The Long LineThe Long Line

Alexander Glazounov

Raymonda, op. 57

Op. 57

Raymonda (Russian: Раймонда) is a grand ballet in three acts, four scenes with an apotheosis, originally choreographed by Marius Petipa to the music of Alexander Glazunov (his opus 57) and libretto by Lydia Pashkova. Raymonda was created especially for the benefit performance of the prima ballerina Pierina Legnani, and first presented by the Imperial Ballet at the Imperial Mariinsky Theatre on 19 January [O.S. 7 January] 1898 in Saint Petersburg, Russia. Among the ballet's most celebrated passages is the Pas classique hongrois (a.k.a. Raymonda Pas de dix) from the third act, which is often performed independently.
Today Raymonda is performed by many ballet companies throughout the world with choreography that is derived primarily from the Kirov Ballet's 1948 revival as staged by Konstantin Sergeyev. Sergeyev greatly altered, and in some cases changed entirely, Marius Petipa's choreography, particularly in the dances for the corps de ballet. The choreography as revised by Sergeyev remains the traditional text for most of the world's productions of Raymonda, among them Rudolf Nureyev's version for the Paris Opéra Ballet and Anna-Marie Holmes's version for American Ballet Theatre, respectively.
The choreography and mise-en-scène of the Imperial Ballet's original production of Raymonda was recorded in 1905 in the method of Stapanov choreographic notation during rehearsals for performances starring the renowned Russian ballerina Olga Preobrajenskaya in the title role. Today, this notation is part of Harvard University's Sergeyev Collection.
In 2011 Sergei Vikharev utilized the notation to stage a new version of Raymonda for the Ballet of the Teatro alla Scala. The production also restored the original décor and costumes from designs prepared for the first production of 1898.

From Wikipedia, CC BY-SA 4.0.

Movements

Act I

  1. Introduction
  2. Tableau I: Scene 1
  3. Tableau I: La Traditrice
  4. Tableau I: Scene 2
  5. Tableau I: Reprise de La Danse
  6. Tableau I: Scene Mimique
  7. Tableau I: Le Récit de La Comtesse
  8. Tableau I: La Danse
  9. Tableau I: Scene 3
  10. Tableau I: Scene 4
  11. Tableau I: Scene 5
  12. Tableau I: Scene 6
  13. Tableau I: Grande Valse
  14. Tableau I: Pizzicato
  15. Tableau I: Reprise de La Valse
  16. Tableau I: Scene Mimique
  17. Tableau I: Prélude
  18. Tableau I: La Romanesca
  19. Tableau I: Prélude Et Variations
  20. Tableau I: Scene Mimique
  21. Tableau I: Scene 7: Apparition de La Dame Blanche
  22. Tableau II: Entr'Acte
  23. Tableau II: Scene 8
  24. Tableau III
  25. Grand Adagio
  26. Tableau III: Valse Fantastique
  27. Tableau III: Variation 1
  28. Tableau III: Variation 2
  29. Tableau III: Variation 3
  30. Tableau III: Coda
  31. Tableau III: Scene 9
  32. Tableau III: Scene Mimique
  33. Tableau III: Scene 10
  34. Tableau III: Ronde Des Follets Et Des Farfadets
  35. Tableau III: Scene 11
  36. Tableau III: Scene 12

Act II

  1. Bacchanale
  2. Danse Des Garçons Arabes
  3. Danse Orientale
  4. Entrée Des Jongleurs
  5. Entrée Des Sarrazins
  6. Grand Coda
  7. Grand Pas Espagnol
  8. Hymne
  9. Le Combat
  10. Scene 1
  11. Scene 2
  12. Scene 3
  13. Scene 4
  14. Scene Mimique
  15. Variation 1
  16. Variation 2
  17. Variation 3
  18. Variation 4
  19. Raymonda: Act 2. Entr' acte

Act III

  1. Apothéose
  2. Coda
  3. Danse Des Enfants
  4. Entr'Acte
  5. Entrée
  6. Galop
  7. Grand Pas Hongrois
  8. Le Cortège Hongrois
  9. Pas Classique Hongrois
  10. Variation 1
  11. Variation 2
  12. Variation 3
  13. Variation 4

Recommended recordings

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