I wish there was some way the "Entr'acte symphonique" between Scenes I and II of Act II could be incorporated. Though it was cut from the original production, I think it's some of the most beautiful music in the score. It would be hard to justify its inclusion from a dramatic standpoint and I realize it probably has no place in a production focused on historical reconstruction, but I love that section of music nonetheless.
No.16 Scène
No.17 Panorama
Interpolation: 3 transitional bars for the end of no.17 composed by Riccardo Drigo to lead into no.19, as no.18 was cut in the original production
No.18 Entr'acte symphonique (solo for violin composed for Leopold Auer, cut from the original production)
Scene II — Le château de la belle au bois dormant No.19 Scène du château de sommeil
Ashton choreographed an "Awakening Pas de Deux" to this music (I believe for Peter Wright's 1968 production). No. 20 (The Awakening) was cut and instead No. 18 (Entr'acte) began after the tam-tam of No. 19 (Entr'acte Symphonique).
The pas de deux is really very beautiful and dramatically makes much more sense than the allegro awakening. I BELIEVE the pas de deux was created for Sibley and Dowell.
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Ashton choreographed an "Awakening Pas de Deux" to this music (I believe for Peter Wright's 1968 production). No. 20 (The Awakening) was cut and instead No. 18 (Entr'acte) began after the tam-tam of No. 19 (Entr'acte Symphonique).
The pas de deux is really very beautiful and dramatically makes much more sense than the allegro awakening. I BELIEVE the pas de deux was created for Sibley and Dowell.