Name: The Sleeping Beauty
Start: 2017-07-21T00:00:00.000Z
End: 2018-05-26T00:00:00.000Z
Location: Primorsky Stage of the Mariinsky Theatre

Organization

Dirigent

Anton Torbeev

Scenograf

Vyacheslav Okunev

Kostym designer

Ljus designer

Alexander Naumov

Dansare

Irina Sapozhnikova

Pricess Aurora

Sergei Umanetc

Prince Desire

Anastasia Kolegov

Lilac Fairy

Eriko Noritake

Fairy of Diamonds

Sergey Zolotarev

Evil Fairy Carabosse

Kateryna Floria

Princess Florine

Oleksii Skalun

Blue Bird

Koreograf

Eldar Aliev

Primorsky Stage of the Mariinsky Theatre

The Sleeping Beauty -  (Törnrosa)

Vladivostok

Ryssland

Public

Törnrosa

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Broadcasting

Chorus Director

Dramaturg

Exekutiv producent

Extra

Hårstylist

Illustrator

Kompositör

Kör

Körledare

Librettist

Ljud designer

Orchestra Operations

Orkester

Other

Photographer

Poet

Regissör

Repetitör

Skådespelare

Sminkartist

Stage Manager

Teacher

Tolk

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Mezzo-soprano

Sångare

Contralto

Soprano

Baritone

Bass-baritone

Tenor

Countertenor

Bass

Alto

Child vocalist

Continuo

Silent

Spoken

The Sleeping Beauty

The initiator of the fateful meeting between Pyotr Tchaikovsky and Marius Petipa was the director of the Imperial Theaters, Ivan Vsevolozhsky. His idea was to stage a ballet based on a French fairy tale, he wrote the libretto, designed costumes of incredible beauty and became a co-author of a miracle born by the genius of two great masters.

"Sleeping Beauty" turned out to be quite traditional and completely new. Her music, like other ballet scores of the second half of the 19th century, was written according to a clear plan of the choreographer, indicating the number of measures and the nature of the sound. But the fulfillment of the order did not limit Tchaikovsky's music to the expected dansantism. The ballet sounded like a full-blooded figurative symphony. Its melodic richness could not but inspire great achievements. Tchaikovsky's composition inspired Petipa not to revolutionary changes, the choreographer heard harmony in it. And his "Sleeping Woman" did not become a search for new ways, but in an ideal design collected everything created by the choreographer's many years of work on the St. Petersburg stage. The dance harmony of the performance was determined by the balanced proportions of ingredients - pantomime, genre spectacular scenes and classical dance forms, built in the impeccable logic of the development of the choreographic action from the ensemble to the ballerina's solo performance. The model of the big ballet, familiar in its individual elements and innovative in its impeccable composition, became the crowning achievement of the ballet art of the 19th century. And at the same time, it was The Sleeping Beauty that launched the ballet discoveries of the 20th century. Fascinated by the masterpiece of Tchaikovsky, Petipa and Vsevolozhsky, Alexander Benois, and after him the most advanced ballet creators of the next artistic formation, composed in the spirit of past eras and distant cultures. The captivating atmosphere of Louis XIV France, recreated in The Sleeper, paved the way for the modernist stylizations of the World of Art. familiar in its individual elements and innovative in its impeccable composition, became the crowning achievement of the ballet art of the 19th century. And at the same time, it was The Sleeping Beauty that launched the ballet discoveries of the 20th century. Fascinated by the masterpiece of Tchaikovsky, Petipa and Vsevolozhsky, Alexander Benois, and after him the most advanced ballet creators of the next artistic formation, composed in the spirit of past eras and distant cultures. The captivating atmosphere of Louis XIV France, recreated in The Sleeper, paved the way for the modernist stylizations of the World of Art. familiar in its individual elements and innovative in its impeccable composition, became the crowning achievement of the ballet art of the 19th century. And at the same time, it was The Sleeping Beauty that launched the ballet discoveries of the 20th century. Fascinated by the masterpiece of Tchaikovsky, Petipa and Vsevolozhsky, Alexander Benois, and after him the most advanced ballet creators of the next artistic formation, composed in the spirit of past eras and distant cultures. The captivating atmosphere of France during the time of Louis XIV, recreated in The Sleeper, paved the way for the modernist stylizations of the World of Art. and after him, the most advanced creators of ballets of the next artistic formation composed in the spirit of past eras and distant cultures. The captivating atmosphere of France during the time of Louis XIV, recreated in The Sleeper, paved the way for the modernist stylizations of the World of Art. and after him, the most advanced creators of ballets of the next artistic formation composed in the spirit of past eras and distant cultures. The captivating atmosphere of France during the time of Louis XIV, recreated in The Sleeper, paved the way for the modernist stylizations of the World of Art.

English

Инициатором судьбоносной встречи Петра Чайковского и Мариуса Петипа стал директор Императорских театров Иван Всеволожский. Его идеей было поставить балет по французской сказке, он написал либретто, придумал костюмы невероятной красоты и стал соавтором чуда, рождённого гением двух великих мастеров.

«Спящая красавица» оказалась вполне традиционной и абсолютно новой. Её музыка, как и другие балетные партитуры второй половины XIX века, была написана по чёткому плану хореографа с указанием количества тактов и характера звучания. Но исполнение заказа не ограничило музыку Чайковского лишь ожидаемой дансантностью. Балет зазвучал полнокровным образным симфонизмом. Его мелодическое богатство не могло не вдохновить на великие свершения. Сочинение Чайковского вдохновило Петипа не на революционные переломы, хореограф услышал в нём гармонию. И его «Спящая» не стала поиском новых путей, а в идеальной конструкции собрала всё созданное многолетним трудом хореографа на петербургской сцене. Танцевальную гармонию спектакля определили сбалансированные пропорции ингредиентов — пантомимы, жанровых зрелищных сцен и классических танцевальных форм, выстроенных в безупречной логике развития хореографического действия от ансамбля к сольному выходу балерины. Модель большого балета, знакомая по отдельным элементам и новаторская по безупречности композиции, стала венцом становления балетного искусства XIX века. И в то же время именно «Спящая красавица» дала старт балетным открытиям века ХХ. Очарованный шедевром Чайковского, Петипа и Всеволожского, Александр Бенуа, а вслед за ним и самые передовые создатели балетов уже следующей художественной формации сочиняли в духе минувших эпох и далёких культур. Пленительная атмосфера Франции времён Людовика XIV, воссозданная в «Спящей», открыла путь модернистским стилизациям мирискусников.

русский

Törnrosa by Tchaikovsky, P. I., Från (2017/2018), Dirigent Anton Torbeev, Primorsky Stage of the Mariinsky Theatre, Vladivostok, Ryssland

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