April showers bring May flowers…What’s your favorite ballet flower scene? Here are some memorable ones:
Rose Adagio—The Sleeping Beauty
Are flowers the way the to the heart? Not in this case. Princess Aurora doesn’t find true love with any of her rose-bearing suitors, but her dance with them is one of the most famous in all of ballet.
Garland Waltz—The Sleeping Beauty
Flowers, flowers everywhere! Presumably the village people didn’t suffer from allergies. Or perhaps some good fairy freed them from that curse… (This clip doesn’t show the entire stage, but I do like the close-up view of the Mariinsky’s version.)
Lilac Fairy’s Variation—The Sleeping Beauty
What floral-inspired magical creature saves the day and rocks a purple wig at the same time? The Lilac Fairy, of course! But, before all of the drama—a dance.
“He Loves Me, He Loves Me Not…”—Giselle
Spoiler alert: the flower tells the truth.
Le Jardin Animé—Le Corsaire
If you didn’t get enough flowers in the “Garland Waltz,” this scene in Le Cosaire basically blossoms into balletic botanical garden.
Waltz of the Flowers—The Nutcracker
Beautiful any time of year… Besides, there’s a good chance this music dances through your head all year anyway.
“Can’t repeat the past?” he cried incredulously. “Why of course you can!”
– The Great Gatsby, F. Scott Fitzgerald
Whether you agree with Mr. Gatsby or not, the idea of repeating the past was the game plan for choreographer Marius Petipa during the creation of the Waltz of the Flowers for the very first Nutcracker in 1892…
The past that Petipa was seeking to repeat was the recent past–his previous collaboration with composer Pyotr Ilyich Tchaikovsky in 1890 on a ballet known as The Sleeping Beauty.
Dance writer and critic Robert Greskovic explains:
“Tchaikovsky composed a lush, expansive waltz for what Petipa planned as a re-creation of the similarly grand number he staged for the “Valse Villageoise” in Sleeping Beauty two years earlier.” (Ballet 101, p. 266)
“Valse Villageoise” is, of course, the “Village Waltz” a.k.a. “Garland Waltz” a.k.a. Disney’s inspiration for the song, “Once Upon a Dream.”
Petipa gave Tchaikovsky detailed guidelines about the structure of each scene in The Nutcracker and the accompanying music he desired him to compose. His outline for the Waltz of the Flowers is as follows:
Valse des Fleurs with large garlands. 8 bars for the start of the waltz, then, the same amount of bars as in the rural waltz in The Sleeping Beauty (second scene).
The little man claps his hands and 36 danseurs
and 36 danseuses appear, dressed
like flowers who carry a large bouquet
and present it to the Prince and his Bride.
As soon as this is done, the dancers, as is
usual in operas, take their positions and
begin to dance.”
Perhaps something like the clip below from a Staatsballett Berlinproduction that drew upon the 1892 costume and set designs as well as historic choreographic records…However, this Nutcracker is certainly not a “reconstruction.” As critic Ilona Landgraf explains about the surviving notation of The Nutcracker’s choreography:
“[…] the snag is that Stepanov recorded only the big, complex group dances and poses. Missing are transitions and other crucial specifics.”
Still, this video offers an interesting glimpse at a vision of the Waltz of the Flowers that’s very different than interpretations we are used to seeing today.
Can you, as a modern balletomane, disassociate the garland imagery in this Tchaikovsky waltz from its more famous use in The Sleeping Beauty?
Moreover, does the Waltz of the Flowers live up to the Village Waltz? Does it surpass it? Did Petipa and Tchaikovsky succeed in repeating the past? Let me know your thoughts in the comments…
Deborah Stone, editor of ArtsHub, says that the visual art of costume and set design brings out the grandeur of the music in the Australian Ballet’s new Sleeping Beauty…
“…costume and set designer Gabriela Tylesova stood out. Her lavish Rococo set and costumes had the delicious charm of a Fragonard painting. Each act delivered another beautiful colour palette, evoking the powdered wigs and courtly manners of 17th Century France. In the christening scene burgundy and gilt set a royal mood, in the hunt fairy glade greens evoked the natural setting. The garden pastoral dripped with bowers of pink and turquoise, a particularly stunning combination, and the apotheosis of the wedding scene bathed the stage in swathes of gold and crystal with a sumptuousness worthy of Versailles.
It was a setting which brought out the grandeur of Tschaikovsky’s score and set the scene for a majestic reinterpretation of – and additions to – Petipa’s famous choreography.” – Sleeping Beauty Review
What do you think? Can the visual art of costume and set design bring out or enhance certain qualities in music used for dance?