Karl Valts (Waltz)
Other Notable Productions
- 1896, Milan, La Scala, staged by Giorgio Saracco, Carlotta Brianza as Aurora
- 1921, London, Alhambra Theatre, as The Sleeping Princess, Dyagilev production, staged by Nikolay Sergeyev, scenes by Léon Bakst
- 1937, Philadelphia, staged by Catherine Littlefield
- 2008, Nishinomiya, (Japan), Hyogo Performing Arts Center, staged by Tatiana Stepanova: Sleeping Beauty Suite.
Original Interpreters
| Role | St. Petersburg 1890 | Moscow 1899 |
|---|---|---|
| King Florestan | Feliks Krzesinski | |
| Queen | Giuseppina Cecchetti | |
| Aurora | Carlotta Brianza | Lyubov Roslavleva |
| Lilac Fairy | Marie Petipa | M. Grachevskaya |
| Carabosse | Enrico Cecchetti[1] | Vasiliy Geltser |
| Prince Désiré | Pavel Gerdt | Ivan Khlyustin |
| Bluebird | Enrico Cecchetti [1] | |
| Princess Florine | Varvara Nikitina |
Tsar Alexander III and his family were present during one of the general rehearsals. Upon leaving, he made the simple remark 'Very nice,' which seemed to have irritated Tchaikovsky, who had likely expected a more favorable response.
(Mariinsky Theatre, St. Petersburg, 1890)
The ballet's premiere received more favorable accolades than Swan Lake from the press but Tchaikovsky never had the luxury of being able to witness his work become an instant success in theatres outside of Russia. He died in 1893. By 1903 Sleeping Beauty was the second most popular ballet in the repertory of the Imperial Ballet (the Petipa/Pugni The Pharaoh's Daughter was first), having been performed 200 times in only 10 years.
A production mounted at the La Scala in Milan did not arouse much interest and it was not until 1921 that, in London, the ballet finally gained wide acclaim and eventually a permanent place in the classical repertoire. In 1999, the Kirov Ballet reconstructed the original 1899 production, including reproductions of the original sets and costumes. Although the 1951 Kirov production by Konstantin Sergeyev is available on DVD/Video, the 1999 "authentic" version is only available in short excerpts as of 2007.
The Sleeping Beauty is Tchaikovsky's longest ballet, lasting nearly four hours at full length - counting the intermissions. Without intermissions (as it appears on several CD sets), it lasts nearly three hours. It is nearly always cut.
Instrumentation
- Strings: Violins I, Violins II, Violas, Cellos, Double Basses
- Woodwinds: Piccolo, 2 Flutes, 2 Oboes, Cor Anglais, 2 Clarinets (B-flat, A), 2 Bassoons
- Brass: 4 Horns (F), 2 Cornets (B-flat, A), 2 Trumpets (B-flat, A), 3 Trombones, Tuba
- Percussion: Timpani, Triangle, Tambourine, Side Drum, Cymbals, Bass Drum, Tam-tam, Glockenspiel
- Other: Harp, Piano
Roles and setting
Roles
The Royal Court:
- King Florestan XIV
- Queen
- Princess Aurora, their daughter
- Catalabutte, the master-of-ceremonies
- Courtiers, maids of honor, pages, lackeys
The Fairies:
- Candide (Candor)
- Coulante, Fleur de farine (Flowing, Wheat flour)
- Miettes qui tombent (Falling breadcrumbs)
- Canari qui chante (Singing canary)
- Violente
- The Lilac Fairy
- Carabosse
- The Gold, Silver, Sapphire, and Diamond Fairies
The Four Suitors:
- Prince Chéri
- Prince Charmant
- Prince Fortuné
- Prince Fleur de Pois
The Prince's Hunting Party:
- Prince Désiré (Florimund)
- Gallifron, Prince Désiré's tutor
- The Prince's friends, duchesses, baronesses, countesses, and marchionesses
Fairy-Tale Characters:
- Puss-in-Boots
- The White Cat
- Princess Florine
- Bluebird
- Little Red Riding Hood
- The Gray Wolf
- Cinderella
- Hop-o'-My-Thumb, his brothers, and the Ogre
Setting
- Time: Fairy-tale time
- Place:
Synopsis
Prologue
King Florestan the XIVth declares a grand christening ceremony to be held in honor of the birth of his daughter, Princess Aurora named after the dawn. An entourage of six fairies are invited to the Christening to be godmothers to the child. They are the Candide Fairy, the Coulante Fairy, the Miettes Fairy, the Canari Fairy, the Violente Fairy and most importantly the Lilac Fairy who arrives last (the names of fairies and their gifts vary in productions). As the fairies are happily granting gifts of honesty, grace, prosperity, song and generosity, they are suddenly interrupted by the sudden presence of the evil fairy Carabosse, who is furious at the King's failure to invite her to the ceremony. The King blames this on the Master of Ceremonies, Catallabutte and she rips off his wig. With spite and rage, Carabosse declares her curse on Princess Aurora: she will prick her finger on her sixteenth birthday and die. The Lilac Fairy, fortunately, has not granted her gift to the Princess. She acknowledges that Carabosse's power is immense and she cannot completely reverse the curse. However, she declares, although the Princess will prick her finger, she will not die, but instead sleep for 100 years until the kiss of a prince will awake her.
Act I
It is Princess Aurora's sixteenth birthday. Celebrations are already elaborately planned and the atmosphere is festive, made complete with a waltz danced by the villagers with garlands. Aurora receives four suitors and their gifts of exquisite roses. Soon after, Aurora is presented with a spindle as a gift from a disguised Carabosse, which she has never seen before. Carelessly, she dances with it despite her mother and father's warnings before accidentally pricking herself. She faints. Carabosse immediately reveals her true wicked self triumphantly and vanishes before the astonished guests. At the same moment, the Lilac Fairy appears as she had promised. She reminds the guests and the King and Queen of her gift that will make Aurora merely sleep, not die. She then casts a spell upon the whole kingdom and they will only awake when Aurora does.
(Mariinsky Theatre, St. Petersburg, 1890)
Act II
One hundred years later, Prince Florimund (in the original production, Désiré) is at a hunting party with his companions. He is not happy and his hunting party try to cheer him up with a game of blind man's bluff and a series of dances. Still unhappy, he asks to be alone and the hunting party depart. Suddenly, Florimund sees the Lilac Fairy who presents him with a vision of Aurora and he is entranced by her beauty. The Prince pleads with the Lilac Fairy to bring him to see Princess Aurora, to which the latter consents. The Prince discovers the castle, which is now overgrown in thick vines. His first act is to defeat the evil Carabosse. Once past her and inside the castle, the Prince finds Aurora and awakens her with a kiss. The entire kingdom awakes with her. The Prince then declares his love for Aurora and proposes to her. The King and the Queen are happy to give their blessings.
Act III
Preparations for the wedding are made. On the day of the festivities, different fairies are invited. These are the fairies to bless the marriage - The Gold Fairy, the Silver Fairy, the Sapphire Fairy and the Diamond Fairy. The Lilac Fairy also makes an appearance. Many fairytale characters, such as Puss in Boots and the White Cat, are also among the guests. A golden chain of dances is held, including a Pas de Quatre for the four precious jewel and metal fairies, a dance for Puss in Boots and the White Cat, a Pas de Deux for the Bluebird and Princess Florine, a dance for Little Red Riding Hood and the Wolf, a dance for Cinderella and Prince Fortune (usually omitted), a Sarabande (usually omitted), a Pas de Deux for Aurora and Florimund and finally a mazurka. The Prince and the Princess are wed, and the Lilac Fairy blesses their marriage. The ballet ends with an apotheosis (apothéose) where all the characters make a final bow.
Structure
Titles of all of the numbers listed here come from Marius Petipa's original scenario, as well as the original libretto and programs of the first production of 1890. Major changes which were made to the score for Petipa's original production are mentioned, and help explain why the score is often heard in different versions in theatres today.
All libretti and programs of works performed on the stages of the Imperial Theatres were titled in French, which was the official language of the Emperor's Court, as well as the language in which balletic terminology is derived.
Prologue — Le baptême de la Psse. Aurore
- No.1-a Introduction
- No.1-b Marche de salon
- No.2-a Entrée des fées
- No.2-b Scène dansante
- No.3 Grand pas d'ensemble (a.k.a. Pas de six) —
- a. Grand adage suave. Petit allégro
- b. Variation - Candide
- c. Variation - Coulante–Fleur de farine
- d. Variation - Miettes–qui tombent (a.k.a. breadcrumb)
- e. Variation - Canari–qui chante
- f. Variation - Violente–échevelée
- g. Variation - La Fée des lilas–voluptueuse
- h. Coda générale
- No.4 Scène et final—
- a. Entrée de Carabosse
- b. Scène mimique de Carabosse
- c. Scène mimique de la Fée des lilas
Act I — Les quatre fiancés de la Psse. Aurore
- No.5-a Introduction
- No.5-b Scène des tricoteuses
- No.6 Grande valse villageoise (a.k.a. The Garland Waltz)
- No.7 Entrée d'Aurore
- No.8 Grand pas d'action—
- a. Grand adage à la rose (opening harp cadenza extended by Riccardo Drigo at Petipa's request)
- b. Danse des demoiselles d'honneur et des pages
- c. Variation d'Aurore (edited ending done at Petipa's request by an unknown hand)
- d. Coda
- No.9 Scène et final—
- a. La danse d'Aurore avec de fuseau
- b. Le charme
- c. L'arrivée de la Fée des lilas
Act II
- Scene I — La chasse du Prince Désiré
- No.10-a Entr'acte
- No.10-b Scène de la chasse royale
- No.11 Colin-Maillard
- No.12 Danses des demoiselles nobles—
- a. Scène
- b. Danse des duchesses
- c. Danse des baronesses (cut by Petipa from the original production)
- d. Danse des comtesses (cut by Petipa from the original production)
- e. Danse des marquises (cut by Petipa from the original production)
- No.13 Coda–Farandole
- No.14-a Scène et départ des chasseurs
- No.14-b Entrée de la Fée des lilas
- No.15 Pas d'action—
- a. Entrée de l'apparition d'Aurore
- b. Grand adage suave (opening harp cadenza extended by Riccardo Drigo at Petipa's request)
- c. Valse des nymphes–Petit allégro coquet
- Interpolation: 4 transitional bars for the end of no.15-c composed by Riccardo Drigo to lead into Brianza's variation
- Interpolation: Variation Mlle. Brianza (No.23-b Variation de la fée-Or from Act III)
- c. Variation d'Aurore (cut by Petipa from the original production)
- d. Petite coda
- No.16 Scène
- No.17 Panorama
- Interpolation: 3 transitional bars for the end of no.17 composed by Riccardo Drigo to lead into no.19, as no.18 was cut in the original production
- No.18 Entr'acte symphonique (cut by Petipa from the original production)
- Scene II — Le château de la belle au bois dormant
- No.19 Scène du château de sommeil
- No.20 Scène et final – Le réveil d'Aurore
Act III — Les Noces de Désiré et d'Aurore
- No.21 Marche
- No.22 Grand polonaise dansée (a.k.a. The Procession of the Fairy Tales)
- Grand divertissement—
- No.23 Pas de quatre
- a. Entrée
- b. Variation de la fée-Or (transferred by Petipa to Act II as a Variation for Carlotta Brianza in the original production)
- c. Variation de la fée-Argent (changed by Petipa in the original production – Pas de trois pour la Fées d'Or, d'Argent et de Saphir)
- d. Variation de la fée-Saphir (cut by Petipa from the original production)
- e. Variation de la fée-Diamant
- f. Coda
- Interpolation: Entrée de chats – a 10 bar introduction written by Tchaikovsky for no.24
- No.24 Pas de caractère – Le Chat botté et la Chatte blanche
- No.25 Pas de quatre (changed by Petipa in the original production – Pas de deux de l'Oiseau bleu et la Princesse Florine)
- a. Entrée
- b. Variation de Cendrillon et Prince Fortuné (changed by Petipa in the original production – Variation de l'Oiseau bleu)
- c. Variation de l'Oiseau bleu la Princesse Florine (changed by Petipa in the original production – Variation de la Princesse Florine)
- d. Coda
- No.26 Pas de caractère – Chaperon Rouge et le Loup
- Interpolation: Pas de caractère – Cendrillon et Prince Fortuné
- No.27 Pas berrichon – Le Petit Poucet, ses frères et l'Ogre
- No.28 Grand pas de quatre (originally arranged by Petipa as a Pas de quatre for the Princess Aurora, Prince Désiré and the Gold and Sapphire Fairies)
- a. Entrée (only the first eight bars were retained)
- b. Grand adage
- Interpolation: Danse pour les Fées d'Or et de Saphir (Petipa utilized the music for the Entrée to accompany a dance for the Gold and Sapphire Fairies)
- c. Variation du Prince Désiré
- d. Variation d'Aurore (edited by Riccardo Drigo for the original production at Petipa's request)
- e. Coda
- No.29 Sarabande – quadrille pour Turcs, Éthiopiens, Africains et Américains
- No.30-a Coda générale
- No.30-b Apothéose – Apollon en costume de Louis XIV, éclairé par le soleil entouré des fées
Versions by other hands
Aurora's Wedding by Serge Diaghilev
In 1922, ballet impresario Serge Diaghilev arranged a 45-minute version of the final act for his Ballets Russes, entitled Aurora's Wedding. This abridged version has been recorded by conductor Leopold Stokowski, in one of his last performances, and by Charles Dutoit.
The adaptation takes material from the Act I Introduction of the ballet and combines it with most of the final act, as well as other sections. The selections in this version are listed as follows:
- 1) Introduction (Prologue)
- 2) Polacca (Act 3)
- 3) Pas de Six (Prologue)
- 4) Scene; Danse des Duchesses; Danse des Marquises (Act 2)
- 5) Farandole; Danse - Tempo di Mazurka (Act 2)
- 6) Pas de Quatre (Act 3)
- 7) Pas de Caractere-Chaperone Rouge et la Loup (Act 3)
- 8) Pas de Quatre (Act 3)
- 9) Coda-The Three Ivans (Act 3)
- 10) Pas de Deux (Act 3)
- 11) Finale - Tempo di Mazurka; Apotheose (Act 3)
References
External links
Video Samples
Act III of the Kirov/Mariinsky Ballet's reconstruction of Petipa's original 1890 production of The Sleeping Beauty:
- Pt.1 March / Grand Procession of the Fairy Tales
- Pt.2 Pas de Quatre of the Precious Stones / Pas de Caractère: Puss in Boots & the White Cat
- Pt.3 Pas de Deux of the Bluebird & Princess Florine
- Pt.4 Pas de Caractère: Little Red Riding Hood / Pas de Caractère: Cinderella & Prince Fortuné / Pas Berrichon: Tom Thumb & the Ogre
- Pt.5 Grand Pas de Deux Classique
- The Sleeping Beauty - Choreography by Rudolf Nureyev
- The Ballet Soloist (aka Russian Ballerina) - 1947 Soviet musical film with scenes from Tchaikovsky's Swan Lake and The Sleeping Beauty. With subtitles in Esperanto.
Scores
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