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Amy

The 1893 version

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Amy   

Hey everyone, here's a question I'd like different people's opinions on - if the score is still around somewhere, would anybody like to hear the music from the 1893 version of Cinderella?

This is the version that was choreographed by Lev Ivanov and Enrico Cecchetti and staged by Cecchetti and Marius Petipa for the Imperial Russian Ballet; it's also the ballet in which the superior Prima Ballerina Assoluta, Pierina Legnani introduced the famous 32 fouettes. The music was composed by the Russian composer, Baron Boris Fitinhoff-Schell and one of the variations from his score for this Cinderella is used today for the female variation in the so-called Le Corsaire Pas de deux.

My curiosity regarding this version has been high lately and personally, I'd like to hear Fitinhoff-Schell's music because Cinderella is one of my favourite stories and I'd like to hear the music to which Petipa, Ivanov and Cecchetti staged their version of the story to. I do love Prokofiev's music, but I'd like to hear this music if it is still around somewhere and if it is, it'll probably be in the Mariinsky Theatre Music Library, where I believe many ballet scores are kept and have been for years.

What does everyone think? Would anyone else here be interested to hear this Cinderella music if it's still around?

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Birdsall   

I think more than the actual score everyone wishes they could see what the choreography looked like, but I guess that is impossible. The music would be nice to hear too, but I suspect it will be light and frothy and not exactly deep, symphonic music, so sort of anti-climactic without the dancing to go with it, although I could be wrong.

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Amy   

I think more than the actual score everyone wishes they could see what the choreography looked like, but I guess that is impossible. The music would be nice to hear too, but I suspect it will be light and frothy and not exactly deep, symphonic music, so sort of anti-climactic without the dancing to go with it, although I could be wrong.

Yeah sadly Bart, the choreography was never notated, so we're never going to get to see that, though the original scenery and costumes could be reconstructed, even though that wouldn't be enough.

I'm sure the score is very different from Prokofiev's score, but it would still be interesting to have a listen to it. And actually, if someone around here had a translated copy of the libretto, I'd love to read that.

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Amy   

Okay everybody, guess what I have gotten my hands on - the libretto for the 1893 version of Cinderella. As I suspected, it is quite different from Prokofiev's version, though there are a few similarities, and I think maybe, I prefer Prokofiev's version, but it would still be interesting to hear the music for this version.

Now I hope I'm not be breaking any rules here, but I think it's only fair to share the libretto with everyone here and it's for educational reasons, I promise. Although, the libretto is available in Roland John Wiley's book, The Life and Ballets of Lev Ivanov, but anyway, here it is - the cast list of the first performance and libretto of Lev Ivanov and Enrico Cecchetti's 1893 version of Cinderella.

Cast

Cinderella - Pierina Legnani (this was her Imperial Ballet début performance)

Prince Charming - Pavel Gerdt

Cavalier Pignarole, Cinderella's father - Timofei Stukolkin

Henrietta, his wife - Giuseppina Cecchetti

Odette, their daughter - Mathilde Kschessinskaya

Aloisa, their daughter - Maria Anderson

The Good Fairy - Anna Johanson

The King - Mr Aistov

The Queen - Miss Ogoleit

Chamberlain - Alexei Bulgakov

The Master of Ceremonies - Mr Voronkov

Gianna, a cook - Miss Zhukova

ACT 1

The stage represents a large kitchen

Scene 1

At the rise of the curtain, Gianna the cook and her scullery maids are busy preparing dinner, but Gianna so sooner leaves the kitchen than the scullery maids abandon their duties and begin to dance and play with saucepans and skillets.

Gianna returns, sees their mischief and sternly orders them back to business; they pay her no heed and Gianna, drawn into their merriment, begins to dance with them. A bell is heard. Gianna now emphatically orders her helpers to calm down; in confusion, they rush back to their places.

Scene 2

Aloisa and Odette enter hurriedly, hunting for their little sister to help them dress for the ball. Seeing that Cinderella is not there, they order the scullery maids to find her at once. The sisters are in a frightful worry. The hour of their departure for the royal celebration is approaching and their toilettes are not yet finished; they begin to smarten themselves up, angry and astonished at Cinderella's absence.

Scene 3

Cinderella runs in holding a sheaf of straw; her sisters rush over to push and pinch her and make their poor sister suffer, then order her to set right their toilettes, which Cinderella willingly tries to do. The sisters, now content, begin to dream and boast to one another of their successes at the ball. Making fun of Cinderella, the dance and force her to dance as well. Their parents enter and press their daughters to get ready to leave. In vain, Cinderella begs her parents and sisters to take her along. Her sisters laugh and her father orders her sternly to stay at home and tend to her chores.

Scene 4

Alone and sad, Cinderella dreams about the pleasures of the ball, imagining the dances, but realising that she cannot go, and hurries about her work. The hearth flares up; Cinderella watches astonished as living sparks fly out of the fireplace. They surround her; delighted, she admires them and dances with them.

Scene 5

The Good Fairy appears, Cinderella's godmother and protector. Amazed by the good will and patience with which Cinderella bears her undeserved debasement, she promises to grant her any wish. Cinderella asks to go to the royal ball. With pleasure the Fairy agrees, but on the condition that she stay no later than midnight: with the last stroke of twelve o'clock, all the luxuries granted her will disappear. Cinderella happily thanks the Good Fairy, at a wave of whose hand a brilliant cortège appears. Servant-fairies assist Cinderella in completing her toilette for the ball and putting on magnificent slippers. The Fairy, when Cinderella is properly dressed, gives her a lesson in deportment and hurries her off, reminding her of the condition she set.

ACT 2

The throne room of a castle

Scene 1

Courtiers have gathered to greet the King, and promenade in expectation of his arrival; a few make lively conversation about the celebration. The Master of Ceremonies announces the royal family; the courtiers hurry to their places.

Scene 2

The royal couple enter and take their places, Prince Charming standing next to them. The guests, including the Pignarole family, pay their profound respects to the Queen and King. The King, enraptured by the prettiness of Cavalier Pignarole's daughters, invites them to take a place next to the throne.

Scene 3

Just then the herald's trumpets sound, announcing guests from Moscow and Poland, who, charmed by their welcome, pay their respects to the King and take their places. The Chamberlain rushes in and announces the arrival of an unknown princess, accompanied by a brilliant retinue. General excitement; the Prince hastens to meet the stranger.

Scene 4

Cinderella enters; Prince Charming, respectfully offering his arm, presents her to the King, Queen and court. The onlookers are struck by the unknown princess's beauty and brilliant toilette. The Pignaroles are amazed at the stranger's striking likeness to their youngest daughter, who was left at home. The Prince lavishes his attentions on the newly arrived princess and the King and Queen invite her to take a place next to them; this causes Aloisa and Odette to bear her malice and to envy the unknown guest. The Prince orders the Master of Ceremonies to begin the ball; the Princes take part, dancing only with the Princess, delighted by her beauty. Odette and Aloisa also take part in the dances and try to attract the Prince's attention, but he is charmed by Cinderella's beauty.

Scene 5

The clock begins to strike midnight. Cinderella, enchanted by the Prince's attentions, completely forgets the Good Fairy's condition. With the last stroke of twelve, she suddenly remembers and quickly retires at the moment her mother walks up to the Prince and engages him in conversation. Cinderella, whose rich attire has turned simple, tries to leave the royal palace unnoticed. The Prince, observing the beautiful stranger's disappearance, orders his chamberlain to follow her, but just then, a page enters and gives the Prince the slipper which the Princess lost. The Prince, admiring the slipper, orders it to be announced throughout the land that he will choose for his bride the woman whose foot the slipper fits.

ACT 3

A fantastic garden in the Prince's castle

Scene 1

Servants and pages, preparing for the Prince's celebration, walk through the garden from time to time. The Prince enters with his retinue, wanting to know if his wishes have been met and if the beautiful stranger has turned up. The chamberlain calms the Prince, adding that the Princess is probably there. Contended with the chamberlain's assurances, the Prince invites the King and Queen into the ball.

Scene 2

On the day after the ball, Cinderella, wishing to see the Prince again and to look for her lost slipper, comes to the royal garden. Hearing footsteps, she hides in the bushes, frightened, falls to her knees in despair and prays for her godmother to help her.

Scene 3

The Good Fairy appears, and wishing to help her favourite again, still reproaches her for disobeying and not coming home in time. Cinderella begs the Good Fairy's forgiveness and asks her to help. Trumpets sound; the herald announces that Prince Charming will choose as his bride the woman whose foot fits the slipper which was found. Cinderella wants to be at the celebration to see him again and begs the Fairy to let her go to the ball. The Fairy gladly agrees; they withdraw.

Scene 4

The King and Queen enter with the Prince and the others invited to the celebration. The Prince asks the assembled beauties to try on the slipper, but their efforts are in vain; the slipper does not fit any of them. The herald now announces the Good Fairy with Cinderella. The Prince suggests that Cinderella also try the slipper and, to the astonishment of all, the slipper fits and stays on her foot. The onlookers are struck by Cinderella's beauty and the Prince, delighted, declares his love to her; her sisters beg forgiveness for treating her badly. She forgives them and the heralds announce Cinderella as the Prince's bride. The entire court congratulates them.

APOTHEOSIS

So there you go everybody and I'd love to hear what you all think. :)

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Birdsall   

Very interesting that the libretto of the original and the one we generally know (albeit in different versions) have a lot of differences. Thanks for giving us the original casting too!

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Amy   

Yes, she is indeed Anderson. ;-)

Oh and Cristian, I've also got the libretto for The Magic Mirror, would you like to see it?

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Amy   

Yes, she is indeed Anderson. ;-)

Oh and Cristian, I've also got the libretto for The Magic Mirror, would you like to see it?

Yes, indeed.. ;-) Incidentally, here's a threat I started on some musical excerpts I found of it...

http://balletalert.invisionzone.com/index.php?/topic/34668-4-score-excerpts-from-petipas-1903-the-magic-mirror/#entry294288

Yeah I've seen that thread, well anyway, I've just uploaded the libretto there and as I say on the post, tell me what you think. :)

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Amy   

For anyone who's interested, here is the list of scenes and dances from Fitinoff-Schell's score for this version of Cinderella. Unfortunately, as it turns out, this music score was never published, so we're never going to get to hear this music. It's a shame really because it would've been interesting to hear the music to which Pierina Legnani first performed the 32 fouettes on the Russian stage. This list is taken from the original 1893 theatrical poster and Aleksander Plescheyev's book Nash Ballet (1673-1896).

Act I

  • Ouverture
  • № 01 Scène–Une grande cuisine
  • № 02 Jeu dansant des marmitons
  • № 03 Scène dansante
  • № 04 Scène mimique de Cendrillon
  • № 05 Pas des étincelles
  • № 06 Apparition de la fée bienfaisante
  • № 07 Leçon de maintien
  • № 08 Cortège et départ de Cendrillon pour le bal

Act II

  • № 09 Introduction et scène de la salle du trône du château
  • № 10 L'arrivée des invités
  • № 11 Entrée du roi et de la reine
  • № 12 Réception des ambassadeurs
  • № 13 Apparition de Cendrillon
  • № 14 Danse russe
  • № 15 Danse polonaise
  • № 16 Grand pas d'action—
    —a. Entrée
    —b. Adage
    —c. Variation I
    —d. Variation II
    —e. Tempo di valse
    —f. Variation de Cedrillon
    —g. Grand coda
  • № 17 Finale–Minuit et fuite de Cendrillon

Act III

  • Entr'acte symphonique
  • № 18 Scène mimique de Cendrillon et la fée bienfaisante
  • № 19 Marche et entrée des invités
  • № 20 Apparitions de Cendrillon, la fée bienfaisante et les princesses de la nuit
  • № 21 Pas de princesses de la nuit et de la fée du soleil
  • № 22 Tableaux de la nuit—
    —a. La nuit du Nil
    —b. La nuit de Grenade
    —c. La nuite Parisienne
  • № 23 Danse des quatres éléments–Terre, eau, air et feu
  • № 24 Grand pas
    —a. Andante
    —b. Pizzicato
    —c. Variation I
    —d. Variation II
    —e. Variation du Prince Charmant
    —f. Variation de Cendrillon
    —g. Coda générale
  • № 25 Apothéose

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