State Kremlin Palace sleeping beauty. Ballet "Sleeping Beauty" in the Kremlin Palace. The Kremlin Ballet beat The Sleeping Beauty

20.06.2020

Vremya Novostei, October 3, 2005

Anna Gordeeva

Holidays at affordable prices

Premiere of The Sleeping Beauty at the Kremlin Ballet Theater

The Kremlin Palace opened its 45th season. The Kremlin Ballet begins the 15th. The Palace of Congresses (most of the population continues to call it that) and the “Kremlin Ballet” arose under different circumstances: one as a manifestation of imperious will (we will build whatever we want to put into an ancient monument), the other as a clever manifestation of personal initiative in time of troubles(everything in the country is swaying and dividing - let's talk about democracy and open another theater next to the imperial Bolshoi, which, however, is also state-owned). But in artistic sense they are approximately equal to each other, and expecting great achievements from the theater headed by Andrei Petrov is as strange as hoping that at some point the KDS building will acquire meaning and proportionality, and will fit into the landscape.

Meanwhile, the Kremlin Ballet habitually gathers MAHA graduates who have not made it to the best theaters, tours the outskirts of China, keeps at least one decent ballerina in its collection and regularly produces premieres once a season. And for these premieres, just like for the just released “Sleeping Beauty,” a full audience of six thousand gathers. Because our people love ballet, but somehow they are not ready to pay four thousand for a ticket, as the Bolshoi Theater wants. And here you can see the same thing for two hundred. The same? Well, the author's edition of Petipa's classic work. Only here is Petrov, not Grigorovich. Let's look for ten differences.

Katalabut's part became more danceable. Do you remember who Catalabut is? The master of ceremonies at the court of King Florestan XIV, the father of Princess Aurora, is the same one who forgot to send an invitation to the evil fairy Carabosse. His job is to receive the beaters from her, collect the pieces of hair torn out of the wig and sadly run to the backstage, that’s all. Here, in the prologue, for some reason he flies alone on the proscenium, like a Blue Bird. Well, let’s consider it psychologism, a deep penetration into the dreams of a minor character.

The part of Carabosse, as has been customary from time immemorial, is danced by a man, but instead of a heavy bell dress he is wearing a tutu and has a pointe shoe on one foot (a slipper on the other). In pointe shoes, he always puts his foot on the toe, and there is such a sideways, limping gait. This is actually a mix of two ideas - the familiar (usual) Carabosse and the version made in the middle of the last century by Konstantin Sergeev for Natalia Dudinskaya: there the black fairy was quite a ballerina. And here a completely feminine flirtatious jump is created for Carabosse, but after it, of course, she limps twice as much.

The cradle with the newborn Princess Aurora is not carried out by nannies, but is rolled out on wheels, and it is of such a size that a ten-year-old child can fit in it. Moreover, this is not a cradle at all, but a rectangular chest, apparently there is a person sitting inside it, because with a wave of Carabosse’s hand, this chest begins to drive up to her. Unfortunately, these are all the special effects of the play (those were promised in the press release).

At the beginning of the first act, in the knitting scene, Andrey Petrov took care of the girls' loyalty to the king. The king, as you know, after the curse of Carabosse banned the use of knitting needles throughout the kingdom, and the working gossips continued to do needlework. They were caught, they were threatened with death, then they were forgiven, then Aurora finally pricked her finger with a knitting needle that she did not receive from them at all - in fact, Petipa had simple idea: You can’t isolate yourself from fate with laws. Here the knitters themselves did not even think of breaking the ban - it was Carabosse who crept up, handed them the knitting needles, and after the intervention of law enforcement agencies, the repentant fools (by the way, there were two of them, not four) handed her over, showing together to the guards: this is where she ran away, this is where .

During the violin intermission (the curtain should be closed, nothing happens, only the orchestra sings - it’s like a deep breath of ballet before Prince Désiré runs in and kisses the princess) Petrov considered that it was not good for the actors to stand idle, and added another scene to the performance: here Aurora lies sleeping (a doll or an understudy, it’s impossible to understand), but here’s what she dreams: she meets with Prince Désiré, the fairy Lilac helps her, and fairy Carabosse tries to break their hands... After which the ballerina hides behind the bed, and in In the next scene she wakes up from Desiree's kiss. That is, Marius Ivanovich Petipa did not tell us any necessary details, and Andrei Petrov corrected this deficiency.

One, two, three, four, five differences? No, well, the dryad scene has also been rearranged, and there are also a few small things. But is this important? There are not enough people in the troupe, and the ball in the palace, where six couples are dancing, looks poor. Young Aurora (Kristina Kretova) is distinguished by enviable aplomb, but is completely devoid of jump (the leg that ends up behind almost drags along the floor). The Lilac Fairy is so portly that when she bends forward, she seems about to fall out of her pack. The Diamond Fairy cannot get off the ground, and the little Canary Fairy sticks out her butt as if she imagines herself to be Lolita. But the prices are low, people still travel to the capital, and on the way back through the Kutafya Tower you hear the words from Moscow Region, Vologda and Voronezh “we had a good rest.” And that the KDS is not quite the Kremlin, and the Kremlin Ballet is not quite a ballet, these people will never guess.

Kommersant, October 5, 2005

Sleeping Beauty was awakened by the princess

The debutante pulled out a performance of the Kremlin Ballet

In the Kremlin Palace, with a catastrophic gathering of the public, which delayed the start of the performance by almost an hour, the premiere of The Sleeping Beauty took place, with which the Kremlin Ballet celebrated its 15th anniversary. The debut of the new ballerina did not allow TATYANA KUZNETSOVA to fall asleep with the heroine of the ballet.

In truth, “The Sleeping Beauty” is not at all up to par with the Kremlin Ballet: even if we leave aside the professional level of the troupe, there are simply not enough people to stage this pompous performance. One hundred s extra years back, old Petipa at the Mariinsky Theater did not know such problems: in one “Waltz of the Flowers” he took 48 people. Plus 24 children, plus the king-queen, plus the princess herself with her suitors, plus courtiers, and even a whole bunch of fairies - each with its own variation and retinue. In general, the head of the Kremlin Ballet, Andrei Petrov, who tried to maintain imperial decorum within the Kremlin budget, had a hard time.

Set designer Stanislav Benediktov created a purple haze of light tulle for all acts, outlining the contours of windows and doors in the “palace” scenes in gold. Optimists could see the twilight of Borisov-Musatov's gardens on stage, pessimists could see gasoline stains in a puddle, but one advantage is certain: these sets can be easily taken on tour. The resident artist and wife of the choreographer Olga Polyanskaya came up with dresses and tutus, clearly inspired by sponge cakes her Soviet childhood: the dominant combination of light green with pink and orange with burgundy, decorated with the “cream” of white wigs.

Mr. Petrov himself intervened in the long-familiar choreography only out of necessity: it was necessary to somehow get out of the same “Waltz of the Flowers”, having twelve pairs of paisans instead of twenty-four and eight corps de ballet dancers instead of two dozen bisexual children, and also to fill in the music generously allocated composer Tchaikovsky for crowded processions. Manipulating the “extras” of four substandard couples, Mr. Petrov did not come up with anything in the least entertaining: long and meaningless wanderings around the circle of simple ladies and gentlemen, slightly lifting their legs in the manner of walking dogs, drove one into a sleep worse than the fairy Carabosse.

By the way, it was her appearance that first woke up the public. The choreographer made the elderly fairy energetic but lame by putting one of the artist Timur Shafigulin’s feet in pointe shoes and the other in high-heeled shoes. We should pay tribute to the temperamental and flexible young man - he came out of this awkward situation with honor, creating a witty parody of Countess Ilze Liepa from The Queen of Spades. The second original discovery was the “dream” of Princess Aurora, staged, probably, so that the audience would not get bored during the famous violin intermission, but would instead start solving the stage puzzle. But only the most insightful could guess that the ballerina crawling out from behind the bed of the lying beauty is actually her astral body, and the prince and his battle with the fairy Carabosse are nothing more than a dream in the arm.

Sergei Smirnov’s prince could not contribute in any way to the solution - he himself was as if in a dream throughout the entire performance. Nothing could bring this handsome young man with natural qualities that do not correspond to the prime minister's status out of a state of smug stupor - not the love of a beautiful princess, not slow pirouettes, not unclean tours in the air. He became somewhat animated (and without any reason) only during the jete en tournant: the choreographer, apparently wanting to cheer up the artist, used his favorite movement twice – in the hunting scene and in the pas de deux.

The premiere of this mournful "Sleeping" was performed by a debutante - 21-year-old Kristina Kretova. It cannot be said that this slender, short girl captured the hall with her first appearance: she fluttered into the entre excitedly and modestly - more like Cinderella at someone else’s ball than a princess at home. However, already in the first adagio with four gentlemen, famous for its beauty and grueling, the young ballerina demonstrated such endurance and aplomb that her star colleagues from the Bolshoi and Mariinsky Theater cannot boast of. There are two insidious episodes in this adagio in which the most famous ballerinas broke off: at the beginning and finale, Princess Aurora, standing on one leg and raising the other in an attitude, alternately offers her hand to each partner, gracefully raising it above her head. It is extremely difficult to tear yourself away from the saving support of a partner’s hand - almost no one manages to avoid feverish handshakes, swaying, and panicky outbursts. And if the ballerina is lucky enough to stay on one leg, then usually she stands triumphantly with her hand raised until she squeezes admiring applause from the audience. So, Kristina Kretova went through this torture with amazing self-control - all the prescribed eight times, her hand calmly rose to the third position and, to the music (which is also an extreme rarity), fell on the hand of the next gentleman.

Delicacy, dignity and a sense of proportion determined the debutante’s entire performance: the aspiring ballerina did not raise her legs above her ears, did not flirt, feigning innocence, did not “break” her pirouettes, and did not force her silent fleeting jumps. Gracefully and casually, she also handled the tours in large poses in the wonderful variation of the second act, excluded from the edition Bolshoi Theater, and with the indifference of his partner, and with the fake scene of his own “dream”, and with the lace weaving of hands in the final variation, and with the unusually slow tempo in the coda. Here we should note another pleasant surprise of the premiere - the Kremlin Ballet was accompanied by the Russian National Orchestra, led by Alexander Sladkovsky. Tchaikovsky, as well as the audience, was lucky: “The Sleeping Beauty” did not sound like an intelligent ballet.

Vedomosti, October 4, 2005

Anna Galayda

Without magic

The Kremlin Ballet beat The Sleeping Beauty

The Kremlin Ballet Theater celebrated its 15th anniversary with the premiere of The Sleeping Beauty - the most colorful and lush of ballet fairy tales. Behind the façade of its delightful festivity lies the most complex performance of the Russian classical repertoire. The Kremlin Ballet took on it with excessive conceit.

When, at the height of perestroika, the names of Ekaterina Maximova and Vladimir Vasiliev made it possible to create their own ballet troupe in the Kremlin, it heralded a noble mission of searching for new forms. Dancers from the periphery, diluted with graduates of the capital's choreographic school, who were not accepted by the leading theaters, did not even dream of great classics - ballet thoroughbred, without which transformation into willies, sylphs and dryads is impossible, is cultivated no faster than the English lawn. However, just as uncontrollably as timber, oil and gas flowed abroad, Russian ballet moved to foreign cities and villages. The first victim of export was "Swan Lake" - it demonstrated that under the label Russian Ballet instead of a round dance of 32 swans, you can even sell seven lopsided dancers, if they are in white tutus and feathers.

But now, when companies of all stripes have provided even Chinese provinces with Swan Lake, the turn has come to export ceremonial classical ballet, which just a few years ago was as difficult to imagine outside the Bolshoi and Mariinsky Theaters as Nigerians flying into space. Passing the "Sleeping Beauty" exam means getting into the major league of world ballet - the definition of "encyclopedia" is firmly attached to it classical dance": Marius Petipa, “our everything” in ballet, combined in this performance all the wisdom accumulated choreographic art, and my own incredibly youthful, gushing fantasy. “Sleeping Beauty” looks like a rootless impostor without life-size palace interiors, luxurious props, tons of velvet, satin and costume jewelry. And, most importantly, it is impossible without an army of top-class dancers - specialists in pure classics, character and ballroom dancing, and mimic parts.

The Kremlin Ballet has not cultivated academicism in 15 years, but it has turned out to be one of the few troupes that are able to reproduce Petipa’s legendary ballet in almost a classical set - the lack of guests at the royal ball does not count. Artistic director theater Andrei Petrov, a representative of the famous Moscow ballet dynasty, himself danced in the Bolshoi's "Sleeping Beauty" and restored it in Yuri Grigorovich's version in detail. But on the poster Petrov is listed as the author of the new choreographic version of the performance. To do this, he had to force the master of ceremonies Catalabute, usually limited by facial expressions, to compete in virtuosity with Prince Désiré, re-compose variations for the prince himself and adjust the scene of the awakening of Princess Aurora: now while one princess - the understudy - is lonely on the couch waiting for a kiss, the other is already merging with the prince in a love duet . Another noticeable intervention of the editor is the suppression of the brilliant choreography of Fyodor Lopukhov: in new production The Lilac Fairy performs a melancholic variation of Aurora from the Nereid scene at the wedding. This is probably a gift from Petrov as artistic director to his lead - Zhanna Bogoroditskaya gets a chance to attract attention at least with a big step, the rest of the time she painfully struggles with the luxury of her party.

The text is much easier for the less experienced Kristina Kretova - Princess Aurora, who also does not yet possess either virtuosity, artistry, or academicism. For some unknown reason, having replaced at the premiere the only star of the Kremlin Ballet, Natalya Balakhnicheva, who had repeatedly shown her delicate, graceful Aurora at concerts, 20-year-old Kretova became the symbol of the new Sleeping Beauty - at first glance, she is very similar to the original, but devoid of fabulousness and the magic of Petipa's ballet. It is a pity that this handicraft copy will be mistaken for the original in many parts of the world.

The legendary Kremlin ballet invites you to visit the classical choreographic performance to the music of Pyotr Ilyich Tchaikovsky "Sleeping Beauty", according to the world famous fairy tale Charles Perrault. From 1890, when this pearl of Russian ballet premiered, to the present day, this masterpiece continues to grace repertoires. the best theaters and capture the imagination of audiences around the world. Even the most discerning art connoisseurs can be convinced that the Kremlin Ballet (the poster for February is available online) continues and develops the best traditions of the Russian choreographic school.

The Russian ballet tradition in all its splendor will appear before fans of beauty who decide to come to “Sleeping Beauty” at the State Kremlin Palace. Ballet will give them a meeting with princesses flitting carefree across the stage and their flexible and strong gentlemen; full of magic fairies of Courage, Tenderness, Gold, Silver, Sapphires, and, of course, Lilac; the witch Carabosse, angry at everyone and everything, and the gentle French spring. The Kremlin Ballet has staged a performance that will be of interest to the audience different ages: children will like it fairy tale plot and surroundings, and for adults - amazing choreography and subtle lyricism.

The ballet in the Kremlin Palace, the poster of which is on our website, is always a real celebration of eternally young art, which evokes admiration at the most different eras that unites people with different experiences and outlook on life. The stage here turns into the palace of the fairy-tale King Florestan, and the audience finds themselves guests at the christening of a little princess. They will find out what gifts they can give to a newborn. good fairies, and how an evil witch can destroy her life in one second.

The Kremlin Ballet, tickets for which can be ordered from the Ticketmix agency, will tell a story through dance magical curse and liberation from it. The famous spindle injection, a long sleep and awakening from the kiss of a handsome prince - all this will come to life on the stage of the GKD. The Sleeping Beauty ballet is a win-win choice for audiences who prefer to be sure that the performance will live up to their expectations.

The legendary Kremlin Ballet has preserved the original choreography of the great Marius Petipa. The public will see it in the editorial office People's Artist RF Andrey Petrov. The head of the Kremlin Ballet troupe (the poster for April has already been posted on our website) introduced many new directorial discoveries into the performance, preserving the main thing - the unique atmosphere of a fairy tale, the luxury and sophistication of Russian ballet.

What other ballets are shown in the Kremlin Palace

Especially for those who want to buy tickets to the Kremlin Palace for the ballet “The Sleeping Beauty,” the Ticketmix agency website always contains fresh and up-to-date information about the planned performances. on our website will help you choose the most best places ballet in the Kremlin and place an order without leaving your computer.

Another famous performance of the Kremlin Ballet is “ Swan Lake" - can rightfully be called the main Russian ballet. The music of Pyotr Ilyich Tchaikovsky and the dance, full of lyrical charm, tell a mysterious German legend. which is available on our website, should be seen live by every ballet fan.

The christening of Princess Aurora is celebrated in the palace of King Florestan. Master of Ceremonies Catalabut checks the list of invitations sent to the fairies and guests.
Everything is ready for the opening of the holiday.
Sounds of trumpets. The King and Queen greet the crowd. The nurses bring in the cradle with the newborn Princess Aurora. Catalabute announces the arrival of sorceresses - good fairies.
The Lilac Fairy, Princess Aurora's chief godmother, appears. She is surrounded by fairies and pages. Fairies give gifts to the newborn. Thanks to these gifts, the princess will be beautiful and gentle, playful and carefree, generous and brave. The Lilac Fairy approaches the cradle to bring her gift.
There is a noise. This is the arrival of the powerful and evil fairy Carabosse. Catalabute is in despair, how could he have made such a terrible mistake, forgetting to send an invitation to Fairy Carabosse. The King and Queen are worried: a mistake could lead to many misfortunes in the fate of their child.
Carabosse appears accompanied by an ugly retinue. In vain the King and Queen ask the terrible old woman for forgiveness. She decided to take revenge. Carabosse tears out tufts of hair from Catalabutte’s head and pronounces his verdict on Aurora: “Yes, she will be the most beautiful, the most seductive and feminine, the smartest of all the princesses in the world. But, having pricked herself with a spindle, she will fall asleep, and her sleep will be eternal.” The King, Queen and the entire court are shocked.
The Lilac Fairy reassures everyone, because she has not yet had time to bring her gift: after her last word: Aurora will fall asleep, as Fairy Carabosse wished, but not forever. The day will come when the young prince, enchanted by her beauty, will give her a kiss, awaken her from a long sleep, and Aurora will become his wife.

ACT ONE
Princess Aurora's coming of age is celebrated in the park of King Florestan's palace. While preparing for the holiday, Katalabut notices villagers amusing themselves with knitting. He orders the guards to arrest them. After all, spindles, needles and knitting needles are items prohibited by decree of the King.
The King and Queen appear in the park, accompanied by courtiers and four princes, contenders for the hand of Princess Aurora. Frightened villagers beg for mercy. Catalabute announces the reason for the arrest and shows evidence. King Florestan is angry, he orders the execution of the villagers and Catalabut for violating his decree. Courtiers and princes ask that the culprits be spared in honor of the holiday. The king is adamant. And only the Queen’s prayers touch the King’s heart. Those pardoned are released from custody.
Aurora appears. The four princes are amazed by the beauty of the Princess. The King and Queen persuade their daughter to choose a groom. Aurora dances merrily with the suitors, but does not choose anyone - she is still so young.
Suddenly, in the crowd, Aurora notices an old woman beating time with a spindle. The old woman gives her the spindle and Aurora begins to dance with it. Suddenly the dance is interrupted, the princess looks in horror at her hand, which she pricked with a spindle, and falls dead.
The old woman throws off her cloak and everyone recognizes the fairy Carabosse. With a devilish laugh she disappears.
The Lilac Fairy appears and consoles the parents; their daughter will sleep for a hundred years, but so that nothing changes for her happiness, everyone will fall asleep with her. The sleeping princess is carried into the palace, and everyone falls asleep.

ACT TWO

One day, Prince Désiré is hunting in the forest. On the lawn, his entourage entertains him with dancing. Desiree is left alone in anticipation important events in life. A mother-of-pearl boat floats along the river.
The fairy Lilac comes ashore from it. With a wave of the Fairy's magic wand, a vision of the sleeping Aurora appears. The rays of the setting sun illuminate it with pink light. Prince Désiré falls in love with a vision of young Aurora and is ready to follow the Lilac Fairy. The vision disappears, but the image of a young beauty remains in the Prince’s soul.
The prince throws himself at the fairy's feet and begs her to show the way to Aurora. The sorceress leads him to her boat, which immediately sets off.
Night falls, the moon illuminates the boat, the Lilac Fairy and the Prince, who is striving for Aurora, with a silvery light.
Sleeping Beauty Castle. Princess Aurora sleeps on a four-poster bed. She has a dream: Prince Charming comes to wake her up and she falls in love with this prince...
The Lilac Fairy and Prince Désiré are approaching the castle. Carabosse and her retinue guard Princess Aurora's sleep, but nothing can stop the Prince in his desire to be close to the Princess. Prince Désiré runs up to the sleeping Aurora and kisses her. The evil Carabosse's spell disappears: Princess Aurora wakes up, and with her the whole court. Dust and cobwebs clear, candles illuminate the room. The Prince begs the King to give him his daughter as his wife. The king joins the hands of the young people.

ACT THREE
Aurora and Desiree's wedding. The palace is preparing for the ball.
The courtiers gather for a holiday. The heroes of fairy tales are invited there - Puss in Boots and the White Cat, the Blue Bird and Princess Florina, Little Red Riding Hood and Gray Wolf, Cinderella and Prince Fortune. Everyone is dancing, having fun and rejoicing. This holiday is the victory of Good over Evil.

P. I. Tchaikovsky

"SLEEPING BEAUTY"

Ballet in 3 acts with a prologue (the performance has one intermission)

Libretto by I. Vsevolozhsky and M. Petipa, based on fairy tales by C. Perrault
Choreography by M. Petipa
Choreographic edition, staging and new choreography - People's Artist Russian Federation, laureate of the Moscow Andrei Petrov Prize
Set designer - folk artist Russian Federation, laureate of the State Prize of the Russian Federation Stanislav Benediktov
Costume designer - Olga Polyanskaya
Assistant choreographer - Honored Artist of the Russian Federation Valery Ryzhov

The ballet “The Sleeping Beauty” is a pearl of the classical repertoire, which first shone on the stage of the Imperial Mariinsky Theater in St. Petersburg in 1890... a tribute to the Russian ballet tradition, a masterpiece that has delighted audiences all over the world for the second century in a row, gracing the repertoire of the best ballet companies.
Carefree princesses and their gallant, courageous gentlemen, magical fairies - Generosity, Tenderness, Courage, Diamonds, Silver, Gold and Sapphires... the malice of the sorceress Carabosse and the all-conquering kindness of the Lilac Fairy. In Charles Perrault's fairy tale, there is the French charm of powdered wigs and blooming spring, the obligatory victory of Good over Evil and the triumph of all-conquering Love.

The performance is accompanied by Symphony Orchestra Radio "Orpheus" Artistic director and chief conductor- Sergey KONDRASHEV.

Duration: up to 2 hours 40 minutes (with intermission).

The christening of Princess Aurora is celebrated in the palace of King Florestan. Master of Ceremonies Catalabut checks the list of invitations sent to the fairies and guests.
Everything is ready for the opening of the holiday.
Sounds of trumpets. The King and Queen greet the crowd. The nurses bring in the cradle with the newborn Princess Aurora. Catalabute announces the arrival of sorceresses - good fairies.
The Lilac Fairy, Princess Aurora's chief godmother, appears. She is surrounded by fairies and pages. Fairies give gifts to the newborn. Thanks to these gifts, the princess will be beautiful and gentle, playful and carefree, generous and brave. The Lilac Fairy approaches the cradle to bring her gift.
There is a noise. This is the arrival of the powerful and evil fairy Carabosse. Catalabute is in despair, how could he have made such a terrible mistake, forgetting to send an invitation to Fairy Carabosse. The King and Queen are worried: a mistake could lead to many misfortunes in the fate of their child.
Carabosse appears accompanied by an ugly retinue. In vain the King and Queen ask the terrible old woman for forgiveness. She decided to take revenge. Carabosse tears out tufts of hair from Catalabutte’s head and pronounces his verdict on Aurora: “Yes, she will be the most beautiful, the most seductive and feminine, the smartest of all the princesses in the world. But, having pricked herself with a spindle, she will fall asleep, and her sleep will be eternal.” The King, Queen and the entire court are shocked.
The Lilac Fairy reassures everyone, because she has not yet had time to bring her gift: she has the last word: Aurora will fall asleep, as Fairy Carabosse wished, but not forever. The day will come when the young prince, enchanted by her beauty, will give her a kiss, awaken her from a long sleep, and Aurora will become his wife.

ACT TWO

One day, Prince Désiré is hunting in the forest. On the lawn, his entourage entertains him with dancing. Desiree is left alone in anticipation of important events in life. A mother-of-pearl boat floats along the river.
The fairy Lilac comes ashore from it. With a wave of the Fairy's magic wand, a vision of the sleeping Aurora appears. The rays of the setting sun illuminate it with pink light. Prince Désiré falls in love with a vision of young Aurora and is ready to follow the Lilac Fairy. The vision disappears, but the image of a young beauty remains in the Prince’s soul.
The prince throws himself at the fairy's feet and begs her to show the way to Aurora. The sorceress leads him to her boat, which immediately sets off.
Night falls, the moon illuminates the boat, the Lilac Fairy and the Prince, who is striving for Aurora, with a silvery light.
Sleeping Beauty Castle. Princess Aurora sleeps on a four-poster bed. She has a dream: Prince Charming comes to wake her up and she falls in love with this prince...
The Lilac Fairy and Prince Désiré are approaching the castle. Carabosse and her retinue guard Princess Aurora's sleep, but nothing can stop the Prince in his desire to be close to the Princess. Prince Désiré runs up to the sleeping Aurora and kisses her. The evil Carabosse's spell disappears: Princess Aurora wakes up, and with her the whole court. Dust and cobwebs clear, candles illuminate the room. The Prince begs the King to give him his daughter as his wife. The king joins the hands of the young people.

ACT THREE
Aurora and Desiree's wedding. The palace is preparing for the ball.
The courtiers gather for a holiday. The heroes of fairy tales are invited there - Puss in Boots and the White Cat, the Blue Bird and Princess Florina, Little Red Riding Hood and the Gray Wolf, Cinderella and Prince Fortune. Everyone is dancing, having fun and rejoicing. This holiday is the victory of Good over Evil.

Premiere of P. I. Tchaikovsky’s ballet “The Sleeping Beauty” staged by the State Academic Theater classical ballet under the leadership of N. Kasatkina and V. Vasilyov took place in Cannes (France), where as part of the festival Russian art At the end of August 2004, the theater's tour was a triumph. For several days after the performance, the French press was full of headlines with enthusiastic epithets addressed to the directors and artists of “Sleeping” - “...A celebration of ballet,” “...Triumph...”, “A brilliant achievement...”, “Ekaterina Berezina - the ideal princess Aurora...”, “Charming Berezina is an example of fragile grace and confident technique.”

Despite the tremendous success in France, some adjustments were made to the Moscow premiere (September 2004). In particular, modern and, as Kasatkina and Vasiliev say, avant-garde lighting were added, scenery and about 50 costumes appeared, which, due to extremely limited time, did not have time to be made for the Cannes premiere. Suffice it to say that for “The Sleeping Beauty” it was necessary to sew about 300 costumes; some actors change clothes 5-6 times during the performance.

Like all ballets staged by N. Kasatkina and V. Vasilyev, “The Sleeping Beauty” can be considered an original, original production. Saving everything classic masterpieces choreography by Marius Petipa, the directors saturated the music with new action. Thanks to the combination of two fairy tales by Charles Perrault - “The Sleeping Beauty” and “Beauty and the Beast”, the plot of the fairy tale has become more dynamic, intriguing and magical. In particular, in old version During the play, Princess Aurora and Prince Desiree see each other for the first time when Aurora wakes up after kissing Desiree. Kasatkina and Vasilev forced the prince to go through all the tests, turn into an exhausted old man, on the verge of life and death. And all this in order to revive the princess... But love, if it is real, is worth it...

The producers changed one more thing old tradition- give the lot of the fairy Carabosse to the man. In Kasatkina and Vasiliev's version, the evil embodied in the person of Carabosse is attractive and graceful, but this makes it even more dangerous.

For such a ballet, where refined virtuosity and noble sensuality, the enchanting imagination of the directors and the elegant style of the classics merge together, we need special performers. And the creators and leaders of the State Theater speak about this as the main component of the performance’s success. Academic Theater classical ballet Natalia Kasatkina and Vladimir Vasilyov: “...In addition to virtuoso technique, the artist must be a personality, he needs to work on every detail, and not only the body, but also the heart and head. Only then do the stars light up in ballet. If the artists do not have these qualities, any performance, and especially one like “The Sleeping Beauty,” becomes ceremonial, rehearsed and cold, as if sleeping beauties and handsome men are working in this castle of Terpsichore.”