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The Sleeping Beauty (ballet)


The Sleeping Beauty (Russian: Спящая красавица / Spyashchaya krasavitsa) is a ballet in a prologue and three acts, first performed in 1890. The music was composed by Pyotr Ilyich Tchaikovsky (his opus 66). The score was completed in 1889, and is the second of his three ballets. The original scenario was conceived by Ivan Vsevolozhsky, and is based on Charles Perrault's La Belle au bois dormant. The choreographer of the original production was Marius Petipa.

The premiere performance took place at the Mariinsky Theatre in St. Petersburg on January 15, 1890. The work has become one of the classical repertoire's most famous ballets.

Tchaikovsky was approached by the Director of the Imperial Theatres in St. Petersburg, Ivan Vsevolozhsky on 25 May 1888 about a possible ballet adaptation on the subject of the story of Undine. It was later decided that Charles Perrault's La Belle au bois dormant would be the story for which Tchaikovsky would compose the music for the ballet. Tchaikovsky did not hesitate to accept the commission, although he was aware that his only previous ballet, Swan Lake, met with little enthusiasm at that stage of his career. The ballet scenario that Tchaikovsky worked on was based on the Brothers Grimm's version of Perrault's work entitled 'Dornröschen'. In that version, the Princess's parents (the King and the Queen) survived the 100-year sleep to celebrate the Princess's wedding to the Prince. However, Vsevolozhsky incorporated Perrault's other characters from his stories into the ballet, such as Puss in Boots, Little Red Riding Hood, Cinderella, Bluebird, Bluebeard, Ricky of the Tuft and Tom Thumb. Other French fairy tale characters to be featured are Beauty and the Beast, Pretty Goldilocks and The White Cat. Regardless, Tchaikovsky was happy to inform the Director of the Imperial Theatre that he had great pleasure studying the work and had come away with adequate inspiration to do it justice.


Role Mariinsky 1890 Bolshoi 1899
King Florestan Feliks Krzesiński (Mathilde Kschessinska’s father)
Queen Giuseppina Cecchetti
Princess Aurora, the Sleeping Beauty Carlotta Brianza Lyubov Roslavleva
Lilac Fairy Marie Petipa M. Grachevskaya
Carabosse Enrico Cecchetti Vasiliy Geltser
Prince Désiré Pavel Gerdt Ivan Khlyustin
Bluebird Enrico Cecchetti
Princess Florine Varvara Nikitina

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. 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
a. Grand adage. 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
a. Entrée de Carabosse
b. Scène mimique de Carabosse
c. Scène mimique de la Fée des lilas
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 possibly extended by either the harpist Albert Heinrich Zabel or Riccardo Drigo)
b. Danse des demoiselles d'honneur et des pages
c. Variation d'Aurore (coda edited by an unknown hand, possibly Riccardo Drigo)
d. Coda
No.9 Scène et final
a. Danse d'Aurore avec le fuseau
b. Le charme
c. L'arrivée de la Fée des lilas
a. Grand adage à la rose (opening harp cadenza possibly extended by either the harpist Albert Heinrich Zabel or Riccardo Drigo)
b. Danse des demoiselles d'honneur et des pages
c. Variation d'Aurore (coda edited by an unknown hand, possibly Riccardo Drigo)
d. Coda
a. Danse d'Aurore avec le fuseau
b. Le charme
c. L'arrivée de la Fée des lilas
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 (likely cut by Petipa from the original production)
d. Danse des comtesses (likely cut by Petipa from the original production)
e. Danse des marquises (likely 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 (opening harp cadenza possibly extended by either the harpist Albert Heinrich Zabel or Riccardo Drigo)
c. Valse des nymphes–Petit allégro coquet
a. Scène
b. Danse des duchesses
c. Danse des baronesses (likely cut by Petipa from the original production)
d. Danse des comtesses (likely cut by Petipa from the original production)
e. Danse des marquises (likely cut by Petipa from the original production)
a. Entrée de l'apparition d'Aurore
b. Grand adage (opening harp cadenza possibly extended by either the harpist Albert Heinrich Zabel or Riccardo Drigo)
c. Valse des nymphes–Petit allégro coquet
d. Variation d'Aurore (cut by Petipa from the original production)
e. Petite coda
No.16 Scène
No.17 Panorama
d. Variation d'Aurore (cut by Petipa from the original production)
e. Petite coda
No.18 Entr'acte symphonique (solo for violin with light orchestral accompaniment, composed for Leopold Auer, cut 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
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
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
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
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.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
a. Entrée (only the first eight bars were retained)
b. Grand adage
c. Variation du Prince Désiré
d. Variation d'Aurore — Mlle. Brianza (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 – Helios en costume de Louis XIV, éclairé par le soleil entouré des fées (music based on Marche Henri IV)
c. Variation du Prince Désiré
d. Variation d'Aurore — Mlle. Brianza (edited by Riccardo Drigo for the original production at Petipa's request)
e. Coda
  • King Florestan XXIV
  • Queen, his wife
  • Princess Aurora, the Sleeping Beauty, their daughter
  • Catalabutte, the master-of-ceremonies
  • Courtiers, maids of honor, pages, lackeys
  • Candide (Candor)
  • Coulante, Fleur de farine (Flowing, Wheat flour)
  • Miettes qui tombent (Falling breadcrumbs)
  • Canari qui chante (Singing canary)
  • Violente (Force)
  • The Lilac Fairy
  • Carabosse, the evil fairy
  • The Gold, Silver, Sapphire, and Diamond Fairies
  • Prince Chéri
  • Prince Charmant
  • Prince Fortuné
  • Prince Fleur de Pois
  • Prince Désiré (Florimund)
  • Gallifron, Prince Désiré's tutor
  • The Prince's friends, duchesses, baronesses, countesses, and marchionesses
  • Time: Baroque
  • Place: Europe
  • 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)
  • 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
  • Interpolation: Entrée de chats (a 10 bar introduction written by Tchaikovsky for no.24)
  • Interpolation: Pas de caractère – Cendrillon et Prince Fortuné
  • Interpolation: Danse pour les Fées d'Or et de Saphir in 6/8 (Petipa possibly utilized the music for the Entrée to accompany a dance for the Gold and Sapphire Fairies)
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