User:Yuyu/Sandbox:Sleeping Beauty
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| 柴可夫斯基的芭蕾舞劇作品 |
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《睡美人》 (俄語：«Спящая Красавица»，拉丁轉寫：Spyashchaya Krasavitsa，作品號六十六）是俄國作曲家柴科夫斯基所譜曲的三幕芭蕾舞劇。全劇的音樂在1889年完成，是柴氏三部芭蕾舞劇之中的第二部。原裝場景由伊凡·弗謝沃洛依斯基(Иван Александрович Всеволожский)基於法國作家夏爾·佩羅(Charles Perrault)的童話《林中睡美人(La Belle au bois Dormant)》改編而成。首次排演的編舞是毛利斯·佩蒂巴 (Marius Petipa)，1890年首演於聖彼得堡馬林斯基劇院。該劇是各大芭蕾舞團的經典保留劇目之一，也相當為世人所熟悉。
歷史
創作經歷
1888年5月25日，俄羅斯聖彼得堡皇家劇院總監伊凡·弗謝沃洛依斯基找柴可夫斯基商議將水鬼烏丁娜(Undine)的故事編為芭蕾舞劇。但他們後來覺得佩羅的童話《林中睡美人》是一個更好的題材，交給柴可夫斯基作曲，佩蒂巴編舞。柴可夫斯基毫不猶豫的接受委託，縱使他的第一部芭蕾舞劇《天鵝湖》首演之時，不太成功。柴可夫斯基依據的劇本是根據格林兄弟所翻譯的，佩羅童話的德語譯本，也就是最重的結局是整個宮廷沉睡了100年後醒來，慶祝睡美人公主的婚禮。與此同時，弗謝沃洛依斯基還把佩羅所創作的，在其他故事中出現的角色，也一併到劇本中出，如穿靴子的猫和小红帽等等。而柴可夫斯基也向弗謝沃洛依斯基表示自己的創作過程很愉快，而且有足夠的靈感去完成作品。
負責首演編舞的是皇家芭蕾劇院總監毛利斯·佩蒂巴，詳細以清單寫下了自己對音樂的需求給柴可夫斯基。柴可夫斯基隨即在家中開始創作。1888年冬完成初稿，次年5月便開始配樂。
這部芭蕾舞劇主要是講述紫丁香仙子和卡拉波斯之間的正邪之爭，全劇充滿兩人的主導動機，成為交代劇情的重要線索。而在第三幕，兩人的主導動機分別消失，繼而集中在個人的風格舞蹈和幾題的宮廷舞蹈。
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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