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Marc Happel, New York City Ballet’s costume director, opened up to WWD about the costumes for the famed production.
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Royal Blue Bon Bon Dressing Guide
COSTUME REQUIREMENTS: Royal Blue Class Bon Bons will perform in the 1pm and 5pm Nutcracker performances: Annabelle Hankinson, Katherine Sharpe,.
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Nutcracker Excerpt: Bon Bons 21567 좋은 평가 이 답변
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주제에 대한 기사 평가 nutcracker bon bon costumes
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What are bon bons in The Nutcracker?
Bonbons – filled with butter cream, nougat, candied fruit or liqueur – are traditionally molded chocolates with a hard shell.
How many costumes are in The Nutcracker?
182 costumes appear on stage in a single performance, and approximately 350 total costumes were made for multiple casts. 3. Over 2,000 yards of net and tulle and 200,000 jewels were used in creating the costumes.
When was the Nutcracker written?
The Nutcracker (Щелкунчик), Op. 71 (TH 14 ; ČW 14), is a fairy ballet in 2 acts and 3 scenes, written and orchestrated by Tchaikovsky between February 1891 and April 1892. The story was based on a children’s fairy tale by E. T. A. Hoffmann, adapted by Alexandre Dumas.
What are the sweets that dance in The Nutcracker?
The rounded sweets were a confectioner’s pièce de résistance, consisting of layers of sugar syrup skilfully hardened around a caraway or cardamom seed, or an almond.
What is trepak candy?
Candy Canes (also “Trepak,” or Russian Dance) Mother Ginger and Bon-bons. The Waltz of the Flowers (originally the flowers were sweetmeats!) The Dance of the Sugar Plum Fairy. The end of the story typically depicts Clara waking up next to her Nutcracker doll to discover it was all a dream.
What is the most difficult role in The Nutcracker?
The Sugar Plum Fairy is among the most difficult roles in the ballet canon, although a talented ballerina can make it look effortless.
What does Clara wear in The Nutcracker?
Clara is the young girl who is the heroine of the story. She receives the Nutcracker doll at her parent’s annual holiday party, which begins the adventure. She wears banana curls and ribbons in her hair, a pretty white dress and petticoats.
Which nutcracker ballet is the best?
- The Nutcracker with Baryshnikov and Kirkland (1977) – For me, this is the most classic of Nutcrackers. …
- New York City Ballet (1993) – I rediscovered this one this year, and it was rather fun, seeing Mccaulay Caulkin of Home Alone fame dancing as the Nutcracker Prince.
What is the best age for a child to see the Nutcracker?
The show is especially designed for children from 2 to 8 years old, so if you’re skeptical about the candy-in-the-lap routine, but still want the “Nutcracker” experience, this is a safe bet.
What age is good for the Nutcracker?
To ensure an enjoyable and relaxed experience for everyone, we recommend that children be at least 5-years-old to attend Nutcracker. Please note that we do not allow children under 3, including babes in arms. For Repertory Season performances, including story ballets, we recommend that children be at least 8-years-old.
Is The Nutcracker ballet scary?
The Nutcracker does have a few scary parts for children. There’s a section with the Mouse King and the other human-sized mice battling toy soldiers that was a little frightening; also, Drosselmeyer can be a little scary.
What is the famous nutcracker song called?
Dance of the Sugar Plum Fairy from The Nutcracker (The Royal Ballet)
What nationality is The Nutcracker?
The origin of The Nutcracker has its roots in the great success of The Sleeping Beauty ballet. This ballet was staged at the Mariinsky Theatre in St. Petersburg, Russia, in 1890. It was the work of the director of the Imperial Theatres in St.
What is the moral of The Nutcracker?
Clara learned that she possess the power she needs to make her dreams come true. Confidence and execution are key. Friends don’t hurt each other on purpose. There was a character that smiled and cheered on Clara the entire time until she got what she wanted.
What is the theme of The Nutcracker?
There was enough not only for oneself but also for others, and the more elaborate the gift, the more it illustrated the existence of prosperity and confidence in the future of prosperity. Think of the person of the nutcracker himself.
What is the storyline of The Nutcracker Suite?
The story of The Nutcracker is loosely based on the E.T.A. Hoffmann fantasy story The Nutcracker and the Mouse King, about a girl who befriends a nutcracker that comes to life on Christmas Eve and wages a battle against the evil Mouse King.
Why was The Nutcracker written?
The Nutcracker Suite was commissioned by Imperial Russian Ballet choreographer Marius Petipa in 1891. Petipa wanted a ballet score based on Alexandre Dumas’ (1802-1870) adaptation of E.T.A. Hoffman’s (1776-1882) fantasy story, The Nutcracker and the Mouse King.
Ten Things to Know about Mikko Nissinen’s The Nutcracker
MAKING THE MAGIC
Based on E.T.A Hoffman’s dreamlike novella, The Nutcracker brings to life Clara’s magical journey filled with colorful characters, breathtaking costumes, and majestic scenery. A New England holiday tradition for over 50 years, this enchanting classical ballet—set to the beloved music of Tchaikovsky—continues to enthrall audiences of all ages.
Here are some little-known facts behind what makes Boston Ballet’s production of Mikko Nissinen’s The Nutcracker “the granddaddy of them all.”
FUN FACTS
1. Approximately 150 dancers are involved in each performance. More than 240 children, all Boston Ballet School students, make up three casts of the production.
2. 182 costumes appear on stage in a single performance, and approximately 350 total costumes were made for multiple casts.
3. Over 2,000 yards of net and tulle and 200,000 jewels were used in creating the costumes. On several, such as the Nutcracker Prince and the Harlequin, the patterns are hand-painted to each dancer’s individual proportions.
4. Mother Ginger’s skirt is approximately 24 feet in circumference. Considered a prop, not a costume, it is stored backstage on a pulley system and lowered onto the dancer in the wings.
5. All of the sets were painted by hand and domestically made. Most of the scenery was built at Mystic Scenic Studio in Norwood. Most props were built in Boston Ballet’s 40,000-square-foot warehouse in Newburyport.
6. It takes about 1,896 stagehand hours over six days to set up the production at the Boston Opera House.
7. There are approximately 270 people backstage during performances including dancers, orchestra members, students, costume drapers, make-up and wig stylists, and stagehands coordinating scenery, lighting, and props.
8. To make pieces of scenery move at once, Boston Ballet’s technical staff built rigging and tracking systems on monstrous steel cages. During a performance, these systems are manipulated by a stagehand pulling a rope.
9. The effect of the magical snowfall is created with a piece of fabric between two of the theatre’s system pipes. On one side of the fabric there are holes, so the paper snow falls out as it shifts back and forth.
10. The iconic Christmas tree is also on one of theater’s system pipes, counter weighted so that when a stagehand lowers the weight with a rope, it goes up. The tree grows to 42 feet 6 inches tall, with 766 fiber optic points and 600 ornaments.
Tchaikovsky Research
The Nutcracker (Щелкунчик) [1], Op. 71 (TH 14 ; ČW 14), is a fairy ballet in 2 acts and 3 scenes, written and orchestrated by Tchaikovsky between February 1891 and April 1892. The story was based on a children’s fairy tale by E. T. A. Hoffmann, adapted by Alexandre Dumas.
This was Tchaikovsky’s last ballet, from which he compiled a famous Suite of eight numbers for concert performance.
Instrumentation
The ballet is scored for a large orchestra consisting of 3 flutes (2nd and 3rd doubling piccolos), 2 oboes, English horn, 2 clarinets (in A, B-flat), bass clarinet (in A, B-flat), 2 bassoons + 4 horns (in F), 2 trumpets (in A, B-flat), 3 trombones, tuba + 4 timpani, triangle, tambourine, cymbals, bass drum, tam tam, glockenspiel, castanets, toy instruments (rattle, trumpets (in C), drums, 2 rabbit drummers, cuckoos, quails, cymbals) + celesta (or piano) + 2 harps, violins I, violins II, violas, cellos, and double basses.
The Waltz of the Snowflakes (Act I, No. 9) includes a wordless chorus. Tchaikovsky instructed that “This chorus should comprise 12 sopranos and 12 altos. It is all the more desirable that they should be youths from a choir. But if this is impractical, then this choral part may be performed by 24 voices an operatic chorus”.
The toy instruments are used in Act I (No. 5), and Tchaikovsky noted in the score that “These instruments are essentially the same as those used in the first scene of The Queen of Spades. They should be played at the points indicated by the children in the scene”, and also: “The Rattle (Schnarre) is as used in the children’s symphonies by Haydn, Romberg, etc. It should be obtainable in any musical store”.
At the head of the opening Scene (Act II, No. 10), Tchaikovsky noted: “The artist performing the Celesta part should be a good pianist”. In the Dance of the Sugar-Plum Fairy (No. 14, Var. 2), he noted that “If the celesta is unavailable, then this part may be played on the piano”.
Movements and Duration
Tchaikovsky’s original score contains an overture and 15 numbers. Act I is divided into two scenes (comprising Nos. 1–7 and Nos. 8–9). The titles of numbers in French (italic type) and Russian (Cyrillic) are taken from the published score, with English translations added in bold type.
Overture (Ouverture ; Интродукция)
Allegro giusto (182 bars) Act I Scene 1 No. 1 Scene: Decoration and Lighting of the Christmas Tree (Scène: L’ornement et l’illumination de l’arbre de Noël ; Сцена: Украшение и зажигание елки)
Allegro non troppo — Allegro vivace (134 bars) No. 2 March (Marche ; Марш)
Tempo di Marcia viva (88 bars) No. 3 Children’s Galop and Entry of the Parents (Petit galop des enfants et entrée des parents ; Детский галоп и выход родителей)
Presto — Andante — Allegro (118 bars) No. 4 Dancing Scene (Scène dansante ; Сцена с танцами)
Andantino — Allegro vivo — Andantino sostenuto — Allegro molto vivace — Tempo di Valse — Presto (258 bars) No. 5 Scene and Grandfather Dance (Scène et danse Großvater ; Сцена и танец гросфатер)
Andante (Tempo di Valse) — Andantino — Moderato Assai — Andante — Tempo di Grossvater — Allegro vivacissimo (225 bars) No. 6 Scene: Departure of the guests. Night (Scène: Le départ des invités. La nuit ; Сцена: Уход гостей. Ночь)
Allegro semplice — Moderato con moto — Allegro giusto — Moderato assai (161 bars) No. 7 Scene: The Battle (Scène: La bataille ; Сцена: Сражение)
Allegro vivo (121 bars) Scene 2 No. 8 Scene: A Fir Forest in Winter (Scène: Une forêt de sapins en hiver ; Сцена: Еловый лес зимой)
Andante (71 bars) No. 9 Waltz of the Snowflakes (Valse des flocons de neige ; Вальс снежных хлопьев)
Tempo di Valse, ma con moto — Presto (407 bars) Act II No. 10 Scene: The Magical Palace of Confiturenburg (Scène: La palais enchanté de Confiturenbourg ; Сцена: Дворец сластей Конфитюренбург)
Andante (91 bars) No. 11 Scene: Arrival of the Nutcracker and Clara (Scène: L’arrivée de Casse-Noisette et Claire ; Сцена: Прибытие Клары и Щелкунчика)
Andante con moto — Moderato — Allegro agitato (142 bars) No. 12 Divertissement (Дивертиссмент): (a) Chocolate: Spanish Dance (Le chocolat: Danse espagnole ; Шоколад: Испанский танец)
Allegro brillante (178 bars) (b) Coffee: Arabian Dance (Le café: Danse arabe ; Кофе: Арабский танец)
Comodo (102 bars) (c) Tea: Chinese Dance (Le thé: Danse chinoise ; Чай: Китайский танец)
Allegro moderato (32 bars) (d) Trepak: Russian Dance (Trépak: Danse russe ; Трепак: Русский танец) [2]
Tempo di Trepak, molto vivace — Prestissimo (84 bars) (e) Dance of the Reed-Flutes (Danse des mirlitons ; Танец пастушков) [3]
Andantino (77 bars) (f) Mother Gigogne and the Clowns (La mère Gigogne et les polichinelles ; Мамаша Жигонь и паяцы) [4]
Allegro giocoso — Andantino — Allegro vivo (156 bars) No. 13 Waltz of the Flowers (Valse des fleurs ; Вальс цветов)
Tempo di Valse (353 bars) No. 14 Pas de deux: [a] Andante maestoso (74 bars) [b] Var. I. [Tarantella] [5]. Tempo di Tarantella (51 bars) [c] Var. II. [Dance of the Sugar-Plum Fairy]. Andante ma non troppo — Presto (84 bars) [d] Coda (Кода)
Vivace assai (102 bars) No. 15 Final Waltz and Apotheosis (Valse finale et Apothéose ; Финальный вальс и Апофеоз)
Tempo di Valse – Molto meno (294 bars)
A complete performance of The Nutcracker lasts around 90 minutes.
Libretto
The libretto was compiled by Ivan Vsevolozhsky and Marius Petipa [6], after the story of Histoire d’un Casse-Noisette (1845) by Alexandre Dumas (1802-1870), which was an adaptation from the German of Der Nußknacker und Mausekönig (1816) by E. T. A. Hoffmann (1776-1822) [7].
Synopsis
The story is set in eighteenth-century Germany:
Act I. It is Christmas Eve in the home of President Silberhaus of the Town Council and his children, Clara and Fritz (Scene 1). The parents are decorating the tree. Nine o’clock strikes, on a clock consisting of an owl which flaps its wings at each stroke. The children burst into the room with some friends, and all join in a lively march round the room, before breaking into a galop. Then the other children’s parents enter, dressed as fops and dandies. A general dance follows, which is interrupted by the arrival of Councillor Drosselmeyer, who is Clara’s godfather. The children are alarmed at his odd appearance, until they see that he has brought them toys: a mechanical doll, a toy soldier, Harlequin and Colombine. He produces these from a large cabbage and from a large pie, much to the children’s delight. Silberhaus orders the more expensive toys to be moved to his study, but Clara and Fritz want to play with them. Clara bursts into tears. To console them, Drosselmeyer gives them a huge Nutcracker in the form of a soldier, which enchants Clara. Fritz hears the noise of the nuts cracking, and tries to seize the nutcracker. When Clara reluctantly lets him play with it, he tries to crack a nut so big that it is the Nutcracker which breaks. Clara picks up the broken Nutcracker and cradles it in her arms., singing it a lullaby, while the boys tease her. The scene ends with a general Grandfather dance. After everyone has gone to bed Clara comes down to see her Nutcracker, which seems to be giving off a mysterious light. Midnight strikes, and mice appear from every corner. The dolls spring to life, and gingerbread soldiers left over from tea begin to march to and fro. She tries to run away, but her legs will not carry her. The Christmas-tree grows enormously in size. Dolls and soldiers join in battle with the mice, who overwhelm the soldiers. Then the Nutcracker summons his old guard, and fights the King of the Mice. Just as it appears that the Nutcracker is about to be overwhelmed, Clara throws her slipper at the King of the Mice, and kills him. The Nutcracker is transformed into a handsome Prince, and he offers Clara a journey to his kingdom. The room is transformed into a pine forest (Scene 2), and the night sky clears to reveal a host of stars. Clara and the Prince are guided through the forest by gnomes with torches. Snowflakes fall and they are met by the King and Queen, who join their subjects in a swirling waltz.
Act II. In the palace of the Kingdom of Sweets (Confiturenburg), the Sugar Plum fairy appears to welcome the travellers to the delights of her kingdom. Beside a river of rose water, Clara and the Prince appear and are welcomed in the Great Hall of the palace. The Prince is greeted by his sisters, and tells how Clara saved his life. She is thanked profusely. The company settle dawn to a splendid banquet and divertissement. Dances from Spain, Arabia, China and Russia are followed by a shepherds’ pastoral dance, using toy flutes. Then the old-woman-who-lived-in-a-shoe dances with all her children and a group of clowns. A waltz for the Sugar-Plum Fairy’s attendants, is followed by a Pas de deux for the Prince and the Sugar-Plum fairy. The entire court joins in the final waltz, and the curtain falls on a final tribute to Clara [8].
Composition
The ballet was commissioned by the Director of the Russian Imperial Theatres, Ivan Vsevolozhsky, who held preliminary talks with the composer in November and December 1890 [9]. On 22 January/3 February 1891, Tchaikovsky wrote to his brother Anatoly: “At the end of the week I shall be going to Saint Petersburg for final discussions with the director about the opera [Iolanta] and the ballet” [10]. Tchaikovsky stayed in Saint Petersburg until 11/23 February, where, evidently, he received the choreographer Marius Petipa’s manuscript plan of the first act of the ballet, which was dated “5 February 1891” [O.S.] [11].
According to Modest Tchaikovsky, the composer was “very little pleased by the subject of The Nutcracker” [12], more precisely with the nature of the ballet’s scenario, since E. T. A. Hoffmann’s fairy tale, upon which it was based, had long ranked high in the composer’s estimation, and was the reason for his agreeing to write the ballet The Nutcracker.
Tchaikovsky’s unfavourable attitude to the using The Nutcracker for a ballet scenario is reflected in a letter from Ivan Vsevolozhsky to Tchaikovsky of 9/21 August 1891: “I have experienced agonies of remorse for asking you to do this ballet. I know that it is unappealing to you. You are an exceptionally kind soul for not refusing me” [13].
It is not possible to establish the exact date on which work on the sketches was begun. By 12/24 February the composer had not begun work [14], but by 18 February/2 March some scenes had been composed—No. 1 (the decoration of the tree) and No. 2 (march—entrance of the children), after which came a number of characteristic dances: Chinese and Spanish dances, a tarantella, an English dance (“Gigue”) [15], and the start of a Trepak.
On 18 February/2 March, Tchaikovsky went again to Saint Petersburg. Before his departure he received a letter written by Ivan Vsevolozhsky, dated 15/27 February: “I hope to see you in Saint Petersburg before your departure for America. I want to pass on to you some ideas for the ballet, which do not fit in with Petipa’s scheme. He is what the French call vieu jeu [16]. All the solos and variations he devised for the first act, would be of little interest to the public. You need now only to compose great dances, and not for dancers, and all those variations… would only irritate the majority of the audience” [17].
Returning to Frolovskoye on 22 February/6 March, Tchaikovsky made notes in his sketchbook after the start of the Trepak: “Not finished, because during a visit to Saint Petersburg I learned that Vsevolozhsky did not want dances here and, probably, they will be carried over to the 2nd act”.
The arrangement of the sketches allows us to infer the order in which the music was written—the composer adhered to the essence Marius Petipa’s plan, indicating any deviations from it in his notebook. After meeting with Vsevolozhsky, Tchaikovsky crossed out the names of the characteristic dances in Petipa’s balletmaster plan, and instead wrote: “Galop pour les enfants et entrée des parents en incroyables… 16 mesures rococo (tempo menuet). Bon voyage, M. Dumolet”, the latter being the title of a humorous 18th century French song, subsequently used in the music for this number. But the composer did not write the music for this scene straight away, noting down only a few sketches eventually used for the gallop, beside the note: “This is the start of the coda, composed during a stroll in Piter [Petersburg]”.
Next he continued with Petipa’s plan and on 22 February/6 March set about the music for Drosselmeyer’s entrance. The author’s sketch book includes two dates—23 February/7 March and 27 February/11 March—which allows us to establish that on these days he finished the scene with Drosselmeyer, and wrote the scene with the children and the Nutcracker (No. 5), except for the Grossvater[18]. Omitting the Grossvater, Tchaikovsky wrote in his sketch book: “Talk to Petipa regarding the Grossvater, how many times it should be repeated, and whether it should be varied, and have Jurgenson obtain the [musical] notes”. There is a second note, apparently made later: “Grossvater — see the end of the copybook after everything else”.
Beside one of the sketches for No. 5 (the scene described as “Lullaby, twice interrupted by the noise of Fritz and his friends on drums and pipes”), Tchaikovsky noted: “Le vacarme” [19] “… (child’s trumpet), cuckoo (sol, mi), rattle, drums, cymbals as in Haydn’s symphony (or three of these, depending on whatever children’s instruments will be available)”.
On 19 February/3 March, Tchaikovsky wrote from Saint Petersburg to Pyotr Jurgenson: “I require children’s instruments (from the symphonies of Haydn and Romberg), because I want to make use of them in my forthcoming ballet. Send them, if you please, to Frolovskoye without delay. And also send notes, explaining how the children’s instruments should be played” [20]. On 23 February/7 March, Jurgenson responded: “I am sending you a box of instruments by train” [21].
On 25 February/9 March, the composer wrote to Modest Tchaikovsky: “I am working with all my strength and reconciling myself to the subject of the ballet. I think that by the time I leave a considerable part of the first act will have been done” [22]. On 27 February/11 March, after sketching the night scene (Clara’s vision), Tchaikovsky wrote: “Here I am leaving out a lot, up to the Waltz of the Snowflakes”. Indeed, he omitted the battle scene between the mice and toys, and start of the second scene of Act I—depicting the forest at night—and instead the composer went on to the Waltz of the Snowflakes. After this he wrote: “Return to No. 22” (on Marius Petipa’s plan No. 22 was the start of the battle scene), and sketches for the battle of the mice and toys followed.
This concluded Tchaikovsky’s work on the ballet before his departure abroad on 6/18 March. On the day of his departure from Saint Petersburg, the composer discussed the ballet with Marius Petipa [23]. It seems that at this meeting the outline scenario for Act II was finalised. In any case, the balletmaster’s plan of this act was sent to Tchaikovsky only while he was abroad. On the copy of the manuscript of the plan is Petipa’s note: “This was sent on 9 March 1891 [O.S.] to Mr. P. Tchaikovsky in Paris” [24].
Work on the ballet continued during his journey: “I will try to work on the boat. Even on the way here I composed a little of the ballet”, Tchaikovsky wrote from Berlin on 8/20 March 1891 [25]. It has not been established whether Tchaikovsky composed anything on his way to Berlin. In Paris, where Tchaikovsky arrived on 10/22 March, work on the ballet did not come easily. On 15/27 March, he wrote to Vladimir Davydov: “I shall leave Paris on 6th April/25 March, I still don’t know where to, in order to work on the ballet” [26], and on 30 March/11 April he reported to Praskovya Tchaikovskaya from Rouen: “I came here yesterday for a few days’ rest and solitude from Parisian life” [27]. Evidently, in Rouen Tchaikovsky resumed work on 31 March/12 April. This date, together with the note ” Rouen” was made by the composer on the inside front cover of his notebook, which on its first pages contains sketches for the opening of the second scene of Act I [28]. The date “Rouen, 12 April” was also written by Tchaikovsky on the choreographer’s manuscript plan of Act II.
Tchaikovsky stayed in Rouen until 5/17 April. During this time he wrote the opening of the second scene, and the numbers he had previously omitted from the first scene of Act 1: Petit galop des enfants, Entrée des parents, “Bon voyage, M-r Dumolet”; then there followed sketches for the Grossvater dance and some additions to the dance of the Incroyables [29].
On 3/15 April, Tchaikovsky wrote from Rouen to Ivan Vsevolozhsky: “As I expected, during my three weeks in Paris, it goes without saying that I could not write a single note. I came to Rouen in order to work a little. And I have been here nearly a week, working all hours; two days remain before I sail for America. In this time I will have prepared the sketches for the first two scenes of the ballet. But the question is, when will I be able to do the rest?”. Tchaikovsky then asked Vsevolozhsky whether the productions of the ballet and opera could be postponed until the next season: “I could complete my voyage to America without the torments, the doubts, and the fears; return home calm and rested from any conceivable traumas experienced in Paris and America, and enjoy working little by little, confident that I will be writing two masterpieces (pardon my immodesty)” [30]. On the same day, Tchaikovsky wrote of this to his brother Modest [31].
The next day, in a deep depression caused by the unexpected news of his sister Aleksandra’s death, he wrote: “Even more than yesterday and the day before, I feel absolutely incapable of depicting Confitüremburg in music” [32].
On 20 April/2 May the composer wrote from New York to Eduard Nápravník: “I cannot start working again before June at the earliest… otherwise whatever I tried to write would turn out wretchedly” [33].
Ivan Vsevolozhsky agreed to postpone the ballet and the opera, and further work on the ballet was only resumed after Tchaikovsky’s return from America, in Maydanovo at the end of May 1891. “On 9th May [O.S.] I floated away from America… on 20th May [O.S.] I arrived in Petersburg, and this morning here. Now I have started to work” [34].
On 3/15 June 1891, the composer told Pyotr Jurgenson that he was writing Act II of the ballet; he also asked him to order a new orchestral instrument (“Celesta-Mustel”) from Paris, “with a divinely unusual sound”, which he wanted to use in the symphonic ballad The Voyevoda and in the ballet[35].
Letters to various correspondents during June refer to work on the ballet. On 2/14 June the composer wrote to Anna Merkling: “At this moment my work is coming along very successfully” [36]. On the same day he wrote to Praskovya Tchaikovskaya: “Work is proceeding intensively, and I’m glad that my travels are over” [37].
On 17/29 June, Tchaikovsky wrote to his brother Modest: “It is also good for me here, but work isn’t going as quickly now as at first. There are unexpected distractions” [38].
On 25 June/7 July in a letter to Vladimir Davydov, Tchaikovsky wrote: “Remember when you were here I boasted that I had something like five days left to finish the ballet? It turned out that I only just managed it in 2 weeks. No! The old man is evidently declining. Not only is his hair thinning and turning silver as snow, not only are his teeth falling out and refusing to chew food, not only are his eyes weakening and becoming easily tired, not only are his feet starting to drag rather than walk—but his singular remaining faculty is starting to fade and disappear. The ballet is infinitely worse that “The Sleeping Beauty”—of this I’m sure. Let’s see how the opera will turn out” [39]. On the same day, the composer told Modest Tchaikovsky and Aleksandra Hubert that he had finished the sketches, complaining that he was greatly tired, and “it seems the old man is starting to take his last breaths” [40]. In a letter to Sergey Taneyev of 27 June/9 July 1891, Tchaikovsky also reported that he had finished the ballet “with a feverish haste and the constant doubts that I would muster the energy to finish the ballet in rough” [41].
The sequence of sketches in Act II indicates that the composer adhered to Marius Petipa’s plan. In the divertissement, Tchaikovsky used dances that were originally written for Act I. And so, where the plan called for “Dances”, under the title Le chocolat, Tchaikovsky noted: “Spanish dance, see 1st copybook”; the same applied for the dance Tea — “See 1st copybook” (the Chinese dance was used). Near to sketches for the dance Polichinella, Tchaikovsky wrote: “No. 3—Giroflé-Giroflá, popular French song”, i.e. here he employed an authentic folk song [42]. In the Pas de deux, Tchaikovsky omitted the male variation, and on a blank page he wrote: “Transfer from the 1st act (formerly the tarantella) but ½ tone lower”, and wrote out the first two bars.
After finishing the sketches of the ballet, Tchaikovsky left to spend some days in Saint Petersburg, and on his return he began to compose the opera Iolanta, and also to correct the full score of the opera Yevgeny Onegin. It was considerably later that Tchaikovsky set about the instrumentation of the ballet, in January 1892, after he had already orchestrated the opera. He began by orchestrating the few numbers which were to be performed as a Suite from the ballet. In a letter to Pyotr Jurgenson of 25 January/6 February 1892 from Saint Petersburg, the composer reported: “I want to catch up with orchestrating some numbers from the new ballet, which I’ve promised will be played at a local Musical Society concert on 29 February” [O.S.] [43].
On 28 January/9 February he wrote to Pyotr Jurgenson: “I’m starting with the orchestration of those numbers from the ballet which will go into the suite, and will then do the rest. I think it will be finished by the summer” [44]. The date at the start of the fair copy of the Suite reads: “8 Feb. 1892 [O.S.] , Maydanovo”. On 17/29 March, Tchaikovsky wrote to his brother Modest: “My work is in full swing, and soon only the final markings will remain, and I hope to completely finish the score by Passion Week” [45]. On 23 March/4 April the instrumentation was completed, according to the date on the manuscript score. On 25 March/6 April he wrote to Jurgenson: “I’ve finished the ballet; all that remains is to insert the markings and put it in order” [46].
Arrangements
The Nutcracker was arranged for piano by Sergey Taneyev, but in view of the difficulty of this arrangement, Tchaikovsky made a simplified one of his own. This work was carried out at the end of August 1892 [47].
Suite
Performances
The premiere of the ballet, with the opera Iolanta, took place on 6/18 December 1892 in Saint Petersburg, at the Mariinsky Theatre, conducted by Riccardo Drigo, and produced by the balletmaster Lev Ivanov. The principal performers were: Stanislava Belinskaya (Clara), Sergey Legat (Nutcracker), Timofey Stukolkin (Drosselmeyer), Feliks Kshesinsky (Silberhaus), Augusta Ogoleit (Frau Silberhaus), Vasily Stukolkin (Fritz), Antonietta Dell’Era (Sugar-Plum Fairy) and Pavel Gerdt (Nutcracker).
According to the composer the audience was unenthusiastic: “The Nutcracker was staged quite well: it was lavishly produced and everything went off perfectly, but nevertheless, it seemed to me that the public did not like it. They were bored” [48]
In Moscow the first production of The Nutcracker did not take place until 21 May 1919, in a production at the Bolshoi Theatre by the balletmaster Aleksandr Gorsky, conducted by Nikolay Fyodorov. The principal soloists were Valentina Kudryavtseva (Clara), Yefim Yefimov (Nutcracker) and Aleksey Bulgakov (Drosselmeyer).
The first complete performance outside Russia took place in Prague at the National Theatre (Národní divadlo) on 4/17 August 1908, conducted by Rudolf Zamrzla, where the ballet was staged a total of 24 times over the next two years [49]. It was only on 30 January 1934 that the ballet received its first complete performance in London, at the Sadler’s Wells Theatre, directed by Nicholas Sergeyev. An abridged version was staged at the 51st Street Theater in New York on 17 October 1940 by the Ballet Russe de Monte Carlo, choreographed by Alexandra Fedorova. William Christensen’s production with the San Francisco Ballet on 24 December 1944 was the first complete performance in the United States.
Publication
Tchaikovsky was occupied from 15/27 July until late August/early September 1892 with proof-reading the score of the ballet, being published by Pyotr Jurgenson, while at the same time preparing the opera Iolanta for publication [50].
The full score was published by Pyotr Jurgenson in 1892. The piano arrangements by Sergey Taneyev and the author were also brought out in 1892 by the same publisher.
The full score and the composer’s simplified piano arrangement of The Nutcracker were published in volumes 13 (1955) and 54 (1954) respectively of Tchaikovsky’s Complete Collected Works, edited by V. D. Vasilyev.
Autographs
Tchaikovsky’s manuscript score is now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 51) [view], except for the numbers used in the suite, which were extracted from the score and replaced by manuscript copies [51]. The same archive holds Tchaikovsky’s arrangement for solo piano (ф. 88, No. 52) [view].
Recordings
Related Works
Act I, No. 5. The Grandfather dance is based on a German dance tune from the 17th century.
at the International Music Score Library Project (IMSLP)
Georgie Girl Costumes
THE NUTCRACKER BALLET
BON BONS
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BON BONS – This adorable leotard with attached sparkling lace top skirt and organdy tutu adds a new twist to “Land of the Sweets.” Choose orange, lemon, strawberry or pretty pear, mini fruit headpiece included. Made in all child and adult sizes.
Nutcracker Ballet Costumes
As thousands of lucky children learn every Christmas, The Nutcracker Ballet costumes are some of the most fanciful and fun you’ll ever see on stage. Designed to bring a beloved fairy tale to life delighting audiences of all ages, the costumes are a wonderful balance of the practical for dance and the fantastic for the story.
The Classic Nutcracker Ballet Costumes
The Nutcracker ballet, based on the 1816 tale by E.T.A. Hoffman (or, more correctly, the softer version later written by Alexander Dumas), was first presented in St. Petersburg by the Russian Imperial Ballet in 1892, with music by Tchaikovsky. George Balanchine danced the role of the Prince in 1919. After he founded the New York City Ballet, he decided to present the ballet himself with new choreography. The first performance was in 1954 and it has been a staple of the NYCB ever since.
The Balanchine version uses children (students from the adjoining dance school) for much of the roles, although many other companies prefer to use teens or adults. The Nutcracker ballet costumes are therefore child-appropriate, whether they are playing the children of the party scene or the various toys of the dream and fight scene, or the fanciful characters in the Land of Sweets in the second act.
True to the original fairy tale, the costumes for the human characters are Victorian. Of course, they are designed to look heavier than they are, so that they can be danced in with ease. The costumes for the toy soldiers have a classic Victorian style, as do the dolls and the Nutcracker himself. Whereas the Bunny, soldiers and other toys danced by children (except the Nutcracker during the fight) wear costumes that keep their faces free, the mice, danced by adults, wear mouse heads. The mouse bodies are large and round to the hips, leaving the legs free for running and dancing. The effect of the heads make the mice menacing – even downright frightening for some of the tiniest members of the audience.
The Nutcracker’s costume is based on the classic Russian nutcrackers, although with a less pronounced beard. The head is very carefully designed so that the boy wearing it has the full visibility necessary for the demanding fight scene. It is also designed so that it can be easily removed onstage for the transformation.
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Choreography: Melissa McInnis
Dancers: DCA Contemporary Ensemble
COSTUME REQUIREMENTS: Royal Blue Class Bon Bons will perform in the 1pm and 5pm Nutcracker performances: Annabelle Hankinson, Katherine Sharpe,.
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Source: statesboroschoolofdance.com
Date Published: 4/18/2022
View: 5713
주제와 관련된 더 많은 사진을 참조하십시오 Nutcracker Excerpt: Bon Bons. 댓글에서 더 많은 관련 이미지를 보거나 필요한 경우 더 많은 관련 기사를 볼 수 있습니다.
As thousands of lucky children learn every Christmas, The Nutcracker Ballet costumes are some of the most fanciful and fun you’ll ever see on stage. Designed to bring a beloved fairy tale to life delighting audiences of all ages, the costumes are a wonderful balance of the practical for dance and the fantastic for the story.
The Classic Nutcracker Ballet Costumes
The Nutcracker ballet, based on the 1816 tale by E.T.A. Hoffman (or, more correctly, the softer version later written by Alexander Dumas), was first presented in St. Petersburg by the Russian Imperial Ballet in 1892, with music by Tchaikovsky. George Balanchine danced the role of the Prince in 1919. After he founded the New York City Ballet, he decided to present the ballet himself with new choreography. The first performance was in 1954 and it has been a staple of the NYCB ever since.
The Balanchine version uses children (students from the adjoining dance school) for much of the roles, although many other companies prefer to use teens or adults. The Nutcracker ballet costumes are therefore child-appropriate, whether they are playing the children of the party scene or the various toys of the dream and fight scene, or the fanciful characters in the Land of Sweets in the second act.
True to the original fairy tale, the costumes for the human characters are Victorian. Of course, they are designed to look heavier than they are, so that they can be danced in with ease. The costumes for the toy soldiers have a classic Victorian style, as do the dolls and the Nutcracker himself. Whereas the Bunny, soldiers and other toys danced by children (except the Nutcracker during the fight) wear costumes that keep their faces free, the mice, danced by adults, wear mouse heads. The mouse bodies are large and round to the hips, leaving the legs free for running and dancing. The effect of the heads make the mice menacing – even downright frightening for some of the tiniest members of the audience.
The Nutcracker’s costume is based on the classic Russian nutcrackers, although with a less pronounced beard. The head is very carefully designed so that the boy wearing it has the full visibility necessary for the demanding fight scene. It is also designed so that it can be easily removed onstage for the transformation.
A ‘Nutcracker’ Dressed in Bon Bons, With a Pineapple Throne
“Isabel wanted them to be really modern and almost floating from outer space,” Ruben said of the Snowflakes’ headpieces.
“So they’re not as ‘princess,’” she explained. “They’re a little bit more atmospheric.”
And for her Sugarplum Fairy — she oversees the Land of the Sweets — Isabel wanted more pop. At the couple’s Manhattan studio, she pointed to a swatch of tulle covered with iridescent pastel dots. When she watched a dancer perform the part, she said, she was struck by her joy: “I kept thinking, how do I express that in cloth?”
Ruben added: “You kept saying, ‘It’s effervescent. Like bubbles flying out of the body.’ ”
The Toledos’ new sets and costumes will be unveiled on Dec. 7 at the Music Center in Los Angeles, which co-commissioned the production, before it continues to Florida. The production features projections by Wendall K. Harrington that help make the house, where the first act party scene takes place — and the Christmas tree — come to life. The second act, in which the Sugarplum Fairy takes over, is all about color and candy. “You know you’re in a place that’s a bit tropical,” Ruben said. “It’s very alive.”
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