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Each of the surviving ballets of the nineteenth-century Russian repertory is unique, in part because there are so few of them. Only Swan Lake includes choreography by Lev Ivanov, for example. Ivanov choreographed in the shadow of Marius Petipa and may have possessed comparable genius. La Bayadère and Esmeralda are the surviving members of a large family of ballet melodramas set in exotic locales. Don Quixote represents another genre, the comedic ballet, and like the remaining fragments of Paquita, reveals Russia's nineteenth-century fascination with sunny Spain. Of the ballets composed by Alexander Glazunov, only Raymonda survives.
Sleeping Beauty continues to occupy a special place among these works. The first and only opportunity for choreographer Marius Petipa to realize a collaboration with composer Pyotr Tchaikovsky, then a rising star on the stage of St. Petersburg's Imperial Theater, the work sidesteps the nineteenth century's usual melodramatic plots in favor of a fairy tale set in France in the reign of a monarch who bears more than a passing resemblance to Louis XIV. Sleeping Beauty avoids the drama and denouements typical of ballets of its day (to the chagrin of its first audience) as well as the aforementioned exoticism. Instead, the ballet's creators relied upon the parade of characters from the tales of Charles Perrault (and a surfeit of fairies) to lend the work its color and variety.
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