Tchaikovsky: Sleeping Beauty, Op. 66 (excerpts)

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Tchaikovsky: Sleeping Beauty, Op. 66 (excerpts)



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Release date:

2nd July 2012




83 minutes


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Tchaikovsky: Sleeping Beauty, Op. 66 (excerpts)



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The second of Tchaikovsky’s three full length ballets, The Sleeping Beauty was initially given a lukewarm reception by the Tsar. Today it is regarded as the greatest achievement of Russian ballet music in the 19th century. Based on the Perrault fairy-tale La belle au bois dormant and choreographed by the legendary Petipa, this work overflows with radiant and joyous inventiveness. These highlights are taken from the complete recording on Naxos 8550490-92, given *** recommended status by The Penguin Guide which praises Andrew Mogrelia’s conducting for its ‘warmth, grace and vitality’.

Pyotr Il'yich Tchaikovsky: The Sleeping Beauty, Op. 66


Le Prologue: Marche - Entree du Roi Florestan et sa cour (Entrance of King Florestan and Court)

Le Prologue: Scene dansante - Entree des fees bonnes (Entrance of the Good Fairies)

Le Prologue: Pas de six: Adagio

Le Prologue: Coulante, Fleur de Farine (Variation II)

Le Prologue: Fee aux Miettes (Variation III)

Le Prologue: Canari qui chante (Variation IV)

Le Prologue: Violente (Variation V)

Le Prologue: Fee des Lilas (Variation VI)

Le Prologue: Coda

Act I: Valse

Act I: Pas d'action: Adagio (Rose Adagio)

Act I: Coda

Act I: Finale

Act II: The Vision and the Sleeping Beauty Awakened: Entr'acte et Scene

Act II: Panorama

Act II: Entr'acte symphonique (Le Sommeil) et Scene - The Sleep

Act II: Finale

Act III: The Wedding: Marche - Festive Procession

Act III: Polacca - Cortege des Contes de Fees (The Good Fairies)

Act III: Pas de quatre: Introduction

Act III: La Fee-Argent (Variation II)

Act III: La Fee-Diamant (Variation IV)

Act III: Pas de quatre - Adagio

Act III: Cendrillon et le Prince Fortune (Variation I) (Cinderella and Prince Fortune)

Act III: Coda

Act III: Apotheose

MusicWeb International

December 2012

“Mogrelia takes a very relaxed approach to the music. There’s nothing barnstorming here, just some fine musicianship. It’s almost as if the orchestra is accompanying a production of the ballet rather than playing it through as an orchestral work in its own right. Tempi are generally on the slow side but this is of no detriment to the music whatsoever”

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