Tchaikovsky - Swan Lake, Op. 20
1.  Act I, No. 1: Scene: Allegro giusto	05:53
2.  No. 2 Valse	06:56
3.  From No. 4: Pas de Trois: Andante sostenuto	03:06
4.  No. 8 Danse des Coupes: Tempo di Polacca 	05:47
5.  No. 9 Finale: Andante	02:43
6.  Act II, From No. 13: Allegro moderato	01:38
7.  Swan Lake, Op. 20: From No. 13: Pas d'Action: Andante 	06:19
8.  Act III, No. 22: Danse napolitaine: Allegro Moderato		02:05
9.  Act IV, No. 28: Scene: Allegro agitato		07:26

Tchaikovsky - The Sleeping Beauty, Op. 66
10. Variation de la Fée de Lilas: Allegro con moto	01:23
11. Entr'acte: Andante sostenuto	06:19
12. L'oiseau bleu, Pas-de-deux: Adagio - Var. I Tempo di Valse - Var. II Andantino - Coda. Con moto
05:46

Stravinsky - Song of the Nightingale
13. Introduction	02:32
14. Marche chinoise	03:29
15. Song of the Nightingale: Chant du Rossignol		03:45
16. Jeu du rossignol mécanique		11:55

SWR Sinfonieorchester Baden-Baden und Freiburg
Yuri Ahronovich – conductor (1-9)
Hiroshi Wakasugi – conductor (10-12)
Ernest Bour – conductor (13-16)

Enjoyable if unspectacular romps through the Swan Lake suite and Stravinsky arrangements from Sleeping Beauty. Ernest Bour's account of le chant due Rossignol is among the finest on disc. ---BBC Music Magazine, November 2009

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Manuel de Falla - The Three-Cornered Hat ballet in 2 acts
1 	Introduction 	01:22
2 	Part 1 L'aprés-midi 	05:20
3 	Part 1 Danse de l'aprés la Meunière 	03:34
4 	Part 1 Les raisins 	03:54
5 	Part 2 Les voisins 	03:47
6 	Part 2 Dase du Meunier 	08:24
7 	Part 2 Dase du Corrégidor 	06:35
8 	Part 2 Danse final 	05:56

Serge Prokofiev - The Buffoon
9 	Le bouffon et sa bouffonnes 		03:35
10 	Danse des bouffonnes 		03:50
11 	Les bouffons tuent leurs bouffonnes (Fugue) 	03:42
12 	Le bouffons travesti en jeune femme 		03:55
13 	Troisième entr'acte 		01:52
14 	Danse des filles des bouffons 		02:37
15 	L'arrivé du marchand, la danse des réverénces 		04:38
16 	Dans la chambre á coucher du marchand 	02:25
17 	La jeune fille est devenue chèvre 	02:33
18 	Cinquième entr'acte at l'enterrement 		02:37
19 	La querelle du bouffon avec le marchand 	01:31
20 	Danse finale 	03:55

Baden-Baden Southwest German Radio Symphony Orchestra
Ofelia Sala – soprano (1-8)
Fabrice Bollon – conductor (1-8)
Kirill Karabits – conductor (9-20)

When de Falla wrote "The Three-Cornered Hat" in 1916-1919 (after a story by Pedro Antonio de Alarcón), he was already a well-known composer. The first version developed as a Pantomime, Diaghilev saw this version in Madrid and was enthusiastic. He commissioned de Falla to develop his score into a ballet, and when the First World War came to an end, de Falla presented Diaghilev with his finished score. The ballet was first performed in 1919 in London, conducted by Ernest Ansermet, with set designs and costumes by Pablo Picasso - it was his first work designing for a ballet. The final score was a marvelous work, one of de Falla's most beautiful and it is presented here in its entirety.

Prokofiev's "Chout" received its first performance in Paris, in1921, where it was well-received. The score, calling for a large orchestra, is richly melodic, and has a typical Russian folkloric quality as well as the burlesque elements that would appear in many of Prokofiev's most famous works. --- haenssler-classic.de

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Nikolai Rimsky-Korsakov - Scheherazade - Symphonic Suite op. 35
1 	I. The Sea and Sindbad's Ship 		11:10
2 	II. The story of the Kalender Prince 		11:21
3 	III. The young prince and the young princess 		10:26
4 	IV. Festival at Bagdad - The Sea - Shipwreck 	12:27

Sergei Prokofiev - Ala et Lolly - Scythian Suite op. 20
5 	I. The adoration of Veless and Ala 		06:26
6 	II. The Enemy God and the dance of the Spirits of Darkness 	03:15
7 	III. The Night 		05:33
8 	IV. The glorious depature of Lolly and the Sun's procession 	05:54

SWR Sinfonieorchester Baden-Baden & Frieburg
Jermolaj Albiker  - violin (1-4)
Alejo Perez – conductor (1-4)
Kirill Karabits - conductor (5-8)

For 20 years from 1909 to 1929, the Russian impresario Serge Diaghilev and his Russian ballet became one of the 20th century's most incredible artistic adventures, redefining theater, music and dance in every performance.

Serge Prokofiev wrote his "Scythian Suite" in 1914, in an effort to "out primitive" Stravinsky's "The Rite of Spring". Diaghilev however, rejected the score; from which Prokofiev would compile his "Scythian Suite" op. 20. Alas, even in its truncated version the music fared no better - owing to the privations of the First World War it was nearly impossible to assemble enough musicians for Prokofiev's enormous orchestra and when finally premiered in 1916, it outraged the Soviet critics, and even Glazunov made a noisy exit from the concert hall!

In contrast, Rimsky-Korsakov's musical fairy tale "Sheherazade" almost immediately established itself as a very popular concert work - one of the first scores Diaghilev would produce in the second season of the Ballets Russes.

haenssler CLASSIC's Ballets Russes series is unrivaled for completeness and will include many works never before recorded. Each booklet includes historic details of the works performance and artwork from the original productions. World-renowned choreographer John Neumeier has overseen the production of the entire series. --- haenssler-classic.de

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Stravinsky - Le Sacre du Printemps - Tableaux de la Russie païenne en deux parties
1.1 	Part one Introduction 		03:32
1.2 	Part One The Augurs of Spring 		03:34
1.3 	Part One Game of Abduction 		01:23
1.4 	Part One Spring Round Dances 		03:53
1.5 	Part One Games of the Rival Tribes 	02:02
1.6 	Part One Procession of the Sage 	00:46
1.7 	Part One The Sage 		00:27
1.8 	Part One Dance of the Earth 		01:14
1.9 	Part Two Introduction 		04:59
1.10 	Part Two Mystical Circles of the Young Girls 	03:34
1.11 	Part Two Glorification of the Chosen One 	01:32
1.12 	Part Two Evocation of the Ancestors 		00:44
1.13 	Part Two Ritual of the Ancestors 	04:04
1.14 	Part Two Sacrificial Dance 		04:40

1.15 	Debussy - Jeux - Dance Poem 		18:46
1.16 	Dukas - Fanfare pour précéder "La Péri" 	02:35
1.17 	La Péri - Dance Poem 		19:00

SWR-Sinfonieorchester Baden-Baden und Freiburg
Sylvain Cambreling – conductor

The Ballets Russes was established in 1909 by the Russian impresario Serge Diaghilev. The Ballets Russes created a sensation in Western Europe because of the great vitality and creativity of Russian ballet compared to what was current in France at the time. It became the most influential ballet company in the 20th century, and that influence, has lasted to this day. Featuring sets and costumes designed by such artists as Braque, Picasso, Dali, and Utrillo and music by composers that included Debussy, Milhaud, Poulenc, Prokofiev, Ravel, Satie, Respighi, Richard Strauss, and, most notably, Igor Stravinsky, whom Diaghilev spotted when he was virtually unknown and whose career he launched - the Ballets Russes became the most influential ballet company in the 20th century, and that influence, has lasted to this day.

Hänssler Classic is proud to present the first in a series of recordings dedicated to the music composed for the Ballets Russe in performances under the expert musical direction of Sylvain Cambreling. --- haenssler-classic.de

The first volume of Hänssler Classic's series Les Ballets Russes commences with music from three of the legendary company's most famous productions -- Igor Stravinsky's Le Sacre du printemps, Claude Debussy's Jeux, and Paul Dukas' La Péri -- though these may not be everyone's idea of legendary performances. Sylvain Cambreling and the SWR Sinfonieorchester Baden-Baden und Freiburg give fairly imprecise readings of these scores, yet with intermittent sections of energy and vitality, so the album is a mixed bag. The most disappointing selection has to be Le Sacre du printemps, which has been played much more tightly and with better sound by many other conductors and orchestras, so Cambreling's interpretation was already up against tough competition before he even lifted his baton. All the same, there is no excuse for the loose rhythms and sluggish tempos that dominate this slack run-through, especially since the orchestra demonstrates it has the chops to play accurately and aggressively in the Glorification de l'Élue and Danse sacrale sections. Debussy's impressionistic Jeux seems somewhat better suited to the vague and dreamy treatment that didn't work in Le Sacre, so it fares best of the pieces here. Dukas' La Péri is similarly suited to the fluid style of playing used in Jeux, but its sound is somewhat murky and in and out of soft focus, so the performance seems to lack clarity. With these problems in mind, the listener should choose this disc only in the interest of collecting the series. Otherwise, superior performances of all three works are available on other labels. ---Blair Sanderson, Rovi

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Ravel – Daphnis et Chloé - Symphonie choréographique for orchestra with choir
1 	Part I: Introduction et danse religieuse 	00:08:13 	
2 	Part I: Danse generale 	00:02:57 	
3 	Part I: Danse grotesque de Dorcon 	00:02:32 	
4 	Part I: Danse legere et gracieuse de Daphnis 	00:03:16 	
5 	Part I: Danse de Lycenion 	00:04:45 	
6 	Part I: Danse lente et mysterieuse des nymphes 	00:05:12 	
7 	Part II: Introduction 	00:03:40 	
8 	Part II: Danse guerriere 	00:04:48 	
9 	Part II: Danse suppliante de Chloe 	00:06:03 	
10 	Part III: Lever du jour 	00:06:03 	
11 	Part III: Pantomime 	00:06:47 	
12 	Part III: Danse generale 	00:04:29 	

Poulenc - Les Biches - Suite for orchestra
13 	I. Rondeau 	00:03:28 	
14 	II. Adagietto 	00:03:45 	
15 	III. Rag-Mazurka 	00:06:10 	
16 	IV. Andantino 	00:02:37 	
17 	V. Final 	00:03:25 	

EuropaChorAkademie - 	Choir/Chorus  (1 – 12)
SWR Baden-Baden and Freiburg Symphony Orchestra 	
Michael Gielen 	- Conductor (1 - 12)
Marcello Viotti 	- Conductor  (13 – 17)

When selecting an orchestra to record works associated with Les Ballets Russes, SWR Sinfonieorchester Baden-Baden und Freiburg might not be one's first choice. What, after all, would a German radio orchestra best known for its recordings of post-modernist masterpieces by the likes of Boulez and Stockhausen do with Ravel's Daphnis et Chloé and Poulenc's Les Biches? As this 2008 Hänssler disc shows, they do just fine. Led by seasoned German conductor Michael Gielen in the Ravel, the orchestra plays with a smoothly polished, brightly colored tone that perfectly suits the score. Though their colors are neither as individually piquant nor as collectively blended as a French orchestra's might be, the German musicians play with the kind of tight ensemble and hair-raising virtuosity that most French orchestras can't match. Led by masterful Swiss conductor Marcello Viotti in the Poulenc, they turn in smart, stylish, and snappy performances with less irony but more sincerity than a typical French performance -- check out their absolutely straight-faced Rag-Mazurka. Recorded in cooperation with the Südwest Radio, Hänssler's digital sound is big, crisp, and clear. ---James Leonard, Rovi

Serge Diaghilev had the almost unique gift of discovering the doyens of early-20th-century composers before the rest of the world, and although he was primarily concerned with his Ballets Russes, he was responsible for much great music coming into being which otherwise may not have been composed at all. The first volume in this series offered his greatest of all promotional discoveries, Stravinsky’s The Rite of Spring (and also Debussy’s Jeux). Vol 2 now offers Ravel’s radiantly magical Daphnis et Chloé complete, in a glowing, ecstatic choral performance, with a glorious “Daybreak” and a thrilling closing “Danse générale”. Not long before he died Ravel went to a performance of Daphnis and he came out with tears in his eyes. “It really is beautiful,” he said. And so it is here, one of the most miraculously lovely, transluscent and sensuous 20th century scores.

Its coupling is Poulenc’s witty Les Biches (“girls of independent spirit and virtue”), and its catchily audacious opening trumpet theme and luscious Adagietto are part of a suite full of piquantly affecting nostalgia and sparkle. Some years ago the Royal Ballet mounted an unforgettable triptych of Diaghilev ballets at Covent Garden, including the original sets, costumes and (Nijinskaya’s) choreography for Les Biches, and we discovered that this centres on amorous diversions between a group of bathing belles and males, and notably some ridiculous antics on and around a sofa. The Hostess in the Rag Mazurka is somehow more of a madame than she at first seems, hinting at eroticism as only the French can titillate. How surprisingly well Poulenc’s frivolous music fitted the ridiculous action, yet how delectably it stands up away from the ballet, especially when played with such spirited insouciance and plangent lyricism as here. The recording of both ballets is justly colourful, full-bodied and vivid, and Vol 2 makes a splendid successor to Vol 1. ---Ivan March, gramophone.co.uk

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1. Claude Debussy - Prélude à l'après-midi d'un faune for Orchestra 	10:36 	

Florent Schmitt - La Tragedie de Salome La Tragédie de Salomé op. 50 for Orchestra and Female Choir
2. 	Prélude 	09:05 	
3. 	Danse des Perles 	04:07 
4. 	Les enchantements sur la mer 	10:36 	
5. 	Danse des éclairs 	03:20 
6. 	Danse de l'effroi 	01:33 	

Igor Stravinsky - Pétrouchka Scènes burlesques en quatre tableaux
7. 	Fastnachtsjahrmarkt 	10:20 	
8. 	Bei Pétrouchka 	04:34 	
9. 	Beim Mohren 	06:50 	
10. 	Fastnachtsjahrmarkt 	14:13 	

Stuttgart Southwest Radio Vocal Ensemble (2-6)
South West German Radio Symphony Orchestra, Baden-Baden 
Sylvain Cambreling – conductor

This enterprising series has been compromised since inception by heavy-handed, so-so interpretation from conductor Sylvain Cambreling. Petrushka is inexcusably slow and dull, especially in the two outer “crowd scene” tableaux. There’s scant sense of celebration, insufficient rhythmic buoyancy, and little glitter to the sound. Florent Schmitt’s tone poem is much darker and you would think it would be more suitable to Cambreling’s approach, but not so. The climaxes tend to fizzle rather than shock–just listen to Martinon on EMI, Fischer on Hyperion (also slow-ish but immensely powerful), or Paray, to hear how eruptive and exciting this music ought to sound.

The only piece that responds comparatively well to Cambreling’s pervasive languor is Prelude to the Afternoon of a Faun, but even here spending ten and a half dreamy minutes in this particular arcadian paradise is pushing it. There’s more movement and energy to this music than Cambreling finds here. Good sound, but the bottom line is that this series will never get off the ground unless Cambreling and his forces wake up and deliver performances that capture the vibrant, radical spirit of turn-of-the-century Paris. --- David Hurwitz, classicstoday.com

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Igor Stravinsky - Pulcinella Ballet with three solo voices after Giovanni Battista Pergolesi
1 	Ouverture 	01:45
2 	Serenate (Tenor) "Mentre l'erbetta" 	03:23
3 	Scherzino 		06:02
4 	Ancora poco meno (soprano) "Contento forse vivere" 		01:56
5 	Allegro assai 		02:05
6 	Allegro (basso) "Con queste paroline" 		02:13
7 	Pergolesi Andante (Terzetto) "Sento dire" 		02:32
8 	Tenor "Chi disse ca la femmena" 		00:29
9 	Allegro (Duetto soprano/tenor) 		00:36
10 	Presto (Tenor) "Una te fallan zemprecce" 		01:43
11 	Allegro 		01:08
12 	Tarantella 		01:19
13 	Andantino (soprano) "Se tu m'ami" 	02:37
14 	Allegro 		04:03
15 	Gavotta con due variazioni 		04:03
16 	Vivo 		01:31
17 	Tempo di minuetto (Terzetto) "Pupillette fiammette" 		02:06
18 	Allegro assai 		02:08

19 	Fireworks op. 4 A fantasy for large orchestra 		04:11

Richard Strauss - Till Eulenspiegel Merry Pranks op. 28
20 	After the old rogue's tale, set in rondo form for large orchestra 	 13:59

Maurice Ravel
21 	La Valse op. 28 Poème choréographique 	13:31

Arleen Augér – soprano
Robert Gambill – tenor
Gerolf Scheder - bass
SWR-Sinfonieorchester Baden-Baden und Freiburg
Christopher Hogwood – conductor (1-18)
Sylvain Cambreling – conductor (19-21)

In 1917 Diaghilev's Ballet had a great success with a tableau by Goldoni: The Good Humored Ladies, with music by Domenico Scarlatti arranged by the contemporary Italian composer Vincenzo Tommsini. Diaghilev now requested a similar work from Stravinsky. Selecting the music of G.B. Pergolesi for his inspiration, Stravinsky constructed his score from fragments and scraps of unfinished works to compose a ballet with a unified course of action and various scenes. The resulting score was Pulcinella, and was inspired by a collection of stories documenting the amorous adventures of this character from the commedia dell'arte. Stravinsky's youthful, orchestral showpiece, "Feu d'artifice" was composed as a wedding present for Nikolai Rimsky-Korsakov's daughter. However, a connection with Diaghilev still exists: the impresario was in the audience when the piece was performed in St. Petersburg in 1909, prompting him to commission the composer for a new work that would become "The Firebird." In 1917, Diaghilev drew on another pre-existing piece for his production of Strauss' "Til Eulenspiegel" - which would become the last piece Nijinsky would perform with the Ballet russes. Ravel's "La Valse" - originally conceived as the tone poem "Wien" - was commissioned by Diaghilev, but was later rejected - a decision that resulted in a permanent break with the composer. --- haenssler-classic.de

Finding Igor Stravinsky, Richard Strauss, and Maurice Ravel side-by-side on a CD is a little unusual, but it shouldn't be surprising if it's Volume 6 in Haenssler's diverse series Diaghilev--Les Ballets Russes. Considering that Stravinsky's Pulcinella and Feu d'artifice, and Strauss' Till Eulenspiegels lustige Streiche were staged as ballets by Sergei Diaghilev, and that Ravel's La Valse was planned for performance with Pulcinella but ultimately rejected by the impresario, all these works share the dance impulse, as well as a connection with the early 20th century's most influential modern dance company. Yet a problem with this series is the variability of performances, and listeners are not always treated to the most desirable recordings. The SWR Symphony Orchestra of Baden-Baden and Freiburg performs with distinction in all four works, though Christopher Hogwood presents Pulcinella and Sylvain Cambreling offers readings of Feu d'artifice, Till Eulenspiegel, and La Valse that make this disc feel a little uneven and difficult to absorb in one sitting. Stylistically, this is to be expected, for each work comes from a different musical tradition, whether Italian, Russian, German, or French, and represents an aspect of late Romantic or modern music that is to some extent at odds with the others. But while Hogwood's performance of Pulcinella is mostly bright, crisp, and uptempo, befitting its neo-classical style, it sometimes hits pockets of sluggishness and dullness. Furthermore, Cambreling's renditions are in softer focus, suggestive of quasi-impressionist interpretations, and tend toward a more homogenous orchestral blend, which is blurred somewhat in the highly resonant ambient acoustic. Fans of the Ballets Russes' extraordinary history will find this disc enlightening and will likely collect the entire series, but anyone who wants just one piece above the rest is advised to seek out other recordings of these popular works. ---Blair Sanderson, Rovi

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1 	Georges Auric - Les Fâcheux 		27:57
2 	Georges Auric - La Pastorale Prèlude 		00:32
3 	Georges Auric - La Pastorale I Allegro commodo 	03:29
4 	Georges Auric - La Pastorale II Andantino con moto 	03:45
5 	Georges Auric - La Pastorale III Moderato 		01:28
6 	Georges Auric - La Pastorale IV 		04:20
7 	Georges Auric - La Pastorale V Presto 		02:17
8 	Georges Auric - La Pastorale VI Allegro con brio 	05:09
9 	Georges Auric - La Pastorale VII 		00:06
10 	Georges Auric - La Pastorale VIII Lento ma non troppo 		03:05
11 	Georges Auric - La Pastorale IX Presto subito 		00:53
12 	Georges Auric - La Pastorale X Tempo di Valz, paisiblement 	05:00
13 	Georges Auric - La Pastorale XI Moderato 		07:03
14 	Georges Auric - La Pastorale XII Moderato 		02:04

Deutsche Radio Philharmonie Saarbrücken Kaiserlautern
Christoph Poppen - conductor

Between 1924 and 1926, the young Georges Auric wrote two ballets for Diaghilev: "Les Facheux" ("The Tormentors"), and "La Pastorale." Both works are regarded as his most important compositions for the ballet. For "Les Facheux", the sets, costumes and curtains were designed by the famous painter Georges Braque. The ballet's scenario tells of a young man who pursues his lover but is held again and again by various tormentors preventing him from explaining his affection. The libretto is by Boris Kochno with an assist from Molière. "La Pastorale" was produced in 1926 choreographed by George Balanchine. It would be Auric's third and final ballet for Diaghilev. The ballet's story revolves around the shooting of a film in the country and the tensions between villagers and film people.

Neither work has been previously recorded, so this exceptional performances mark their recorded premiere!

Georges Auric was a prolific composer, but above all he was famous for his cinematic collaborations with Jean Cocteau in addition to composing scores for nearly 150 other films. With these two ballets, we have been provided a glimpse into the early days of the later famous film music composer Georges Auric. --- haenssler-classic.de

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