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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.
Pyotr Ilyich Tchaikovsky wrote many works well-known to the general classical public, including Romeo and Juliet, the 1812 Overture, and the ballets Swan Lake, The Sleeping Beauty and The Nutcracker. These, along with two of his four concertos , three of his symphonies and two of his ten operas, are among his most familiar works.
Original cast of Tchaikovsky's ballet, The Sleeping Beauty, Saint Petersburg, 1890. Tchaikovsky considered his next ballet, The Sleeping Beauty, one of his finest works, according to Brown. The structure of the scenario proved more successful than that of Swan Lake. While the prologue and first two acts contain a certain number of set dances ...
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. Though, initially, Tchaikovsky intended this to be a pas de quatre , Marius Petipa changed it in the original production, hence Stravinsky's title.
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.
Tchaikovsky most admired Adam's 1844 score for Giselle, which used the Leitmotif technique: associating certain themes with certain characters or moods, a technique he would use in Swan Lake and, later, The Sleeping Beauty. Tchaikovsky drew on previous compositions for his Swan Lake score.
The 1812 Overture went on to become one of Tchaikovsky's most popular works, along with his ballet scores to The Nutcracker, The Sleeping Beauty, and Swan Lake. [ 5 ]
Tchaikovsky graduated from imitation to full-scale evocation in the ballet The Sleeping Beauty and the opera The Queen of Spades. This practice, which Alexandre Benois calls "passé-ism", lends an air of timelessness and immediacy, making the past seem as though it were the present. [175]
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