"Sleeping Beauty" reconstruction 16/17 The Mariinsky Ballet; Obraztsova/Korsakov

Sergei Vikharev's controversial reconstruction of Marius Petipa & Pyotr Ilyich Tchaikovsky's original 1890 production of "The Sleeping Beauty" for the Kirov/Mariinsky Ballet.

**see clip 1 for notes on the production


**Cast -
--Princess Aurora - Eugenia Obraztsova
--Prince Désiré -Anton Korsakov
--The Lilac Fairy - Anastasia Kolegova


**Résumé of pieces for this clip -
Grand pas de deux


**Notes -'
Interestingly, during the premiere of 1890, Carlotta Brianza (the first Aurora) scratched her arm on Pavel Gerdt's (the first Prince Désiré) costume, causing her to bleed on his costume.

Petipa originally staged the Grand pas de deux as a pas de quatre for Aurora, the Prince, & the Sapphire & Gold (likely the fairies "framed" the Grand adage).

Unfortunately the Mariinsky did not restore the mime during the Grand adage which, I believe, is retained to some extent in the Royal ballet's production.

After the Grand adage, notation shows that the 2 fairies performed a pas in 6/8 time, but it is not known to what music they danced. Since Petipa omitted the music for the entrée (retaining only the brief intro from it that is heard at the start of this clip) most historians have conjectured that it was likely to the entrée that the fairies danced, being that it is in 6/8 time.

The choreography for Prince Désiré's variation is not by Petipa, but by Konstantin Sergeyev, & was likely created for his own performances in "The Sleeping Beauty" (nevertheless Petipa is always credited for it in programs, films, & at competitions). Prince Désiré's variation is notated, & it would have been a most welcome treat to see what was danced at the turn of the 20th century (the level of male technique was not as poor as many might think). The choreographic notation documents what was danced by, likely, Nikolai Legat (Legat's name is listed on the notation of the Grand adage & coda). It is important to note that, by the end of the 19th century, Pavel Gerdt - the Imperial Ballet's Premier danseur - was approaching middle age (he was 46 when "The Sleeping Beauty" premiered in 1890), & younger dancers were brought in to perform the variations, etc. in ballets where he appeared in the lead.

A great deal of the surviving classical male solos were created for Nikolai Legat or his brother, Sergei Legat, though the choreographies are typically by Vakhtang Chabukiani or Konstantin Sergeyev in the Soviet-era.

Category:

Entertainment

Tags:

• Sleeping
• Beauty
• kirov
• Mariinsky
• ballet
• Tchaikovsky
• Petipa
• Obraztsova
• Korsakov
• Imperial
• Russia

[EricMontreal22]

It'sinteresting, before this reconstruction I always though the famous "fishdive" ending to the Pas de Deux was a Western invention (maybe springing from the London Diaghilev production or theoriginal Royal Ballet) as the Russian ones I saw always ended, I think, with a lift pose. But I geuss not?

[mrlopez2681]

the "lift pose" (as seen in the film with, I believe, Kolplakova) is a soviet invention. But the choreography you see here is also the soviet edtion with reconstructed elements (for example, the lifts from 2:00 - 2:29). Petipa originally staged this as a pas de quatre with the gold & sapphire fairies participating.

[theamazingsoter]

@MlleOdilette Well, you can't judge a variation based on only one step. Doug Fullington has "translated" the notations of the full variation combination by combination, and I think the choreography is very interesting and difficult. For example, in the 5th combination Désiré does 9 entrechats six and 12 brisés volés (like the Bluebird) in the 7th!

I hope Vikharev can fully reconstruct the Grand Pas de Quatre with the fairies and Petipa's variation some day, because it all sounds fascinating!

[MlleOdilette]

@theamazingsoter sautte battu doesnt sound good..

[luvballet5]

@pepercat17 sometimes conductors play unbearably slow (such as here) and the dancers, who are used to a certain tempo have a hard time dancing that slow, so it makes them appear to be ahead of the music.

[cubanmiamiboy]

@mrlopez2681

According to Danilova's memoirs the now standard fish dives in this PDD were created for Diaguilev's "The Sleeping Princess" for Spesisstzeva, as she recalls seeing them incorporated for the first time in some performances right after her return to Russia from that season.

[livethedarkdream]

@Pearlaceous I completely agree. Obraztsova deserves to be a principal. She is so well-rounded both technically and musically. Personally, I feel Alina Somova should be demoted to first soloist and Evgenia be promoted to Principal. Like you said, it's ridiculous that she isn't a Principal.

[cynthesize]

They are both beautiful dancers but Tchaikowsky must be turning over in his grave at the tempi and phrasing. I will give benefit of the doubt to the dancers here...but for me-they are off the music (and again, this could be the way they were coached...moving before the change of phrase) and his variation, in particular, is too slow. It is written VIVACE and Prestissimo. Pity.

[alexandraballetpybc]

omg i did this part