Axis of Logic - December 24-26 we are going to pretend that if we
ignore the bad news, it might go away. So for these three days, nothing
but music. We hope you like at least some of our choices - we're pretty
sure the bad news will be waiting for us on the 27th.
The Nutcracker, is a two-act ballet, originally choreographed by Marius Petipa and Lev Ivanov with a score by Pyotr Ilyich Tchaikovsky. The libretto is adapted from E.T.A. Hoffmann's story "The Nutcracker and the Mouse King". It was given its première at the Mariinsky Theatre in St. Petersburg on Sunday, 18 December 1892, on a double-bill with Tchaikovsky's opera, Iolanta.
Although the original production was not a success, the twenty-minute suite that Tchaikovsky extracted from the ballet was. However, the complete Nutcracker has enjoyed enormous popularity since the late 1960s and is now performed by countless ballet companies, primarily during the Christmas season, especially in the U.S. Tchaikovsky's score has become one of his most famous compositions, in particular the pieces featured in the suite. Among other things, the score is noted for its use of the celesta, an instrument that the composer had already employed in his much lesser known symphonic ballad The Voyevoda.
The first performance of The Nutcracker was not deemed a success. The reaction to the dancers themselves was ambivalent. While some critics praised Dell'Era on her pointework as the Sugar Plum Fairy (she allegedly received five curtain-calls), one critic called her "corpulent" and "pudgy." Olga Preobajenskaya as the Columbine doll was panned by one critic as "completely insipid" and praised as "charming" by another. One audience member described the choreography of the battle scene as confusing: "One cannot understand anything. Disorderly pushing about from corner to corner and running backwards and forwards -- quite amateurish."
The libretto was criticized for being "lopsided" and for not being faithful to the Hoffmann tale. Much of the criticism focused on the featuring of children so prominently in the ballet, and many bemoaned the fact that the ballerina did not dance until the Grand Pas de Deux near the end of the second act (which did not occur until nearly midnight during the program). Some found the transition between the mundane world of the first scene and the fantasy world of the second act too abrupt. Reception was better for Tchaikovsky's score. Critics called it "astonishingly rich in inspiration" and "from beginning to end, beautiful, melodious, original, and characteristic." But even this was not unanimous as some critics found the party scene "ponderous" and the Grand Pas de Deux "insipid."