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The Sleeping Beauty (Russian: Спящая красавица, romanized: Spyashchaya krasavitsa listen ⓘ) is a ballet in a prologue and three acts to music by Pyotr Ilyich Tchaikovsky, his Opus 66, completed in 1889. It is the second of his three ballets and, at 160 minutes, his second-longest work in any genre.
This arrangement was initially commissioned by Lucia Chase, the founding director of the Ballet Theatre, in January 1941.The commission consisted of a short arrangement of the four parts composing the No. 25, Pas de deux de l'Oiseau bleu et la Princesse Florine, in Act III of Tchaikovsky's The Sleeping Beauty.
In ballet, a pas de deux [pɑ d(ə) dø] (French, literally "step of two") is a dance duet in which two dancers, typically a male and a female, perform ballet steps together. [1] [2] The pas de deux is characteristic of classical ballet and can be found in many well-known ballets, including Sleeping Beauty, Swan Lake, and Giselle. [1]
The song's melody is based on the "Grande valse villageoise" (nicknamed "The Garland Waltz"), from the 1890 ballet The Sleeping Beauty by Pyotr Ilyich Tchaikovsky. "Once Upon a Dream" serves as the film's main theme, and as the love theme of Princess Aurora and Prince Phillip.
Original cast in the Imperial Ballet's original production of Tchaikovsky's ballet The Nutcracker, December 1892 "Tchaikovsky was made for ballet," writes musicologist David Brown [4] Before him, musicologist Francis Maes writes, ballet music was written by specialists, such as Ludwig Minkus and Cesare Pugni, "who wrote nothing else and knew all the tricks of the trade."
It was the 70 mm version of the Technirama exhibition format. Unlike Super Panavision 70 and Ultra Panavision 70 , Super Technirama 70 films were not actually photographed on 65 mm film stock, but rather a specialized 35 mm film process that was then blown up to 70 mm prints for use on curved Cinerama -type screens.
The Grand Pas des éléments, at Her Majesty's Theatre, 1847.. In classical ballet, a Grand pas, or Grand pas classique (French: [ɡʁɑ̃ pɑ]; literally meaning big or large classical step) is a suite of pure dance numbers that is devoid of dramatic action, serving strictly as the pièce de résistance in the context of a full-length ballet performance to showcase the talents of the ...
Tchaikovsky's "Cross"-motif, associated with the crucifixion, himself, and Tristan, a variation of which first appears in mm. 1–2 of his Pathétique Symphony. [27] Tchaikovsky identified with and associated the cross-motif with "star-cross'd lovers" in general, such as in Romeo and Juliet. [27]