![logo]()
Usually regarded as the first work of Stravinsky's neoclassical period. Choreographed by Léonide Massine, it was commissioned by Sergei Diaghilev. Diaghilev wanted to update a commedia dell'arte play attributed at the time to Giovanni Pergolesi (that attribution has recently been challenged). The one-act ballet tells the story of Pulcinella, a stock character of commedia dell'arte, and his lover Pimpinella, as well as two girls, Prudenza and Rosetta, and their suitors, Florindo and Cloviello. Pulcinella kisses Rosetta after she dances for him, enraging Pimpinella as well as the two suitors, who, jealous of Pulcinella, beat him up and appear to kill him. However, the "body" of Pulcinella is actually his friend Furbo, who impersonated Pulcinella and played dead. Pulcinella, disguised as a magician, appears, reveals himself, and marries Pimpinella, who forgives him. Was written for the Ballets Russes, and choreographed by Vaslav Nijinsky. Inspired by Russian folklorist Nicholas Roerich, who designed the original sets, it is in two parts, "The Adoration of the Earth" and "The Sacrifice." It opens with a high-pitched bassoon solo based on a Lithuanian folk song, which is followed by the dissonant "Augurs of Spring" (sometimes called "Dances of the Young Girls"), which features E-major and E-flat-major chords superimposed on each other and played with seemingly random accents. The piece ends with a girl forced to dance herself to death. Changes of meter are frequent, sometimes changing measure to measure. The original instrumentation featured several unusual percussion instruments, including a gong, tambourines, antique cymbals, and the guiro. Most infamously, a riot broke out at its Paris premiere, although contemporary reports give differing accounts on the Rite's role. Prokofiev composed _____ for the Bolshoi Ballet. Prokofiev originally intended to substitute a happier ending for Shakespeare's tragic one — stating "dead people cannot dance" — but conductor Yuri Fayer talked him out of it (in significant part for political reasons). The "Dance of the Knights" (also called "Montagues and Capulets") is an often-excerpted portion of the ballet noted for its pulsating, driving rhythm, while the Gavotte, or "Departure of the Guests," reuses a theme from Prokofiev's First Symphony (the "Classical"). The score, which calls for such nonstandard instruments as a tenor saxophone, maracas, tambourine, and celesta, was later transformed into three orchestral suites, as well as a set of ten works for solo piano. (The score underwent further revisions — not by Prokofiev himself — in 1940; choreographer Mark Morris has performed Prokofiev's original version with the "happier" ending.) Choreographed by Marius Petipa, _____ is based on the fairy tale of the same name, though other fairy tale figures, including Little Red Riding Hood and Cinderella, appear. Split into four sections ("The Christening," "The Spell," "The Vision," and "The Wedding"), Sleeping Beauty relates the story of Princess Aurora, the daughter of King Florestan XXIV. He invites a group of fairies to Aurora's christening, but the evil spirit Carabosse, furious at not being invited, appears and curses Aurora to die on her 16th birthday by pricking her finger with a spindle. However, the powerful Lilac Fairy weakens the curse, so that Aurora will sleep for a hundred years instead. On her 16th birthday, the townspeople perform the "Garland Waltz" and four suitors and Aurora perform the challenging "Rose Adagio." A mysterious figure (Carabosse in disguise) appears and gives Aurora a spindle, on which Aurora pricks herself and falls asleep; the Lilac Fairy then expands the spell over the entire kingdom. A century later, Prince Desire is hunting in the forest when the Lilac Fairy approaches him and leads him to the castle. He wakes Aurora with a kiss and wins her hand in marriage. Many modern performances of Swan Lake are based on a revised version of Tchaikovsky's score prepared after Tchaikovsky's death by Marius Petipa, Lev Ivanov, and Riccardo Drigo. The ballet opens at Prince Siegfried's 21st birthday party, where Siegfried's mother scolds him for not finding a wife; she plans for him to choose a spouse at a ball the following evening. After the "Dance of the Goblets," Siegfried, his tutor Wolfgang, and his friend Benno go hunting. They are about to shoot a swan when it turns into the beautiful Odette. Odette reveals she was cursed by the sorcerer von Rothbart to turn into a swan during the daytime. The curse can only be broken if one who has never loved before declares his love for her. Odette and the other victims of von Rothbart's curse live on the title lake, which was created by Odette's mother's tears. Their presence is usually signified by one of the ballet's recurring musical themes, a B-minor motif for oboe and harp. Odette and Siegfried begin to fall in love, but morning breaks and Odette returns to her swan form. At the palace, the ball begins with nationalistic dances, including Neapolitan and Hungarian dances and a mazurka. Von Rothbart arrives with his daughter Odile, disguised to look like Odette. (Odette and Odile are normally played by the same ballerina, who wears white as Odette and black as Odile.) They successfully trick Siegfried into declaring his love for Odile, dooming Odette to live as a swan forever. He hurries back to the lake, where he and Odette drown themselves, killing von Rothbart in the process. The exact ending varies from production to production, with some happier than others. Sergei Diaghilev commissioned this ballet based on a novella by Pedro Antonio de Alarcón; the costumes were designed by Pablo Picasso. The title headgear is worn by the ballet's main villain, a magistrate (corregidor), who attempts to seduce the main female character, a miller's wife. The miller and his wife then trick the magistrate: the miller's wife flirtatiously offers the magistrate some grapes, but then leads him on a chase past the miller, hiding in a bush, who beats the magistrate. That night, the magistrate sends a deputy to arrest the miller on falsified charges; after the arrest, the opening of Beethoven's Fifth Symphony plays to signify the "knocking of fate." The magistrate goes to the miller's home, but falls into a river, causing the miller's wife to flee. The magistrate then undresses and gets into the miller's bed; the miller, having escaped from prison, decides to seduce the magistrate's wife and secretly switches clothes with him. The magistrate, dressed in the miller's clothes, is then arrested by his deputy. The miller and his wife arrive and toss the magistrate up and down in a blanket. Fancy Free, the first ballet choreographed by American dancer Jerome Robbins, was inspired by Paul Cadmus's painting The Fleet's In!. The ballet depicts the antics of three sailors on shore leave in New York City, where they meet two beautiful women. To determine which one will leave dateless, the sailors hold a dance contest, performing a galop, waltz, and a Cuban danzón. However, the women cannot choose a winner, and the sailors quickly start fighting. The women run away, but the men reconcile and the ballet ends with them crossing paths with another attractive woman and starting to pursue her. Fancy Free's success catapulted both Bernstein and Robbins to stardom; Bernstein later adapted Fancy Free into a musical and a film under the title On the Town; the musical features the song "New York, New York." Choreographed by Michel Fokine, The Firebird was the first of several collaborations between Stravinsky and Ballets Russes director Sergei Diaghilev. Prince Ivan, the ballet's protagonist, captures the mythical Firebird, who pledges a feather to Ivan in exchange for her freedom. Ivan later stumbles upon 13 princesses performing the "Dance of the Golden Apples." Ivan follows them back to the castle of Kashchei the Immortal, who has enchanted and imprisoned them. Kashchei, whose magic is represented by a recurring descending chromatic motif, sends bewitched monsters to attack Ivan. Ivan uses the feather to summon the Firebird, who uses her magic to make the monsters perform an "Infernal Dance" before lulling them to sleep with a "Berceuse." While the monsters sleep, Ivan discovers the egg that preserves Kashchei's power inside a tree trunk and destroys it, breaking Kashchei's spell. Ivan frees the princesses, marrying one of them in the ballet's 7/4 finale. Stravinsky created three versions of the ballet suite for a smaller orchestra, which were published in 1911, 1919, and 1945. Choreographed by Jean Coralli and Jules Perot, Adam wrote Giselle for Perot's lover Carlotta Grisi, who danced the title role at its premiere. Giselle, a peasant girl, falls in love with Loys, who is secretly Duke Albrecht of Silesia in disguise. Although Albrecht is engaged to Princess Bathilde, he pursues his romance with Giselle. After playing "he loves me, he loves me not" with a daisy, Giselle is shocked when the gamekeeper Hilarion, who also loves her, presents Albrecht's sword, revealing Albrecht's noble status. Unable to handle Albrecht's deception and knowing he can never marry her, Giselle goes mad, tearing the necklace her mother has given her, and dies of a broken heart. After her death, Giselle's spirit is enlisted into the Wilis, a group of spirits led by Queen Myrtha. The Wilis corner Hilarion and force him to dance to death; but Giselle stops them from doing the same to Albrecht. Sparing Albrecht, the Wilis let Giselle's ghost return to rest in her grave. Based on a story by Melchior Lengyel, The Miraculous Mandarin opens by depicting a large city, with rapid ascending and descending notes on the strings followed by a theme of minor seconds and a brass imitation of car horns. In the ballet, a group of robbers force a girl to dance at the window of their apartment as a "Lockspiel," or decoy game, to lure in potential victims. After the criminals successfully rob an old lecher and a poor young man, the girl lures a rich Chinese man—the Mandarin—into the apartment; glissandos in the brass mark his entrance. After the Mandarin tries unsuccessfully to capture the girl, the tramps jump on him—symbolized by the repetition of the minor second intervals heard at the beginning of the ballet—and stab him three times, then hang him from a lamp. However, the Mandarin's body begins to glow strangely. The girl then convinces the robbers to free the man, whom she then embraces, allowing him to die peacefully. The material of the ballet made it controversial upon its 1926 premiere; the mayor of Cologne, where the ballet debuted, had it banned on moral grounds. Now a Christmastime favorite, The Nutcracker was choreographed by Marius Petipa and Lev Ivanov. The plot, based on an E. T. A. Hoffmann story, opens at a Christmas party, where Drosselmeyer gives his daughter Clara a toy nutcracker, which her brother Fritz soon breaks. At night, the living room becomes a battleground between the evil Mouse King and toys and gingerbread soldiers, led by the Nutcracker. Clara throws her slipper at the Mouse King, distracting him long enough for the Nutcracker to kill him. The Nutcracker then turns into a prince and leads Clara into a magical forest where the "Waltz of the Snowflakes" marks the end of act one. In act two Clara and the prince arrive in the Land of Sweets, where they witness dances representing delicacies from around the world, including Arabian coffee and Spanish chocolate, as well as the Chinese "Dance of the Reed Flutes" and the Russian "Trepak." Mother Ginger has a group of clowns ("Polcinelles") emerge from her skirt to dance before the orchestra plays the "Waltz of the Flowers" and the Sugar Plum Fairy and the Cavalier dance a pas de deux. Finally, the Sugar Plum Fairy dances alone to music that marks one of the first orchestral uses of the celesta. 