How is the Prince described in the title of a ballet by Bela Bartok first performed in 1917?
"The Wooden Prince The Wooden Prince (), Op. 13, Sz. 60, is a one-act pantomime ballet composed by Béla Bartók in 1914–1916 (orchestrated 1916–1917) to a scenario by Béla Balázs. It was first performed at the Budapest Opera on 12 May 1917 under the conductor Egisto Tango. ""The Wooden Prince"" has never achieved the fame of Bartók's other ballet, ""The Miraculous Mandarin"" (1926) but it was enough of a success at its premiere to prompt the Opera House to stage Bartók's opera, ""Bluebeard's Castle"" (unperformed since 1911) in the following year. Like ""Bluebeard"", ""The Wooden Prince"" uses a huge orchestra"
"1913) Algeria. The outbreak of World War I forced him to stop the expeditions; and he returned to composing, writing the ballet ""The Wooden Prince"" (1914–16) and the String Quartet No. 2 in (1915–17), both influenced by Debussy. Raised as a Catholic, by his early adulthood Bartók had become an atheist. He later became attracted to Unitarianism and publicly converted to the Unitarian faith in 1916. Although Bartók was not conventionally religious, according to his son Béla Bartók III, ""he was a nature lover: he always mentioned the miraculous order of nature with great reverence."" As an adult, Béla III"
"dancing as if nothing happened. The difficulties brought upon the Russian ballet as a result of the 1917 revolution caused a substantial number of works in the Imperial Ballet's repertory to cease being performed and eventually become lost. The Imperial Ballet's production of ""La Fille mal gardée"" was performed for the last time on , only one month prior to the October revolution, with the ballerina Elsa Vill as Lise. As with many of the works that comprised the St. Petersburg Imperial Ballet's repertory at the turn of the 20th century, the Petipa/Ivanov/Hertel production of ""La Fille mal gardée"" was"
"on 21 February in Prague by the Ballet of the National Theatre in a version mounted by the Balletmaster August Berger. The ballet was given during two concerts which were conducted by Tchaikovsky. The composer noted in his diary that he experienced ""a moment of absolute happiness"" when the ballet was performed. Berger's production followed the 1877 libretto, though the names of Prince Siegfried and Benno were changed to Jaroslav and Zdeňek, with the rôle of Benno danced by a female dancer ""en travestie"". The rôle of Prince Siegfried was danced by Berger himself with the ballerina Giulietta Paltriniera-Bergrova as"
"Prince Igor, and his son, Vladimir, of Russia by Polovtsian leader Khan Konchak, who entertains his prisoners lavishly and calls on his slaves to perform the famous 'Polovtsian Dances', which provide a thrilling climax to the second act. The second half of the opera finds Prince Igor returning to his homeland, but rather than finding himself in disgrace, he is welcomed home by the townspeople and by his wife, Yaroslavna. Although for a while rarely performed in its entirety outside of Russia, this opera has received two notable new productions recently, one at the Bolshoi State Opera and Ballet Company"
"Russia in Budapest (Royal Opera House) in 1927, with choreography by Ede Brada. In 1934, choreographer Vasili Vainonen staged a version of the work that addressed many of the criticisms of the original 1892 production by casting adult dancers in the roles of Clara and the Prince, as Gorsky had. The Vainonen version influenced several later productions. The first complete performance outside Russia took place in England in 1934, staged by Nicholas Sergeyev after Petipa's original choreography. Annual performances of the ballet have been staged there since 1952. Another abridged version of the ballet, performed by the Ballet Russe de"
"United States either imitate it, or directly use the Balanchine staging. However, although it is often cited as being the production that made the ballet famous in the U.S., it was Willam Christensen's 1944 production for the San Francisco Ballet which first introduced the complete work to the United States. In Balanchine's version, the leading roles of Clara (here called Marie) and the Nutcracker/Prince are danced by children, and so their dances are choreographed to be less difficult than the ones performed by the adults. Marie does not dance at all in the second act of this version. The Prince's"
"the ballet's original inception in 1896, the first performances of Legat's revival of ""Bluebeard"" were successful. Nevertheless, the large cast the ballet required and in particular the complex stage effects were impossible to produce by the outset of World War I in 1914. The full-length ""Bluebeard"" was performed for the last time in 1913. Excerpts from the ballet were given sporadically in galas and benefit performances until 1916, when the ballerina Elsa Vill and the danseur Fyodor Lophukov were featured in a performance of Petipa's celebrated ""Pas de deux éléctrique"". In 2009, the Russian choreographers Yuri Burlaka and Vasily Medvedev"
"abrupt. Reception was better for Tchaikovsky's score. Some critics called it ""astonishingly rich in detailed inspiration"" and ""from beginning to end, beautiful, melodious, original, and characteristic"". But this also was not unanimous as some critics found the party scene ""ponderous"" and the ""Grand Pas de Deux"" ""insipid"". In 1919, choreographer Alexander Gorsky staged a production which eliminated the Sugar Plum Fairy and her Cavalier and gave their dances to Clara and the Nutcracker Prince, who were played by adults instead of children. This was the first production to do so. An abridged version of the ballet was first performed outside"
"the emperor, and her evil sister, Belle Epine. When Belle Rose enters Pagoda Land, she is greeted with gamelan music. Similarly, when the Salamander enters the scene, he is portrayed alongside softer gamelan music to produce a mystical air. The Salamander is revealed to be the human Prince of Pagodaland, and when he changes to a human form, the gamelan music is replaced with more traditional Western orchestral music. This production was dedicated to Margot Fonteyn. The Prince of the Pagodas The Prince of the Pagodas is a ballet created for The Royal Ballet in 1957, by choreographer John Cranko,"
"The Storming of the Winter Palace The Storming of the Winter Palace was a 1920 mass spectacle, based on historical events that took place in Petrograd during the 1917 October Revolution. Taking place on the third anniversary of the revolution, it was directed by Nikolai Evreinov and was subtitled a ""mass action."" The sets were designed by Yuri Annenkov. The spectacle was staged outside the former Tsarist Winter Palace where the Provisional Government was meeting at the time of the Bolshevik revolution. Its performers included 125 ballet dancers, 100 circus people, 1,750 supernumeraries and students, 200 women, 260 secondary actors,"
"the competition entries never saw Bartók's entry. In 1913 Balázs produced a spoken performance at which Bartók played some piano pieces on a separate part of the program. A 1915 letter to Bartók's young wife, Márta, (to whom he dedicated the opera) ends: ""Now I know that I will never hear it in this life. You asked me to play it for you—I am afraid I would not be able to get through it. Still I'll try so that we may mourn it together."" The success of the ballet ""The Wooden Prince"" in 1917 paved the way for the May"
"April 1999. It had been previewed three years prior to it opening at the Royal Danish Ballet in Copenhagen. Martins used the style of neo-classic choreography and it was more of a dark fairytale than whimsical. The only traditional component of this dance was the original Tchaikovsky music score. The roles portrayed in the ballet were more provocative and mysterious than in the 19th century original. As in most productions of the ballet, the ballerina that originally plays Odette also plays Odile, and for this role she is dressed in black and red tulle rather than white feathers. Prince Siegfried"
"during the day as in the photograph. The Storming of the Winter Palace The Storming of the Winter Palace was a 1920 mass spectacle, based on historical events that took place in Petrograd during the 1917 October Revolution. Taking place on the third anniversary of the revolution, it was directed by Nikolai Evreinov and was subtitled a ""mass action."" The sets were designed by Yuri Annenkov. The spectacle was staged outside the former Tsarist Winter Palace where the Provisional Government was meeting at the time of the Bolshevik revolution. Its performers included 125 ballet dancers, 100 circus people, 1,750 supernumeraries"
"This was a success — the first new ballet premiered by LCB, ""The Happy Prince"", sold out. Every year since, the LCB has successfully staged narrative ballets based on classic children's stories. 2018 ""The Canterville Ghost"", Revival Choreographer: ""Victoria Collison"", Composer: ""Artem Vassiliev"" 2017 ""The Secret Garden"" (Shortened version, for Ballet in a Box), Choreography: ""Erico Montes"", Composer: ""Artem Vassiliev"" 2016 ""Little Lord Fauntleroy"" Choreographer: ""Jenna Lee"" Composer: ""Richard Norriss"" 2015 ""Snow White"" Choreographer: ""Jenna Lee"" Composer: ""Richard Norriss"" 2014 ""Nanny McPhee"" Choreographer: ""Erico Montes"" Composer: ""Tim Hammond"" 2013 ""The Secret Garden"" Choreographer: ""Erico Montes"" Composer: ""Artem Vassiliev"" 2012 ""A"
"the Moscow Imperial Bolshoi Theatre on 20 February/4 March 1877 (Julian/Gregorian calendar dates) in Moscow, Russia. Although the ballet is presented in many different versions, most ballet companies today base their stagings both choreographically and musically on this revival by Marius Petipa and Lev Ivanov, staged for the Imperial Ballet, first presented on 15 January/27 January 1895, at the Imperial Mariinsky Theatre in St. Petersburg, Russia instead of the original version. In the 1880s Tchaikovsky was commissioned by Ivan Vsevolozhsky, director of the St. Petersburg Imperial Theatres, to score what would become two of his greatest works: the operas ""The"
"guest performances. Since the dissolution of the Soviet Union, there have been a few attempts to reduce the theatre's traditional dependence on large state subsidies. Corporate sponsorship occurs for some productions, but state funding is still the lifeblood of the company. The Bolshoi has been associated from its beginnings with ballet. Tchaikovsky's ballet ""Swan Lake"" premiered at the theatre on 4 March 1877. Other staples of the Bolshoi repertoire include Tchaikovsky's ""The Sleeping Beauty"" and ""The Nutcracker"", Adam's ""Giselle"", Prokofiev's ""Romeo and Juliet"", and Khachaturian's ""Spartacus"". The chief ballet conductor from 1923 to 1963 was Yuri Fayer. After the death"
"Ballet (the Petipa/Pugni ""The Pharaoh's Daughter"" was first), having been performed 200 times in only 10 years. A production mounted at the La Scala in Milan did not arouse much interest and it was not until 1921 that, in London, the ballet finally gained wide acclaim and eventually a permanent place in the classical repertoire. In 1999, the Mariinsky Ballet reconstructed the original 1899 production, including reproductions of the original sets and costumes. Although the 1951 Kirov production by Konstantin Sergeyev is available on DVD/Video, the 1999 ""authentic"" version, while never commercially released, can be found on YouTube in varying"
"of the coronation of Emperor Nicholas II and Empress Alexandra Fydorovna. The ballet was first presented after a performance of scenes from Mikhail Glinka's opera ""A Life for the Tsar"" on . The cast for the premiere of ""La Perle"" at the coronation gala of 1896 featured the highest ranking dancers of both the Imperial Ballet of St. Petersburg and of the Ballet of the Imperial Bolshoi Theatre of Moscow. While the ballet was in the early stages of production, a list of potential dancers for inclusion in the cast was drawn up for review by a committee responsible for"
"of Borodin's ""Prince Igor"", choreographed by Fokine, and staged at Drury Lane on June 8, 1914. After the Revolution in 1917, Kuznetsova fled Russia, making a suitably dramatic escape dressed as a cabin boy and hidden inside a steamer trunk aboard a ship headed for Sweden. Her first performance in exile was with the Stockholm Opera in 1919. In 1920, Kuznetsova participated in a large a charity concert at the Paris Opéra along with Vera Karalli and others, to raise funds to aid impoverished fellow Russian émigrés. Kuznetsova's other performances during the 1920s were of a more practical and less"
"The Whims of the Butterfly The Whims of the Butterfly (also known as ""The Caprices of a Butterfly"", or ""Les Caprices du Papillon"") is a ballet in 1 act, with choreography by Marius Petipa, and music by Nikolai Krotkov. Libretto by Marius Petipa, based on the poem ""The Grasshopper Musician"" by Yakov Polonsky. First presented by the Imperial Ballet on June 5/17 (Julian/Gregorian calendar dates), 1889 for the Imperial court at the theatre of Peterhof Palace in St. Petersburg, Russia. The ballet was given a second premiere for the general public at the Imperial Mariinsky Theatre on October 25/November 6,"
"are performed by mixed dancers, while others, such as ""Cossack's Cavalry Dance"", are performed by male dancers only. The ballet is under the direction of Lev Nikolaevich Kulikov National Artist of Russia, the main ballet master, and maintains the heights of choreographic art with honour. The priority in its repertoire is taken by the military compositions: ""Matroskaya barynya"", ""Kazachiya cavalry plyaska"", ""Festive march"", ""Invitation to dance"" and others. The ballet performs a lot of Russian folk dances. The classical repertoire contains ""Poloveckie plyasky"" from the opera ""Prince Igor"" written by Alexander Borodin. This is from our dance classics, but we"
"a second time two days later for a performance attended only by his immediate family. A March from the work was among the Tsar's favorite pieces, and he often requested that his orchestra play it during Imperial Balls and other social events for the St. Petersburg royalty and nobility. The ballet was premièred on May 18/30 (Julian/Gregorian calendar dates), 1883, at the Moscow Imperial Bolshoi Theatre by the Imperial Ballet. A pastoral landscape, the edge of a forest bordering a lake. The moon shines through the leaves. The Spirits of the Day are shackled near the sanctuary where the sacred"
"Camargo (ballet) Camargo (or ""La Camargo"") is a ""grand ballet"" in three acts and nine scenes, with choreography by Marius Petipa and music by Ludwig Minkus. The libretto by Jules-Henri Vernoy de Saint-Georges and Marius Petipa is based on an incident in the life of the 18th-century dancer Marie Camargo, in which she and her sister Madeleine were abducted by the Comte de Melun in May 1728 and taken to his mansion. The ballet was first presented by the Imperial Ballet on December 7/19 (Julian/Gregorian calendar dates), 1872 at the Imperial Bolshoi Kamenny Theatre in St. Petersburg, Russia. The Principal"
"quality. ""The Sleeping Beauty"" is Tchaikovsky's longest ballet, lasting nearly four hours at full length (counting the intermissions). The complete score runs practically 3 hours. It is nearly always cut. At the premiere, Tsar Alexander III summoned Tchaikovsky to the imperial box. The Tsar made the simple remark 'Very nice,' which seemed to have irritated Tchaikovsky, who had likely expected a more favorable response. ""The Royal Court"": ""The Fairies"": Carabosse, the evil fairy ""The Four Suitors"": ""The Prince's Hunting Party"": ""Fairy-Tale Characters"": Setting Prologue (The Christening)<br>King Florestan XXIV and his Queen have welcomed their first child, Princess Aurora, and declare"
"daughter of the Prince of Kiev. There is much Italianate coloratura, and Act 3 contains several routine ballet numbers, but his great achievement in this opera lies in his use of folk melody which becomes thoroughly infused into the musical argument. Much of the borrowed folk material is oriental in origin. When it was first performed on 9 December 1842, it met with a cool reception, although it subsequently gained popularity. Glinka went through a dejected year after the poor reception of ""Ruslan and Lyudmila"". His spirits rose when he travelled to Paris and Spain. In Spain, Glinka met Don"
"""Swan Lake"", and is still used to one degree or another by ballet companies throughout the world. Nevertheless, Drigo is rarely given credit when his revisions are performed. Drigo's next score for the ballet was the grand ""piece d'occasion"" ""La Perle"" (sometimes known in Russian as ""Прелестная жемчужина"" — ""Pretty Pearl""), produced especially for the gala held at the Imperial Bolshoi Theatre of Moscow in honor of the coronation of Tsar Nicholas II and Empress Alexandra Fyodorovna. The ballet premiered on after a performance of Glinka's ""A Life for the Tsar"". In 1899 Petipa began work on the scenario for"
"La Perle (ballet) La Perle (en. ""The Pearl"") (ru. «Жемчужина» or «Прелестная жемчужина»; ""Zhemchuzhina"" or ""Prelestnaya Zhemchuzhina"") (en. ""Pearl"" or ""Pretty Pearl"") is a ""ballet-divertissement"" in one act, with libretto and choreography by Marius Petipa and music by Riccardo Drigo. ""La Perle"" was created by Marius Petipa—the renowned ""Premier maître de ballet"" of the St. Petersburg Imperial Theatres—and the composer Riccardo Drigo—principal conductor of ballet and Italian opera performances for the St. Petersburg Imperial Theatres and director of music to the Imperial Ballet—as a lavish piece d'occasion for the gala given at the Imperial Bolshoi Theatre of Moscow in celebration"
"Washington, DC (shown right). In them she wears heeled shoes and is poised ""à demi point"". A ballet, ""Camargo"", based on the incident when she and her sister Madeleine were abducted by the ""Comte de Melun"" in May 1728 was created by Marius Petipa and the composer Léon Minkus for the Russian Imperial Ballet, premiering December 19, 1872 with the famous ballerina, Adèle Grantzow, as Marie Anne Camargo. The work was later revived in 1901 for the Russian Imperial Ballet by Lev Ivanov for Pierina Legnani. After the Russian Revolution of 1917, however, the ballet was never performed again. She"
"Into the 20th Century, the theatre was used for operettas, variety and ballet performances, for classical and popular music concerts. It was also, for a time, a cinema. Regular seasons of opera and ballet were presented by a variety of impresarios, among them Gabriel Astruc, who introduced Diaghilev's Ballets Russes here. Igor Stravinsky’s ""Petrouchka"" received its premiere in the theatre on 13 June 1911, as did Erik Satie and Jean Cocteau’s ""Parade"" on 18 May 1917. In addition, many foreign composers and conductors made appearances in the theatre, including Tchaikovsky, Gustav Mahler and Richard Strauss. Since 1979, it has been"
"The Fairy Prince The Fairy Prince is a masque in three acts by composer Thomas Arne. The English libretto, by George Colman the Elder, is based on Ben Jonson’s ""Oberon, the Faery Prince"" (1611). The work premiered at the Covent Garden Theatre, London, on 12 November 1771. Despite being designated as a masque, the work is sung throughout, and is in many respects reminiscent of a comic opera. It is set by Windsor Castle, and depicts satyrs and fairies who guard the castle and its inhabitants during ceremonial occasions. The masque concludes with a banquet with the King and Queen"
"critique, prior to its first production. The ballet's premiere in Paris on 17 May 1921 was a huge success and was greeted with great admiration by an audience that included Jean Cocteau, Igor Stravinsky and Maurice Ravel. Stravinsky called the ballet ""the single piece of modern music he could listen to with pleasure,"" while Ravel called it ""a work of genius."" During World War I, Prokofiev returned to the Conservatory and studied organ to avoid conscription. He composed ""The Gambler"" based on Fyodor Dostoyevsky's novel of the same name, but rehearsals were plagued by problems, and the scheduled 1917 première"
"poor girl. She does not know that he is the prince in disguise. The story is about how George becomes king, and the romances between George and Annie and between his betrothed princess and a soldier. It was filmed by László Kalmár in 1941 and produced for TV in 1972. Prince Bob Prince Bob (""Bob herceg"") is an operetta in three acts by Jenő Huszka. The libretto was written by Ferenc Martos and Károly Bakonyi. The operetta premiered on 20 December 1902 at Népszínház in Budapest, Hungary and is considered to be Huszka's first critical success. The story concerns a"