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Home , Alexei Ratmansky, Ballet dancer, Camargo (ballet), Classical ballet, Comic ballet, Enrico Cecchetti

Teacher Guide

115 Auditorium Circle [email protected] San Antonio, TX 78205 www.balletsanantonio.org p. (210) 404-9641

Table of Contents

About San Antonio ...... 3 Mission Statement Vision What is Ballet? ...... 3-4

Ballet Eras ...... 4

Ballet Terms ...... 7

Theatre Etiquette Classroom Exercise ...... 8

Theatre Etiquette ...... 9

Ballet History Tested ...... 10

The Word Search ...... 11

About ...... 12 The Nutcracker Synopsis (Youth Performances are only Act I) ...... 13

The Nutcracker’s Main Characters ...... 14

Choreographers ...... 15-17

Music Composer ...... 17

Discussion Topics ...... 19 Frequently Asked Questions ...... 20 Submit your Questions ...... 201

NOVEMBER 2018 1

About Ballet San Antonio

Ballet San Antonio is the premier professional in the Alamo City, also a non-profit organization.

MISSION STATEMENT

The mission of Ballet San Antonio, a professional ballet company, is to share the splendor of through diverse artistic performances and outreach programs that reflect, promote, and enrich the cultural heritage of othe South Texas community.

It holds an uncompromising commitment to continually attract and nurture exceptional professional dancers, create distinctive performances, and make dance accessible to the widest possible audiences through partnerships with local organizations.

VISION

Its vision is to become a nationally recognized ballet company that reflects and promotes the evolving San Antonio community.

Photo by Still Life Photography by Alexander Devora

NOVEMBER 2018 2

What is Ballet?

Ballet is a form of dance performed by a trained dancer through precise and graceful sets of movements and gestures.

ADAGIO: In ballet, Adagio refers to slow movement, typically performed with the greatest amount of grace and fluidity than other movements of dance.

ALLÉGRO: In ballet, Allégro is a term applied to bright, fast or brisk steps and movement.

NOVEMBER 2018 3

What is Ballet?

Ballet is a language which communicates a story through dance.

PANTOMIME: Hand movements to portray moods, ideas, or a story. LET’S TRY IT!

Beautiful Love No

Bring both hands to Create a circular motion Turn your head or your heart. around your face. gesture with your arms

Dancers left to right: Heather Nichols and Sally Turkel

Anger: Shake your fists in the air. Prince or Princess: Tap your forehead twice with your right Ask or Beg: Clap hands together in front. hand. Crazy: Create a circle with your finger around your ear. Promise, Truth, or Swear: Hold two fingers high and look up Dance: Raise your arms over your head and begin circling. to your fingers. Die or Death: Clench your fists and cross your arms in front of Protect: With your body directed toward danger, extend your body. both arms back while holding your head high. Enter: Make a sweeping gesture across your body with See: Place one hand by your eye, pointing to it. both arms. Sleep: Place one hand on top of the other creating an Fear: Hold your hand in front (palms out); lean your imaginary pillow and laying your head on top of hands. body away. Stop: Hold up your hand with the plan facing out toward the Hear or Heard: Hold your hand behind your ear as if trying other person. to hear. Think or remember: Touch your temple with your index I or me: Point to yourself. finger. Kiss: Touch your lips with your finger. Weeping or Crying: Track tears down your face with your Knock: Tap your fist in your hand three times. index finger. Marriage: Point your right index finger to your left ring finger. Yes: Nod your head up and down. Order or Command: Point to the floor with a strong motion. You, He, or She: Gesture toward the other person with your palm up.

NOVEMBER 2018 4

Ballet Eras

Renaissance Period (15th Century) Ballet began during the Italian Renaissance. In the 1500’s, “Ballo” (ballet) was brought to France from Italy when Catherine Medici married the King of France and introduced ballet to the French. It began as a form of entertainment and was only performed by the aristocrats from the royal courts of Europe. The first official ballet was called Le Ballet Comique de la Reine (The of the Queen) performed for Catherine de Medici on October 15, 1581. This ballet was created as a form of celebration for the marriage of Marguerite of Lorraine and Duc de Joyeuse. It lasted a total of 5 hours including the participation of the king and queen. To say the least, it was very expensive.

Did you know? During this era, only men were allowed to dance? Later in 1681, women were given access to dance but were required to wear floor length gowns.

Costumes were long and heavy with many layers. The shoes were not the pointe shoes we are accustomed to seeing today. They were small heeled shoes as you would wear for formal settings.

The most noteworthy contribution made during this era, was establishing the five basic ballet foot positions that are considered the fundamental positions of ballet and are still used today.

Baroque Period (16th & early 17th Century) The Baroque Period, also known as the Ballet, evolved to include opera and music. When merged together, it would create a story. Dancers sang and recited poems during performances. Opera in ballet lasted until 1789.

Over the next 100 years, courts became larger, productions more extravagant, and stages came into play. As demand was growing, a tilted stage was built for larger audiences to experience the displays and dancing.

Since women were not permitted to perform during this time, men would take on the roles of women. Marie became the first woman to dance on stage and in return became the world’s first ballerina. She evolved the long heavy dress to a shorter skirt. This allowed her to perform higher and longer jumps.

In the early 1700’s, traveled to introduce ballet to the Russians.

Classical Period (17th Century) Ballet was mostly reliant upon costumes, props, and scenery. During this era, dancers formalized the positions, expressions, and body movement. They became reliant on their bodies and expressions engaged with their characters.

NOVEMBER 2018 5

The Pre-Romantic Period (18th century) In the 1800’s, the Classical Period was emerging to the Romantic Era. During the transition, Marie Taglioni, became known as the first ballerina to dance en pointe.

The en pointe, or “on toe” dancing we are familiar with today did not gain popularity until the early nineteenth century.

The Romantic Period (Late 18th Century) Since the transition of female dancers en pointe, this caused the women to lead the Romantic Period. Male dancers were no longer the focal point during performances or roles. The female dancers mastered the art and skill of dancing on your toes while maintaining the posture and grace of their body and facial expressions.

During this time, the was born. The long, flowy, and elegant tutu created a willowy look. It was named the romantic tutu.

The Russian Classics (Late 18th Century & early ) During the Russian Classics, introduced and created full-length classical to include a (dance for two), solos, and a coda (short quick finale) to complete the layout of the productions.

The tutus played a very important role, therefore, creating the style and character of the ballet. The classic tutu (stiff skirt) was created and distinctly recognizable. During this time, the creation of notable ballets such as Sleeping Beauty, The Nutcracker, and took the stage and have presented ever since.

The (19th Century) The Russians took great pride in having ballet as part of their arts. A Russian impresario (a producer of ballets, , and concerts), founded the Ballet Russes. They toured throughout Europe presenting innovative and creative , new elaborate costumes, and extravagant scenery, all designed by master artists.

Russia essentially saved and introduced ballet to European countries creating awareness that ballet was still alive.

Ballet in Europe The Ballet Russes created inspiration and desire for dance in Europe. Consequently, in London and The opened.

Ballet in America In the 20th century, made its way into America. In the 1940’s, became the home of the most prestigious companies in America, American Ballet Theater and the .

George Balanchine pioneered the evolution of ballet in New York. He is now known as the “father of American ballet”. New York City became the dance capital of the world due to Balanchine’s new work.

Now all over the world, ballet is vivid and strong. Almost every country or state, and even city have their own professional ballet companies.

NOVEMBER 2018 6

Ballet Terms

Ballet Terms emphasize that ballet terminology is French and encourage a bilingual dialogue. Yet the true language of dance is universal, directly communicating to others regardless of gender, ethnicity, and individual experiences. ARABESQUE (air-uh-BESK) PAS DE DEUX (pawh du duh) A stationary ballet position in which the dancer supports Pas de deux in French means “Step for two”. their weight on one leg and the back leg is fully extended In ballet, two dancers perform a choreographed piece for at a 20 degree, 45 degree, or 90 degree angle behind as a performance. one arm is extended to the front and the other is extended to the back. BALLERINA (bahl-lay-REE-nah) PETIT (puh-tee) A female Petit in French means small. In ballet this term is used to describe a small step, for Derived from ballerino which is equivalent to the Italian example, petit allegro which means “small jumps”. words: baller(ia) – dance and ball(are) – to dance. CORPS (core) PIROUETTE (peer-owet) body: derived from the Latin word corpus A pirouette is a spin on the ball of one foot (supporting leg) meanwhile the other is at a bent 90-degree angle with the foot touching the knee of the supporting leg.

CORPS DE BALLET (core duh ba-LAY) PLIE (plee-ay) Members of a ballet company that dance in unison as a Plie in French means, “to bend”. group. This also refers to a rank within a classical ballet A plie is a bend of the knees while the upper half of the company. body is kept straight during the bend.

DANSEUR (dahn-SUHR) POINTE (poyn-t) Simply means male ballet dancer Pointe in French means, “Tip”.

A position in where the dancer’s full body weight is balanced on the tip of the toes.

GRANDE (grahnd) PORT DE BRAS (poor-t duh braw) Grande in French means, “big” or “large”. Port de bras in French means, “carriage of the arms”.

Grande is usually used as an adjective to describe another Port de bras is a technique and/or group of movements step such as “grande jete”, “grande plie”, etc. where the arms are passing through various positions for a graceful and harmonious look.

JETE (juh-tay) REVERANCE (Reh-vah-rahnss) Jeté in French means “to throw”. Reverence in French means revering or respecting someone of authority through a curtsy or a bow. In ballet this term is used to describe a jump in which the dancer jumps off the floor from one leg to the other while A reverence is simply a curtsy or a bow that is usually the leg is extended in the air. performed at the end of a performance to the audience by a leading dancer(s) or at the end of a ballet class as a sign of respect and gratitude to the teacher and pianist.

PAS (pawh) TOUR EN L’AIR (toor ahn ler) Pas in French means, “Step”. Tour en l’air in French means “Turn in the air”.

This is a step or combination of steps. A movement in which the dancer jumps upward to execute a single, double, or triple turn in the air before landing. Male dancers usually perform this movement.

NOVEMBER 2018 7

Theatre Etiquette Classroom Exercise

Teaching Objective: Students will examine, discuss, and practice appropriate theater behavior in different settings.

Prep Activities 1. Ask the students to list places or situations where they might be part of an audience. Solicit examples such as rock concerts, tennis match, football game, golf tournament, sitting at home, watching television with the family. Create a list of answers where everyone can see them. 2. Discuss the way audience behavior in various settings would be different. Discuss how different venues or activities have different expectations for audience behavior. Discuss how an audience can positively or negatively affect the performer/athlete.

Teaching Sequence 1. Assign a group of two or more students to act out behavior that would occur at various venues at the front of the classroom. For example, have students pretend to be playing tennis. 2. Instruct the rest of the class to pretend that they are the audience for the event being portrayed. Instruct the “audience” to show their appreciation for the performers/athletes pretending in front of the class. 3. Critique the “audience” behavior and discuss why certain behavior was appropriate or inappropriate for the situation. Talk about audience reactions such as applause, yelling or whistling and when it is appropriate or inappropriate. 4. Ask the performers to tell the class how the “audience” behavior affected their efforts.

Culminating Activity Talk to the students about the upcoming ballet performance. Discuss with them what they should expect to happen and how they can appropriately show their appreciation for the ballet and symphony.

Evaluation Were students able to understand how and why audience behavior might be different in different settings and venues? Did they understand the importance of their role as an audience member?

NOVEMBER 2018 8

Theatre Etiquette

1. Plan to arrive thirty minutes before the performance begins, stay with your group at all times, and wait for the ushers to help you find your seat.

2. No gum, food, drinks, or candy are allowed in the theatre.

3. Please use the bathroom before the performance begins or at intermission*.

4. All cell phones, and alarms, must be turned off or set to silent, to avoid distractions for the dancers and audience members during the performance.

5. When lights begin to dim, this is signaling the show is about to begin. That’s your cue to remain silent and pay attention to the stage.

6. The best way to help dancers remain focused is to remain silent and still during the performance and enjoy!

7. No picture taking or video recording is allowed.

8. Please remain seated until the cast has taken their curtain call* at the end. When the performance ends, wait patiently for your group to be called upon to exit.

9. Laughter is permissible at appropriate times. We encourage students to laugh when they see the dancers do something silly on stage.

10. Show your appreciation by clapping. The dancers love to hear applause. This shows how much you have enjoyed the performance.

*A curtain call (often known as a walk-down or a final bow) occurs at the end of a performance when individuals return to the stage to be recognized by the audience for their performance. In ballet, the performers typically recognize the and its conductor at the end of the curtain call.

*An intermission (American, Canadian English) or interval (British English) is a recess between parts of a performance or production, such as for a ballet, opera, concert, or film screening.

NOVEMBER 2018 9

Ballet History Tested

Multiple Choice

1. An adagio refers to slow movement, 7. What was the first company that performed typically performed with a greater amount The Nutcracker in America? of grace and fluidity than other movements a. New York City Ballet of dance. b. Ballet a. True c. Opera Ballet b. False d. 8. In which era were Sleeping Beauty, The 2. In which era were pointe shoes created? Nutcracker, and Swan Lake created? a. The Romantic Period a. Pre-Romantic Period b. Classical Period b. Classical Period c. Renaissance Period c. Russian Classics d. Pre-Romantic Period d. Barque Period

3. The first ballet ever presented lasted 5 9. Women were the first to dance ballet. hours. a. True a. True b. False b. False 10. What country was first to tour across 4. During a performance in the theater, you Europe, presenting creative and innovative can use your cell phone and take pictures. choreography? a. True a. France b. False b. Italy c. America 5. What is the definition of pantomime? d. a. A language, which communicates a story through dance. 11. If you had the option to be one of the b. A term applied to bright, fast or following, what would you be and why? brisk steps and movement. a. Dancer c. Hand movements to portray b. Musician moods, ideas, or a story. c. Composer d. A movement in which the dancer d. Choreographer jumps upward to execute a single, e. Designer double, or triple turn in the air before landing. 6. In what country was The Nutcracker first ______performed? a. Russia ______b. America c. England ______d. France

NOVEMBER 2018 10

The Nutcracker Word Search

K M T T A D N R E H B O A M M A R Y E T

L Y U R A A N W O M N X K M R G V P M H

V T A N E O H V X K U I L T U X M Q L E

U L C M T P D U F I K Q S T O O B A F A

C E G M N X M R U A V E I U J B E S J T

R Z Z X I J P U A L H S O M V A P R P E

Y M F M O T T R S C Q W B A U S B I P R

S H O N P L E O R I E E N G L B H M L N

R G Y N D C W O Q J C T T X Z L O B Q Q

E A L L V D I C Z H I F E O Y I E L S M

K Y O I G A D A M O U S E J B L R G J B

C X X B F A F I F F A D P H M W E D R H

A T R Q E C Z S C E I L P E P V F V T O

R C R Z Z O W R C T S Y Y K D H J P T D

C A J T R G I X G O E O D I B A Z T Y L

T M Z Y M M Z O D E F L R N Q L B J J I

U R O M A N T I C O I Y L G O Z W D D F

N N F X E F O O H H A E Z A L L M T N F

J W B B P W E Z L S W U M I B K B I Z X

D K X X D W T E E K G I A E H O R J E P

ADAGIO ALLEGRO BALLET CLARA DANCER ERA JETE KING MOUSE MUSIC NUTCRACKER ORCHESTRA PLIE POINTE ROMANTIC SHOE THEATER TUTU

NOVEMBER 2018 11

About The Nutcracker

The origin of The Nutcracker, a classic Christmas Story, is a fairytale ballet in two acts centered on a family’s Christmas Eve celebration. Père’s adaptation of the story by E.T.A. Hoffmann was set to music by Tchaikovsky and originally choreographed by Marius Petipa. It was commissioned by the director of ’s Imperial Theatres, , in 1891, and premiered a week before Christmas 1892. Since premiering in western countries in the 1940s, this ballet has become perhaps the most popular to be performed around Christmas time. The story centers on a young girl’s Christmas Eve and her awakening to the wider world and romantic love. The composer made a selection of eight of the more popular pieces before the ballet’s December 1892 premiere, forming what is currently known as the Nutcracker Suite, Op. 71a, as is heard in Moscow Ballet productions. The suite became instantly popular; however the complete ballet did not achieve its great popularity as a Christmas performance event until almost 100 years later.

The Nutcracker in Europe and the U.S.

The Christmas ballet was first performed outside Russia in England in 1934. Its first United States performance was in 1944 by the San Francisco Ballet, staged by its artistic director and Balanchine student . The New York City Ballet first performed George Balanchine’s Nutcracker in 1954 but the holiday ballet did not begin to achieve its great popularity until after the George Balanchine staging became a hit in New York City. The now, well known, Christmas story has been published in many book versions including colorful children-friendly ones. The plot revolves around a German girl named Clara Stahlbaum and her coming-of- age one Christmas holiday. In Hoffmann’s tale, the girl’s name is Marie or Maria, while Clara – or “Klärchen” – is the name of one of her dolls. In the Great Russian Nutcracker, she is affectionately called Masha.

NOVEMBER 2018 12

The Nutcracker Synopsis (only ACT 1 for YP)

“The Nutcracker has always been one of our favorite ballets, as well as our favorite time of year, and we’re excited for the chance to draw on our years of experience working with world class choreographers and directors to really bring the story to life on the talented dancers of Ballet San Antonio. Our experience in musical theater and working with Broadway’s greatest creative minds, has also instilled in us what it takes to put on a good show. Our goal is to tell this familiar story in a way that draws children of all ages into the magical tale, while delivering exceptional dancing and a high level of artistry. Whether you’re a dance enthusiast or it’s your first time bringing your family to the ballet, we know that our fresh take on this classic tradition will envelop your whole family in the warmth of the holiday season. “ – Haley Henderson Smith and Easton Smith

Act I It's a snowy Christmas Eve at the Stahlbaum home and the family welcomes guests to their holiday party. Clara and Fritz can hardly contain their excitement as they dance with their friends, play games and help pass out gifts. Suddenly, Clara's godfather, Herr Drosselmeier, arrives and introduces his handsome nephew to Clara. Drosselmeier has brought magical, life-size dancing dolls as well as a special gift just for Clara--a beautiful, wooden Nutcracker.

After the guests leave, Clara returns to the living room looking for her beloved Nutcracker and falls asleep on the couch. She suddenly awakes to the sound of scurrying mice. The Christmas tree starts growing until it is towering over her and Fritz's toy soldiers appear as large as she is. The Nutcracker comes to life just in time to meet a Mouse King that resembles her brother Fritz. The Nutcracker leads the soldiers to battle against the mice. At the last moment, Clara throws her at the Mouse King and the Nutcracker defeats him. With that, the ancient spell is broken and the Nutcracker is transformed into a handsome prince. Clara gratefully thanks him and realizes that it is Herr Drosselmeier's nephew. He takes her on a sleigh through a magical forest where the the snowflakes dance and the Snow Queen and King guide them along their way to the Land of Sweets.

NOVEMBER 2018 13

The Nutcracker’s Main Characters

Clara: A young girl, who is gifted with a for Christmas and dreams that he comes to life.

The Nutcracker Doll: Clara’s toy that comes to life. He is transformed into a handsome Prince and accompanies Clara on her adventure.

The Nutcracker Prince: Clara’s Nutcracker that was magically turned into a handsome prince. He takes Clara to the snowy forest.

Herr Drosselmeyer: Clara’s mystical godfather. He presents Clara with her Nutcracker doll and is the creator of her magical adventure.

Mouse King: The Mischievous King of the Mice. The Mouse King declares war on the Nutcracker and his soldiers.

NOVEMBER 2018 14

Choreographers

Marius Petipa (Original Choreographer)

Born: March 11, 1818 – Marseille, France Died: July 14, 1910 – Gurzuf, Ukraine, Famous Works: The Nutcracker, Swan Lake, Sleeping Beauty, , La Bayadere, and .

Marius Petipa, is known as the “father of classical ballet”. Petipa was a dancer and choreographer who worked for nearly 60 years at the in St. Petersburg and had a profound influence on modern classical . He directed many of the greatest artists in Russian ballet and developed ballets, which retain an important position in Russian dance repertoire.

Later, after becoming a choreographer in 1862 and a chief choreographer in 1869, Petipa produced more than 60 ballets, working from carefully detailed plans that became the basis of modern classical ballet in Russia. He collaborated with Tchaikovsky on The Nutcracker (Casse Noisette, choreographed by his assistant ) and The Sleeping Beauty and presented versions of Swan Lake, , and that have been revived frequently. Among other major ballets are his Don Quixote (1869), La Bayadère (1877), and Le Corsaire (1899). https://www.britannica.com/biography/Marius-Petipa

Lev Ivanov (Original Choreographer)

Born: February 18, 1834 – Moscow Died: December 24, 1901 – St. Petersburg Russia Famous Works: Coppélia, The Nutcracker (Snow Scene), Portions of Swan Lake, and Act II of Lev Ivanov, Russian ballet dancer who was choreographic assistant to Marius Petipa, the director and chief choreographer of the Imperial Russian Ballet.

Ivanov joined the Imperial Ballet in St. Petersburg after graduating (1852) from its school. He specialized in character roles and was promoted to premier danseur (1869); regisseur, or stage manager (1882); and assistant (1885). He staged nearly 20 new or revived works for the Imperial Ballet but received little recognition during his lifetime because the name of Petipa was always placed first on the program. Nonetheless, Ivanov became recognized as an important and innovative choreographer, for he was among the first of that era to base his work on the structure and emotional content of the musical score, rather than giving precedence to creating solos, pas de deux, or designed to display a ballerina’s virtuoso technique.

Ivanov excelled in creating visual illusions through patterns of ensemble movement, as in his snowflake dance in The Nutcracker, and is often considered a forerunner of in utilizing the to develop the plot or theme of a ballet. In addition to The Nutcracker (1892), Ivanov choreographed portions of Swan Lake (1895) and Act II of Cinderella (1893). With Petipa he revived the 18th-century La Fille mal gardée (1882), and with the well- known ballet teacher re-choreographed Coppélia, creating the version upon which most 20th- century productions of this ballet are based.

Sources: https://www.britannica.com/biography/Lev-Ivanovich-Ivanov NOVEMBER 2018 15

Choreography Cont.

Easton Smith

Easton began his professional career at the age of 17 with the renowned director and choreographer Michael Smuin. During his seven years with Smuin Ballet, he recreated numerous leading roles from Michael's tenure as Director of San Francisco Ballet, as well as originating many roles created for him by Michael at Smuin Ballet. Smith would go on to work as a leading male dancer for the Sacramento Ballet, as well as where he met his wife, Haley. Easton and Haley joined the cast of the pre-Broadway tour of Dirty Dancing where Easton performed the leading role of Johnny Castle, as well as in the ensemble. Easton then joined the Broadway cast of in New York City as Older Billy. After his work on Broadway, Easton and Haley decided to return to ballet and were invited to work with under the direction of Adam Sklute as a . During his time with Ballet West, Easton also choreographed multiple pieces for the highly-acclaimed Innovations Program. Easton has had the opportunity to work with some of the most influential choreographers, repetiteurs, teachers, and directors of our time. After his retirement in 2013, Smith became a commercial helicopter pilot focusing on private executive charters, production, and aerial firefighting for the United States Forestry Service. During that time, he also held the title of President of Coastal Helicopters, an aviation company based in the Los Angeles area. Smith now has a successful Real Estate Group at the number one market center of the world's leading brokerage.

Haley Smith

Haley grew up in Southern California where she trained with Clarissa Boeriu. At the age of 17, she received a contract with the Royal Danish Ballet and continued dancing there for six and a half seasons. While there, Haley had the privilege of creating roles in multiple works by , John Nuemier, and Tim Rushton, among others. After dancing as a guest artist with during their 2006 Metropolitan Opera House season, Haley danced for two seasons with Ballet San Jose, where she met her husband, Easton. From there they joined the cast of the pre-Broadway tour of Dirty Dancing where Haley performed in the ensemble and the lead character Penny. After training in New York City with David Howard, Willy Buhrman, and Nancy Bielski, Haley joined Ballet West as a soloist in 2010 and was promoted to rank of principle in 2013. While at Ballet West she danced the full range of leading roles with the company including the principle woman in Balanchine’s Diamonds and Odette/Odile in Swan Lake. She also originated roles in works by Nicolo Fonte, Jodie Gates, Val Caniporoli, and Easton Smith. Haley was also a world ambassador for Gaynor Minden pointe shoes and featured in Dance Magazine’s women’s issue in 2012.

NOVEMBER 2018 16

Music

Pyotr (Peter) Ilyich Tchaikovsky (Composer)

Born: May 7, 1840 – Votkinsk, Russia Died: November 6, 1893 – St. Petersburg, Russia Famous Works: The Nutcracker, Swan Lake, Sleeping Beauty, and 1812

The Romantic Period of classical music spanned roughly from about 1815 to 1910. It does not refer to romantic love, but rather to the idea of Romanticism, which is a characterization of music and art from that time period as being highly sentimental and filled with wide-ranging emotions. Music from the Romantic Period often speaks of fantasy, imagined realities, and the sublime, while being squarely focused on self-expression.

It was during this period that was born; he was born in Russia in 1840, as the second-oldest of five brothers. He began taking piano lessons when he was only five, and quickly showed talent, soon mastering the abilities of his teacher. His parents, however, didn’t want him to become a musician, and when he was only 10, they sent him to a boarding school to begin studying law.

After his graduation, Tchaikovsky became a civil servant in the Russian Ministry of Justice. But after two years of working as a clerk, he gave up on being a lawyer and decided to enroll in the St. Petersburg Conservatory of Music. At age 21, Tchaikovsky was behind compared to other music students, having been somewhat removed from it for many years at the boarding school. He studied very hard though as a pianist and a composer, sometimes staying up all night, and left the Conservatory after three years as one of its brightest students.

Tchaikovsky later moved to Moscow to take a position as Professor of Composition at the new of Music. He began composing his first Symphony which was first performed there in 1868 and was well received by a large audience.

Over the next 10 years, Tchaikovsky composed many of his most famous works, despite receiving a great deal of negative criticism from other prominent Russian composers. Some of the works he composed during this time period are his First Piano Concerto, his Second, Third, and Fourth Symphonies, his concerto, a fantasy-overture called Romeo and Juliet, the ballet Swan Lake, and an opera, .

Throughout his life, Tchaikovsky experienced bouts of severe depression. He was a very shy and sensitive man, and often battled with moodiness and self-criticism brought on by the negative events of his life. His mother’s sudden death by cholera when he was only 14 affected him so strongly, that at age 40, he mentioned being reminded vividly of her death almost daily. In 1877, he impulsively married Antonina Miyukoff, but they separated only three months later. Afterwards, Tchaikovsky returned to St. Petersburg in such a state of depression that he fell unconscious for 48 hours, and became ill with fever for many weeks. He also suffered insomnia, hallucinations, and frequent headaches throughout his adult life, and once tried to kill himself by standing in the icy waters of the Moscow River in an attempt to catch pneumonia.

Despite personal setbacks, Tchaikovsky’s fame increased rapidly in the 1880’s and ‘90’s. He began conducting more, most often his own compositions, and eventually toured Europe in 1888. In 1891, he travelled to New York to conduct his own for the opening ceremonies at . During this time he also composed his famous Fifth Symphony, Second Piano Concerto, and The Nutcracker ballet.

Tchaikovsky’s ever-popular work, The Nutcracker, is perhaps his most famous composition. This Christmas-themed ballet is arranged in two acts, and was first premiered in St. Petersburg in 1892. The first act ends with a scene in a pine forest. Having been saved in a dream by the from the evil Mouse King by the Nutcracker-Prince, a young girl named Clara is swept away to this moonlit pine forest where falling snowflakes swirl and dance about. This number of the ballet is the “Waltz of the Snowflakes” (Valse des flocons de neige) which the San Antonio Symphony will be peroforming on YPC 3 in February. NOVEMBER 2018 17

A waltz is a relatively fast dance in triple time (three basic steps) that became very popular in Europe during the 18th and 19th centuries. The tempo indication for Tchaikovsky’s “Waltz of the Snowflakes” is marked “Tempo di Valse, ma con moto” (“at a waltz tempo, but with motion”). After a snort introduction, Tchaikovsky uses flitting, three-note motives in the flutes and over syncopated strings to portray the chaotic, swirling motion of falling snowflakes [Y3CD,T4,0:33-1:09].

The harp and pizzicato (plucked) strings add sparkle to the sound as the woodwinds take on a more swirling, waltz- like motive [1:09-1:24]. Later, a cheerful melody in thirds takes over in the and then the as the flutes, and resume flitting, 5-note figures. In the original version, the melody is accompanied by an off-stage children’s singing on an open vowel sound [Y3CD,T4,2:43-3:15].

Led by a rising motive in the trombones, the music builds to a climax [Y3CD,T4,3:31-4:12] where the harp has a short cadenza. An energetic presto section in 2/4 time follows marked by rapid flourishes in the strings and woodwinds [4:21-5:21]. Above this, the oboes briefly play the cheerful children’s choir melody, but now it is altered for duple as opposed to triple time. The slower waltz section returns, ending the number with a grand finish.

Ironically, The Nutcracker was not particularly well received at its first performance, and Tchaikovsky himself was disappointed with the music (supposedly, he even “detested” it). Today however it is widely performed by ballet companies and symphony and enjoyed by audiences throughout the U.S. and the world.

Tchaikovsky finished his sixth and final symphony, the in 1893, after having destroyed the original drafts which he had written in 1891. At his brother Modest’s suggestion, Tchaikovsky gave it the nickname “Pathétique,” meaning “passionate” or “emotional” in French. It is an unusual symphony, filled with a wide range of emotions, at times boisterous and at others, melancholy. It also ends with a slow adagio instead of a strong climax, which gives the impression of the music dying away. Of this symphony, Milton Cross and David Ewen wrote: “Its concluding movement, one of the most pessimistic utterances in all music, was Tchaikovsky’s last will and testament, his own requiem.” Interestingly, Tchaikovsky died only nine days after conducting its first performance in St. Petersburg.

Today, Tchaikovsky is regarded as the most famous Russian composer of classical music, and among the greatest composers to have ever lived. His music has the unusual characteristic of being both intellectually complex and at the same time, easily accessible to the untrained ear. Today, nearly 120 years after his death, the melodies of his works are known throughout the globe, and countless productions have been made of his ballets, especially The Nutcracker. Another famous Russian composer, Dimitri Shostakovich (1906-1975) once wrote: “Tchaikovsky’s music is not only one of the cornerstones of Russian musical culture and world music…It is at the same time a creative and technical encyclopedia to which every Russian composer has reference in the course of his work.”

Courtesy of the San Antonio Symphony

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Discussion Topics

Pre-Performance

Prepare your students to experience the moods, ideas, and story-telling throughout the performance. Music is an essential part of a ballet. The dancers are cued to enter for certain roles or depending on choreography. In addition, lighting helps create the mood within the production, which is also, rehearsed and choreographed for the production. Costumes are normally created in advance sometimes over the course of a year.

1. Do you think music is necessary for a ballet? 2. Does anyone play an instrument? 3. Does anyone take ballet classes or any form of dance? 4. How long do you think costumes take to make? 5. Do you think lighting will influence the performance? 6. How do you think dancers prepare their bodies for the performance?

Post-Performance

For The Nutcracker to come to life on stage, remind students of the movements, music, costumes, and scenery. This will give the student the opportunity to reflect and connect with this experience.

1. Who was your favorite character? Why? 2. Did the character remind you of anyone you may know? If so, why? 3. How did the costumes and scenery help tell the story of The Nutcracker? 4. What movements were you able to distinguish from each character? 5. Did the scenery help the production tell the story? What your favorite scene? 6. How many dancers did you see on stage?

CREDITS Photos: Page 2 – Dancer: Sally Turkel Still Life Photography by Alexander Devora Page 3 – Top Photo – Dancers: Sally Turkel and Luis Corrales Bottom Photo – Dancers: Gustavo Candelas, Kate Maxted, Ian Morris, and Sofie Bertolini Photos by Still Life Photography by Alexander Devora Page 14 – Photos by Still Life Photography by Alexander Devora

Office Manager: Crystal Ramos Dancers: Alexa Horwath, Sally Turkel, Ian Morris, Sofie Bertolini, and Heather Nichols

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Frequently Asked Questions

Performances begin at 9:45 am, 10:00 am, and11:10 am

Where will the performance take place? At the Tobin Center for the Performing Arts in the H-E-B Performance Hall. Tobin Center for the Performing Arts, 100 Auditorium Circle, San Antonio, TX 78205

How long is the youth performance? The performance is approximately one-hour long.

What time should we arrive?  9:45 am performance: Busses should arrive at 8:15 a.m. to safely and promptly, unload attendees. Doors open at 9:00 a.m. for seating.  10:00 am performance: Busses should arrive at 9:00 a.m. to safely and promptly, unload attendees. Doors open at 9:15 a.m. for seating.  11:10 am performance: Busses should arrive at 10:10 a.m. to safely and promptly, unload attendees. Doors open at 10:50 a.m. for seating.

Will we need tickets? A ticket is required for each attendee, though they will not be scanned at the door.

Where do buses park? Once students are escorted to the theater, a SAPD officer will direct the bus driver to park in front of the Tobin Center. Buses should follow the “Bus Route” to arrive on site.

Where do vehicles park? Parking will not be provided for non-buses, vans, or other small vehicles. Parking is available at nearby garages, parking meters, and paid parking lots.

May we eat lunch at the Tobin Center for the Performing Arts?

The Tobin Center for the Performing Arts prohibits outside food and beverage from being consumed onsite. In instances where school groups may be departing or arriving to the Tobin Center during lunch time, the Tobin Center will make reasonable efforts to accommodate school groups that wish to enjoy their lunch onsite. Specifically, school groups will be directed to the outdoor River Walk Plaza, so long as there is no conflict with another event or its preparation. Groups that choose to enjoy the space should remain respectful of the adjacent “Medal of Honor Portal,” completely clean-up after themselves, and adhere to all policies of the Tobin Center as well as any directives of its staff.

In instances of weather, however, you will need a back-up plan as outside food is not allowed in the building.

What is your cancellation policy? In the event that your group must cancel your trip, please note, there are no refunds, exchanges, or credit for other performances. Please notify the Tobin Box Office at (210) 223-8624.

Can we get a refund for unused tickets? All ticket sales are final once the registration deadline has passed. There are no refunds, exchanges, or granted credit for other performances. Please be sure to have exact numbers of children and adults when registering your group.

What if we have chaperones/parents that need to purchase tickets? Chaperones or parents are not able to register after the deadline has passed, no exceptions. School coordinator should communicate the deadline to adults wanting to attend the youth performance.

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Submit your Questions!

We will be holding a Q&A during dismissal time after the performance. Please ask your students if they have any questions for the dancers! The questions will be chosen by popular demand or by their uniqueness. Please choose only 3 questions, complete the information below, and submit to Crystal Ramos-Cantu at [email protected] no later than Wednesday, November 21st.

School’s Name ______

Teacher’s Name ______Grade Level ______

1. Student’s Name* ______

Question ______

______

2. Student’s Name* ______

Question ______

______

3. Student’s Name* ______

Question ______

______

*You may keep the student’s name anonymous. Only the student’s first name will be mentioned with the question, if selected.

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