Tchaikovsky - The Sleeping Beauty Op. 66 / REMASTERED (Ct.rc.: Antal Doráti, Minneapolis Orchestra)

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Pyotr Ilyich Tchaikovsky (1840-1893) - The Sleeping Beauty Op. 66 REMASTERED.
Click to activate the English subtitles for the presentation (00:00-05:07)
00:00 Prologue (The christening of Princess Aurora) - Introduction
02:56 Prologue - No. 1 Marche de salon
07:42 No. 2 Entrance of the Fairies, Scène dansante
11:42 No. 3a. Pas de six, Introduction
12:14 No. 3b. Pas de six, Grand adage
15:33 No. 3c. Pax de six, Variation I
16:20 No. 3d. Pas de six, Variation II: Coulante - Fleur de farine
16:50 No. 3e. Pax de six, Variation III: Miettes qui tombent
17:37 No. 3f. Pas de six, Variation IV: Canari qui chante
18:04 No. 3g. Pas de six, Variation V: Violente (échevelée)
19:06 No. 3h. Pas de six, Variation VI: La Fée des lilas (voluptueuse)
20:08 No. 3i. Pas de six, Coda
22:07 No. 4 Final

30:39 Act I (The four fiancés of Princess Aurora) - No. 5 Scene
37:26 No. 6 Great village waltz
41:43 No. 7 Scene
43:23 No. 8a. Pas d’action: Grand adage à la rose
49:01 No. 8b. Pas d’action: Danse des demoiselles d’honneur et des pages
51:02 No. 8c. Pas d’action: Variation d’Aurore
53:37 No. 8d. Coda
56:59 No. 9 Final

1:03:00 Act II (Scene I - Prince Desire's hunt) - No. 10 Entr’acte et Scène de la chasse royale
1:06:00 No. 11 Colin-Maillard
1:07:45 No. 12a. Scene
1:08:31 No. 12b. Danse des duchesses
1:09:29 No. 12c. Danse des baronesses
1:10:11 No. 12d. Danse des comtesses
1:10:48 No. 12e. Danse des marquises
1:11:42 No. 13a. Farandole. Scene
1:11:59 No. 13b. Farandole. Danse
1:13:24 No. 14 Scène et départ des chasseurs et entrée de la fée des lilas
1:18:32 No. 15a. Pas d'action - L'apparition d'Aurore
1:23:29 No. 15b. Pas d'action - Variation d’Aurore
1:24:48 No. 15c. Pas d'action - Coda
1:26:18 No. 16 Scene
1:27:07 No. 17 Panorama
1:29:17 No. 18 Entr’acte for solo violin: andante sostenuto
1:34:01 (Scene II - Sleeping Beauty's Castle) - No. 19 Symphonic Entr'acte - Le sommeil et Scène
1:41:24 No. 20 Final - Le réveil d'Aurore

1:43:55 Act III (The Wedding of Desire and Aurora) No. 21 - Marche-
1:47:45 No. 22 Grande polonaise (The Procession of the Fairy Tales)
1:51:38 No. 23a. Pas de quatre, Entrée
1:53:30 No. 23b. Pas de quatre, Variation I - La fée Or
1:54:17 No. 23c. Pas de quatre, Variation II - La fée Argent
1:55:07 No. 24d. Pas de quatre, Variation III - La fée Saphir
1:56:01 No. 23e. Pas de quatre, Variation IV - La fée Diamant
1:56:47 No. 23f. Pas de quatre, Coda
1:57:33 No 24 Pas de caractère, Le chat botté et la chatte blanche
1:59:15 No. 25a. Pas de quatre, Entrée
2:01:12 No. 25b. pas de quatre, Variation I - Cendrillon et Fortuné
2:02:09 No. 25c. Pas de quatre, Variation II - L’Oiseau bleu et la princesse Florine
2:02:54 No. 25d. Pas de quatre
2:04:27 No. 26a. Pas de caractère, Le petit Chaperon rouge et le Loup
2:05:44 No. 26b. Pas de caractère, Cendrillon et le prince Fortuné
2:08:35 No. 27 Pas berrichon; Le Petit Poucet, ses frères et l’Ogre
2:10:42 No 28a. Pas de deux, Aurore et Desiré
2:12:01 No 28c. Pas de deux, Adagio
2:16:09 No 28d. Pas de deux, Variation I - Prince Désiré
2:17:14 No. 28e. Pas de deux, Variation II - Aurore
2:19:23 No. 28e. Pas de deux, Coda
2:20:42 No. 29 - Sarabande
2:22:49 No. 30a - Final
2:28:18 No. 30b - Apotheosis (Helios in Louis XIV costume, illuminated by the sun surrounded by fairies)

Minneapolis Symphony Orchestra
Solo violin: Raphael Druian
Conductor: Antal Doráti
Recorded in 1955, at Minneapolis
New mastering in 2022 by AB for CMRR
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The Sleeping Beauty is not only one of Tchaikovsky’s best works but an unmistakable masterpiece, both musically and theatrically, in which the composer creates a world of timeless beauty, that can ce compared to the world created by Mozart in such an opera as ’The Magic Flute’. Some of the credit must go to Vsevolozhsky and Petipa for producing a scenario of such potential but, in craftsmanship alone, Tchaikovsky overshadows them; the brillant characterisation, the dramatic strength, the subtle use of motifs, the key structure, the rhythmic and orchestral diversity - all these give evidence of astonishing artistic skill. There is the sense of humour that Stravinsky so admired. And, above all, there are the melodies, stretching like a golden chain from start to finish.

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