Sleeping Beauty Playbill

IOWA STATE CENTER IN CONJUNCTION WITH THE PERFORMING ARTS COUNCIL PRESENTS

Moscow Festival Ballet

The

COMPANY OF 50

Sleeping Beauty

SUNDAY, JANUARY 29, 2012 3 pm

Moscow Festival Ballet COMPANY OF 50

The

Sleeping Beauty Artistic Director: Sergei Radchenko

CAST

Full-length ballet in Three Acts Princess Aurora . . . . . Marianna Chemalina, Maria Poliudova, Ekaterina Egorova Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Pyotr Ilyich Tchaikovsky

Prince Desire . . . . . . . . . . . . . . . . . . . . Ruslan Mukhambetkaliev, Mikhail Ronnikov,

Choreography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marius Petipa

Uriy Voscubenko, Marat Abdrahkmanov

Libretto . . Marius Petipa and Ivan Vsevolojsky after stories by Charles Perrault

Fairy of Lilac . . . . . . . . . . Ekaterina Egorova, Nadezda Illarionova; Maria Kliueva

Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lev Solodovnikov Costumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Simon Virsaladze

Fairy Carabosse . . . . . . . . . . . Alexander Daev, Evgeny Rudakov, Denis Morosov Fairy of Tenderness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elena Khorosheva

PROLOGUE

Fairy of Boldness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marianna Chemalina Fairy of Generosity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Victoria Krakhamaleva

ACT I The Spell

Fairy of Carelessness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Naedzda Illarionova Fairy Canary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Maria Klyueva

— Intermission — ACT II, Scene One The Vision

Master of Ceremonies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Denys Morozov King Florestan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Dmitry Romanov Queen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Natalia Zyabukhina

ACT II, Scene Two The Awakening

Four Cavaliers . . . . Vladimir Statniy, Dmitry Dmitriev, Ruslan Mykhambetkaliev,

ACT III The Wedding

Princess Florina . . Oxana Bondareva, Marianna Chemalina, Nadezda Illarionova

Ruslan Abdrakhmanov, Vitaly Zabelin, Ury Voscubenko

Bluebird . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marat Abdrakhmanov Pussycat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elena Khorosheva

_________________________________________________________________ Tomcat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dimitry Shchemelinin Producer: ANDREW S. GROSSMAN Associate: W. Seton Ijams Columbia Artists Management, LLC 1790 Broadway, New York NY 10019

Little Red Riding Hood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Victoria Krakhamaleva Wolf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Evgeny Rudakov Plus the Corps de Ballet

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Program Notes

The Sleeping Beauty is a supreme demonstration of the challenge of Petipa’s style —

The Sleeping Beauty, a crowning jewel of Marius Petipa’s career, is often considered the

brilliant battery (beats in the air), daring lifts and, in addition, it gives a fairy tale

steel pointe work, sharply accented spinning turns, soaring leaps, high extensions, finest achievement of the Classical ballet. It is a grandiose and refined blending of the

plot lavish stage treatment. However, its production actually checked a growing

traditional mime, expressive pas d’action and spectacular divertissements in a lavish

tendency toward shapeless extravaganza in 19th century ballet, adhering closely to

theatrical setting. Tchaikovsky was delighted with the invitation to write the music for

the principle of choreographic symphonism — like the composition of a symphony, it

a ballet based on Charles Perrault’s well-known fairy tale. A baby princess, condemned

had a certain formal structure. The Sleeping Beauty was choreographed in strict

at her christening by an evil fairy to prick her finger and die on her 16th birthday, is

association with Tchaikovsky’s music. There are themes developed and resumed

saved by the gift of the good Lilac Fairy, who declares the princess will only sleep until

throughout the ballet, and each act is a unity unto itself. Tchaikovsky willingly took

awakened by the kiss of a prince. The fairy tale, replete with a king and queen, fairies

instruction from Petipa as to the length, tempo and character of each musical

both good and evil, a beautiful princess and dream prince, magical stage effects, and

sequence (as he would also do in The Nutcracker). The themes — a young girl’s

courtly splendor, lent itself perfectly to the full evening ballet that was Petipa’s pride.

coming of age and the triumph of good over evil are developed dramatically and musically during the course of the ballet. Each of the three acts includes an Adagio

Although different productions have cast the kingdom of King Florestan and his

for Princess Aurora, the first celebrating her girlhood, the second her falling in love,

Queen in varying centuries, it is really a storybook kingdom set in the realm of the

and the third her marriage. In these pas d’actions, Petipa makes fuller use than

imagination. In the Prologue, the hall of the palace where the christening is about to

previous choreographers of the dramatic potential of the Classical ballet, as when

take place is resplendent with color, and imposing with its high ceilings and great stone

Aurora’s curved (questioning) attitudes become sharp (exclamatory) arabesques and

archways. The master of ceremonies, pages, heralds, ladies in waiting, and finally the

her balances grow steadily surer.

King and Queen all promenade into the royal setting, looking most distinguished in

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their elaborate dress.

Next, the fairies of the kingdom join the scene of courtly pageantry with the Lilac Fairy, six cavaliers and maids of honor entering last. All dance in honor of the King and Queen and baby Aurora, about to be christened. Each of the fairies dances her own solo, presenting a gift to the Princess. Just as the Lilac Fairy finishes her dance a strange and frightening rumble is heard. Its meaning soon becomes clear: the master of ceremonies has forgotten to invite the evil Fairy Carabosse! The grotesque woman, her face a white mask, her long dress black and tattered, enters in a huge black coach drawn by four ugly rats. Stepping down, she gesticulates with her hand and threatens with her stick that they will have to pay the price for their omission. In mime, she

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delivers the ominous curse that the Princess will prick her finger on a spindle and die.

The master of ceremonies is in disgrace, the King and Queen are in despair. But the Lilac Fairy has not given her the gift. She steps forward and assures the royal court that on her 16th Birthday the princess will indeed prick her finger, but then fall asleep for 100 years. Carabosse speeds off in a rage while the others surround the infant's cradle as if to protect her from further harm.

The Sleeping Beauty was the first of Petipa’s classics to be seen in Western Europe.

Under the title The Sleeping Princess, it was presented by Serge Diaghilev (1872-1929) in London in 1921. In 1939, it was remounted in Great Britain and has been considered the foundation of the Classical ballet repertory in that country ever since. It has now been adopted worldwide, and performance of the leading role remains a kind of initiation rite for aspiring ballerinas.

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Program Notes

position, and supported in turn by each prince, she again releases her hand and balances for a little longer each time. Finally, as she frees her hand from the clasp of the fourth prince, she again releases her hand and balances for a little longer each

PROLOGUE

time. Finally as she frees her hand from the clasp of the fourth prince, the curved King Florestan the XIVth declares a grand christening ceremony to be held in honor of the birth of his daughter, Princess Aurora, named after the dawn. An entourage of six fairies are invited to the christening to be godmothers to the child. They are the Candide Fairy, the Coulante Fairy, the Miettes Fairy, the Canari Fairy, the Violente Fairy and — most importantly — the Lilac Fairy, who is the last to arrive. As the fairies are happily granting gifts of honesty, grace, prosperity, song and generosity, they are suddenly interrupted by the arrival of the wicked fairy Carabosse, who is furious at the King's failure to invite her to the ceremony. The King and Queen begin to remonstrate, and the Master of Ceremonies, Catallabutte, intervenes to take responsibility, whereupon Carabosse rips off his wig, laughing. With spite and rage,

attitude straightens into a sharp, arabesque extension. She retains her balance poised confidently on one toe, as if she has visibly come of age before the eyes of the adoring suitors. The Princess continues dancing a joyful solo until her attention is suddenly distracted by a strange woman dressed in black who offers her an unfamiliar object.

Before anyone can stop her, Aurora seizes the dreaded spindle. The unwary Princess pricks her finger, grows weaker, and falls to the floor in a swoon. Just as those assembled lapse into despair, the Lilac Fairy steps forward. Waving her wand soothingly, she reminds them that the Princess will only sleep and she casts everyone into deep slumber along with her. The Lilac Fairy summons a forest of thorns, thickets, and enormous shrubbery to grow around the sleeping court.

Carabosse declares her curse on Princess Aurora: she will prick her finger on her sixteenth birthday and die. But all is not lost: the Lilac Fairy, fortunately, has not yet granted her gift to the Princess. She acknowledges that Carabosse's power is immense

— Intermission — Continued on next page

and she cannot completely reverse the curse. However, she declares, though the Princess shall indeed prick her finger, she will not die, but instead sleep for 100 years until she is awakened by the kiss of a prince. Carabosse departs, and the curtain falls as the good fairies surround the cradle.

ACT I

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The Spell Act I opens at Aurora’s 16th birthday party. Brightly clad peasant girls dance a divertissement with flower garlands. Holding the arched garlands overhead, they

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dance in multiple circles, weaving in and out to a waltz tempo. All await the arrival of

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the Princess Aurora. The ballerina princess bursts onto the scene, dancing a brief and vivacious solo in the manner of a carefree young girl. She is then ceremoniously introduced to the four princes who have come to seek her hand. The Rose Adagio, the famous pas d’action expressing a young girl’s blossoming into womanhood, is about to start. Aurora begins the adagio in with one leg raised and bent behind her, one curved arm raised overhead. Some have read in this “attitude” pose, which Aurora repeats often, a kind of gentle questioning or youthful uncertainty. One after the other, each of the suitors turns and displays her while she maintains her pose. She releases

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momentarily, as if tentatively testing her abilities. She then takes the arm of the next

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prince and begins the sequence again. After a brief interlude in which the princess dances alone, she returns to accept a rose from each of the suitors (hence the title, Rose Adagio). She pirouettes slowly and accepts each rose; one prince supports her while the next offers his flower. At the end of the Adagio, she returns to her attitude Continued on next page Insert 6

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ACT II Scene One: The Vision Act II takes us to a neighboring kingdom 100 years later. Prince Charming and his lord

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and lady friends are out for a hunt. The cheerful retinue amuse themselves with dances and games, but the Prince is tired of everyday diversions and stays behind to wander about alone. Suddenly the Lilac Fairy floats in on a boat with gossamer sails. She offers to show the melancholy Prince a vision of Aurora. The Prince is utterly enchanted by the sight of the Princess dancing lyrically and romantically amidst a tableau of fairies and nymphs, bathed in a bluish light. He pursues her but can only hold the Princess in his arms for a moment before she eludes him and disappears. She is after all only a spectral image conjured up by the Lilac Fairy. The Fairy offers to take the Prince across the lake, through the dense and tangled forest, to the castle where the real Princess lies asleep.

ACT II Scene Two: The Awakening The Prince approaches the canopied bed set on a high platform and, as the music heightens, he plants the awakening kiss. Aurora greets him. The King and Queen appear from either side of the stage and welcome the awakened Aurora and her Prince with joy.

ACT III The Wedding The final act ushers us into a sumptuous hall, graced with statuesque columns and a circular gold staircase crowned by a blue sky. It is here that the Royal wedding of Prince Charming and Princess Aurora will take place. A full series of celebratory divertissements is performed by the inhabitants of fairyland. Puss ’n Boots, Bluebeard and his wife, Goldilocks and a Bear, Little Red Riding Hood and the Wolf all dance. A highlight is the pas de deux of the soaring Blue Bird and his Princess. First dancing together and then separately, they compete with each other spinning and fluttering in sparkling flight, sometimes jumping so high they seem virtually suspended in the air. The man’s variation in particular, which features many beating jumps while he arches his body backwards and forward (brises voles) is one of the most famous and demanding in the international repertory. The Bluebird’s Dance ends with the female lifted on the male’s shoulder.

The celebration then climaxes with the Grand Pas de Deux danced by the Prince and Princess. They are regal, formal and confident dancing together. Prince Charming supports his bride’s pirouettes and displays her long extensions and secure balances. The Prince jumps and spins during his solo and the Princess spins on pointe with even surer mastery than she showed in the Rose Adagio. Finally, Aurora whirls into the Prince’s arms and dives toward the floor; the Prince catches her around the waist and supports her in the famous inverted pose known as the “fish dive.” All join the bride and groom for a spirited mazurka and the Lilac Fairy, standing in their midst, bestows her blessing on the happy couple.

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MOSCOW FESTIVAL BALLET The Moscow Festival Ballet was founded in 1989 when legendary principal dancer of the Bolshoi Ballet Sergei Radchenko sought to realize his vision of a company which would bring together the highest classical elements of the great Bolshoi and Kirov Ballet companies in an independent new company within the framework of Russian classic ballet.

Leading dancers from across the Russias have forged under Radchenko’s direction an exciting new company staging fresh productions of timeless classics such as Giselle, Don Quixote, Paquita and Carmen.

Since its inception, the Moscow Festival Ballet has completed two tours of Europe, with extraordinary receptions in Italy, France, Spain, Germany and the Netherlands.

Two tours of the United Kingdom, including capacity audiences at London's famed Coliseum, have resulted in re-engagements during the 1995-96, 1996-97, 1997-98, 199899 and 1999-2000 seasons.

the Moscow Festival Ballet continues to expand its repertoire. In addition to

The company has also performed with great success in Turkey at the Istanbul Festival

commissioning new works from within Russia and abroad, the company specializes in

and in Greece at the Athens Festival, and recently completed a two-month tour of

twentieth century full-length ballets such as Cinderella, Romeo and Juliet, Legend

Japan, Korea, Singapore and Hong Kong. Under the direction of Sergei Radchenko,

of Love, Stone Flower and The Golden Age. Mr. Radchenko has researched the

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original choreography and stage productions of several of Marius Petipa's classic ballets, including new productions in the year 2000 of Don Quixote and Paquita, and a recreation of Jules Perrot’s and Jean Coralli’s Giselle.

The Moscow Festival Ballet has toured extensively throughout the United States, beginning with a coast-to-coast tour in the Winter/Spring of 1997 and returning in 2001, 2004 and 2007. The Company has just completed a 17-week tour comprised of over 100 cities and returns in the winter of 2012 to undertake a four-month tour of North America.

SERGEI RADCHENKO Artistic Director Born in 1944, Sergei Radchenko graduated from the Moscow School of Dance in 1964 and then joined the Bolshoi Ballet, where he worked for 25 years. He danced the entire repertoire at the Bolshoi, but enjoyed a special reputation for Spanish dance, particularly the role of the bullfighter in the Bizet-Shchedrin Carmen Suite. He is the founder and Artistic Director of the Moscow Festival Ballet and has achieved a remarkable feat in the establishment and development of this young but great Russian ballet company. Mr. Radchenko presents a large number of master-classes, inviting leading teachers from the Bolshoi and Maryinsky theatres to ensure the continuation of the rich traditions of the Russian Classical school.

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Leland & Virginia Molgaard John & Laurel Mors Karen Neff Thomas & Lynn Nehls Jim & Sara Nelson Don & Becky Nibe Michael & Ginger O'Keefe Olson & Kushkowski Family Ruth & LeRoy Ornberg Sue & Gary Osweiler David Otis Linda Papouchis Carol & Arlen Patrick Don & Jan Payer Barbara Peterson Doug & Suan Pfeil Richard & Carol Pletcher Arthur & Bernadene Pohm Emil & Mary Kay Polashek Jim & Marlys Potter Mabel Prescott Jane Punke Larry & Sharron Quisenberry Frank & Jolene Randall Jean Ranney Denise & Randy Rettleff Kathy Rhode Thomas & Doris Rice William Rich Robert & Harriet Ringgenberg Ryan & Jodi Risdal Charles B. Ritts & Kathleen L. Epstein-Ritts Joe & Jennifer Rivera William S. Robinson Jo & Bob Rod Teresa Rohret Dick & Karen Ross Malcolm Rougvie Barbara Royer Carolyn Cutrona & Daniel Russell Dorothy & Robert E. Rust Tom & Lorna Safley Charles & Priscilla Sage Dean & Judy Sampson Steve Sapp & Lisa Enloe Thomas J. & Patricia A. Sauer Candy & Steve Schainker Bradley Schetzsle Jane & Frank Schill Lester Schmerr, Jr. Suzette Schmidt Matt & Kim Schryver Richard & Jasmine Seagrave George Seifert Phyllis Seim Dennis & Joan Senne

COMPANY MEMBER continued

Dr. & Mrs. Sam Senti Hilary Seo & Paul Rounds Carole & Leverne Seversike Kenneth & Shirley Shaw Debra Shenk-Boudart Mark & Amy Slagell John & Sandra Slaughter Paul & Ann Smiley-Oyen Jim & Diane Smith Clifford Smith Richard & Frances Smith Gary Sorensen Galina & Philip Spike Dr. & Mrs. W. Robert Stephenson Bernard & Victoria Stephenson Mr. & Mrs. David Stephenson Curtis Struck & Megan Fairall Robert & Deanne Summerfelt Doris Roettger-Svoboda Calvin & Susan Swan Margaret & John Tait

M. Thompson Mr. & Mrs. Harvey Thompson Ron & Meg Thompson Betty Toman Ted Tostlebe & Marilyn Hanson John & Marjorie Uitermarkt Ardy & Dean Ulrichson Beverly Van Fossen Stephen Van Houten Greg & Lana Voga Doug & Kim Walker Jim & Madeleine Walker Karen Walker Barb & Don Wandling Bobbie Warman Mary T. Watkins Fritz Wehrenberg & Jennie LeGates Marion & Harry Weiss Tom Wessels & Glenice Varley Mr. & Mrs. Richard C. White Bill & Toni Whitman Craig & Kyra Wilcox-Conley

Bill & Amanda Fales-Williams Carla Wood Richard & Patricia Wood Kent & Linda Woodworth Steven & Lorraine Woolery Sharon L. Youngquist Suzanne Zaffarano Bill & Jean Zmolek MATCHING GIFT HONOR ROLL Alliant Energy Foundation AXA Foundation Bank of the West General Electric Merck Company Foundation Meredith Corporation Foundation Pioneer Hi-Bred International, Inc. Piper Jaffray State Farm Companies Foundation Wells Fargo & Co.

PLANNED GIFTS These generous individuals have included the Performing Arts Series in their wills.

Wayne P. Davis Frankee and Jim Oleson The late James Watson To learn how you can support the arts while honoring a loved one, or to create a legacy gift, contact Patti Cotter, Sponsorship & Development Manager, at 515-294-1238 or pcotter@iastate.edu.

Ames International Orchestra Festival Association Board of Directors Karl Gwiasda Larry Hansen Esther Harmison Herb Harmison Jacob Harrison

Sandy Hoenig Willa Holger Arthur Klein - President Marilyn Johnson Jane Mathison

Mary Richards David Stephenson Joan White Maureen Wilt

Iowa State University Performing Arts Council A university committee comprised of Iowa State University faculty, staff, and students, as well as Ames community members, the Performing Arts Council advises the Iowa State Center on programming for the Performing Arts Series at Stephens Auditorium.

Michael Golemo, President, Faculty–Music Tanya Anderson, Ames–Community Janice Baker, Faculty–Dance Sara Compton, Iowa State Center Patti Cotter, Iowa State Center Jane Cox, Faculty–Theater William David, Faculty–Music Homer Gartz, Ames–Community Debra Gibson, Faculty–Journalism & Mass Communication Karl Gwiasda, Ames International Orchestra Festival Association

Sam Johnson, Student–Music Nancy Marion, Ames–Community Nick Miller, Student–Music Patricia Miller, Faculty–Lectures Program Mark North, Advisor, Iowa State Center Lee Plummer, Student–Music Alissa Stoehr, Student–Educational Leadership and Policy Studies Victoria Stafford, Student–Performing Arts Nolan Vallier, Student–Music Insert 15

SPONSORS — The Iowa State Center recognizes and thanks its sponsors for their support of the 2011-2012 Performing Arts Series at Stephens Auditorium:

University Park Inn & Suites

Proud Sponsor of Proud Sponsor of

Proud Sponsor of

Proud Sponsor of

BLAST!

My Fair Lady

Beauty and the Beast

Young Frankenstein and Danú

Get two tickets to any Performing Arts Series event when you book a specially-priced hotel package at participating Ames hotels. Visit www.visitames.com for details.

Sponsored by the Ames Convention & Visitors Bureau

MEDIA PARTNERS — The Iowa State Center recognizes and thanks its media partners for their support of the 2011-2012 Performing Arts Series at Stephens Auditorium:

Proud Media Partners of Beauty and the Beast,

Proud Media Partner of

Magic School Bus Live! and My Fair Lady

Danú

GRANTS — The Iowa State Center recognizes and thanks the following organizations for their support of the 2011-2012 Performing Arts Series at Stephens Auditorium:

Ames International Orchestra Festival Association (AIOFA) and Ames Commission on the Arts Proudly Supporting Iowa State Symphony (Youth Matinee Series Concert), Irish Chamber Orchestra and “Tschaikowski” — St. Petersburg State Orchestra

Iowa Arts Council Proudly Supporting Doubt and Macbeth This project supported in part by a grant from the Iowa Arts Council, a division of the Iowa Department of Cultural Affairs, and the National Endowment for the Arts.

Kiwanis International Proudly Supporting 2012 Youth Matinee Series and Magic School Bus Live!

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