Terrassa - Teatre Principal - Paquita Divertissement - Double Bill - 28 / 29 Mar 2026

In the heart of Catalonia, the historic Teatre Principal de Terrassa stands as a quiet witness to more than a century of artistic life. Its origins go back to 1866, when the growing industrial bourgeoisie of Terrassa sought a cultural space worthy of their city’s prosperity. The building we know today took shape in 1911 through the work of the architects Enric Catà and Francesc Guàrdia, the latter closely associated with the great Catalan modernist architect Lluís Domènech i Montaner.

Even after later alterations softened some of its original decorative richness, the theatre retained the dignity of its modernist spirit. Today, its restored façade still evokes the elegance of early-twentieth-century Catalonia, when modernism was not only an architectural style but a cultural statement. Walking toward the entrance, one senses that the building is more than a venue—it is a bridge between eras. The refined lines and ornamental details prepare the visitor for a journey through time, recalling a world in which music, opera, and ballet shaped the rhythm of urban life.

Inside, the theatre has evolved into a modern performance space, with more than six hundred seats and a beautifully renewed stage capable of hosting large productions. Above, beneath its dome, the intimate Sala Cúpula offers a second environment for chamber music, readings, and smaller artistic encounters. The entire building combines contemporary functionality with a historical atmosphere, allowing audiences to experience art within walls that have witnessed generations of performers and spectators.

It is in this evocative setting that the Ballet de Catalunya presents its Double Bill program: a dialogue between the classical tradition and contemporary creation. The evening begins with Paquita Divertissement, drawn from the celebrated ballet Paquita, whose choreography was shaped by the genius of Marius Petipa and whose music was composed by Ludwig Minkus.

Among the most dazzling moments of classical ballet is the Grand Pas Classique from Paquita. Petipa added this brilliant sequence in 1881 for a gala performance honoring the Imperial Ballet’s prima ballerina Ekaterina Vazem. It quickly became a showpiece for virtuosity: a grand adagio, technically demanding variations, and a sparkling finale. Over time the piece transcended its original ballet and became a jewel of the classical repertoire, frequently performed independently by companies around the world.

Legendary ballerinas embraced it, among them the incomparable Anna Pavlova, who included the Grand Pas Classique in the repertory of her touring company. Pavlova carried ballet across continents in the early twentieth century, bringing audiences their first encounters with classical dance. One can easily imagine her era while standing before the façade of the Terrassa theatre: the same modernist optimism, the same belief that art could travel freely and enchant audiences everywhere.

The Paquita Grand Pas is particularly beloved because it offers a rare opportunity to showcase multiple soloists within a single structure. Each variation becomes a portrait of a dancer’s individuality—precision, musicality, and personality revealed through demanding choreography. For this reason it has long served as a platform for emerging stars, especially in Russia and the United States, where generations of dancers have tested their artistry against its challenges.

Among all the performances of this celebrated piece, one evening stands out in memory as almost mythic: the June 1984 performance at the Metropolitan Opera House, presented by American Ballet Theatre. The event brought together what could only be described as a galaxy of dancers—an extraordinary constellation of talent sharing the same stage in a single performance of the Paquita Grand Pas Classique. The role of Paquita was danced by the magnificent Cynthia Gregory, partnered by the electrifying Fernando Bujones.

Yet what made that performance unforgettable were the variations performed by an extraordinary group of ballerinas: Leslie Browne, Susan Jaffe, and above all Cynthia Harvey. Harvey’s execution of the famous third variation remains, for many ballet lovers, the very definition of perfection.

Her interpretation achieved a rare unity between technique and musicality. The famous tours en attitude, turning with crystalline precision, seemed synchronized with Minkus’s score to an almost supernatural degree. Every rotation landed exactly on the musical phrase, each movement unfolding as if the choreography itself were being composed in the moment. The clarity of line, the unshakeable balance, and the luminous control created an impression that time itself had momentarily slowed to admire the dancer’s artistry.

For those who witnessed the recording—or were fortunate enough to experience it firsthand—it remains a benchmark of excellence. Decades have passed, yet the performance continues to feel unsurpassed, a moment when technique, musical interpretation, and stage presence aligned with breathtaking inevitability. It was not merely a great performance; it felt historic, as if the long tradition of the Paquita Grand Pas had culminated in that one luminous evening.

Now, when audiences gather in Terrassa to watch the Paquita Divertissement, echoes of that great lineage resonate quietly through the theatre. The modern stage, equipped for twenty-first-century productions, contrasts beautifully with the building’s historic character. Outside, the modernist façade reminds us of the era when Pavlova toured the world; inside, the dancers of today continue the living tradition that Petipa and Minkus helped create.

Thus, attending this performance in the Teatre Principal de Terrassa becomes more than an evening at the ballet. It is a journey across time: from the Imperial theatres of nineteenth-century Russia, to Pavlova’s globe-spanning tours, to the legendary 1984 performance in New York, and finally to the vibrant cultural life of contemporary Catalonia.

With the luminous music of Minkus filling the theatre and the brilliance of Petipa’s choreography unfolding on stage, the audience is invited to celebrate the arrival of spring in the most poetic way possible—through movement, memory, and the enduring beauty of classical ballet.

Au cœur de la ville catalane de Terrassa, le majestueux Teatre Principal de Terrassa accueillera deux représentations exceptionnelles du programme Double Bill du Ballet de Catalunya : le 28 mars 2026 à 20h00 et le 29 mars 2026 à 18h00. Dans ce programme, le public aura l’occasion de redécouvrir l’un des joyaux du répertoire classique : le célèbre Grand Pas Classique issu du ballet Paquita, chef-d’œuvre chorégraphique créé par Marius Petipa sur la musique lumineuse de Ludwig Minkus.

Ce Grand Pas est bien plus qu’un simple extrait de ballet. Il est devenu au fil du temps un véritable symbole de la virtuosité classique. Construit autour d’un grand adage, de variations solistes brillantes et d’une coda finale étincelante, il permet de révéler l’individualité et la technique de plusieurs solistes au sein d’une même structure chorégraphique. Depuis plus d’un siècle, il constitue une sorte de rite de passage pour les grandes ballerines et les danseurs virtuoses.

Parmi les artistes qui ont contribué à faire entrer ce Grand Pas dans la légende, aucune figure n’est plus importante que celle de Anna Pavlova, souvent considérée comme la plus grande ballerine de l’histoire. Sa relation avec Paquita fut profonde et durable. Très tôt dans sa carrière au Théâtre Mariinsky de Saint-Pétersbourg, Pavlova gravit rapidement les échelons de la compagnie impériale. Le vieux maître Petipa lui-même remarqua son talent et la prit sous son aile. C’est auprès de lui qu’elle apprit notamment le rôle-titre de Paquita, qui allait devenir l’un des piliers de son répertoire.

Au cours des saisons suivantes, les nouveaux rôles de Pavlova comprirent des parties solistes dans plusieurs grands ballets du répertoire : Le Corsaire, La Belle au bois dormant, Paquita et Don Quichotte. En 1902, elle obtint son premier grand rôle de ballerine principale en incarnant Nikiya dans La Bayadère. Ce triomphe fut suivi d’autres rôles majeurs : Giselle, La Fille du Pharaon, Paquita et Le Corsaire. Sa carrière s’épanouit rapidement, et en 1906, elle reçut officiellement le prestigieux titre de prima ballerina.

Mais ce qui distingue Pavlova dans l’histoire du ballet n’est pas seulement son talent exceptionnel : c’est sa vision artistique. Toute sa vie, elle préféra la musique élégante et chantante des grands maîtres du ballet du XIXᵉ siècle. Elle parlait souvent de cette musique comme d’une véritable « musique dansante », parfaitement adaptée à la poésie du mouvement. Les œuvres de compositeurs comme Cesare Pugni et Ludwig Minkus correspondaient exactement à son idéal esthétique.

Cette préférence artistique joua un rôle décisif dans sa carrière. En 1909, Pavlova participa à la tournée européenne des Ballets Russes dirigés par Sergei Diaghilev. À l’origine, elle devait danser dans The Firebird, chorégraphié par Michel Fokine sur une musique d’Igor Stravinsky. Mais Pavlova ne parvint pas à trouver un accord artistique avec Stravinsky et refusa finalement d’interpréter le rôle. Celui-ci fut confié à Tamara Karsavina.

Cette décision illustre parfaitement le tempérament artistique de Pavlova : elle préférait rester fidèle à l’esthétique classique de Petipa et à la musicalité de Minkus plutôt que de s’engager dans des expériences modernes qui s’éloignaient du style traditionnel du ballet impérial. Pour cette raison, elle se sépara finalement de Diaghilev, tout en acceptant de danser le rôle principal de Giselle lors de la tournée londonienne des Ballets Russes.

À partir de ce moment, Pavlova consacra sa vie à une mission extraordinaire : porter le ballet classique dans le monde entier. Elle devint la plus grande ambassadrice du ballet russe. En 1921, l’impresario américain d’origine russe Sol Hurok organisa une grande tournée de sa compagnie aux États-Unis. Cette même année, Pavlova triompha également en Inde, captivant le public à Delhi, Bombay et Calcutta.

Sa renommée devint alors véritablement mondiale. En 1922, elle poursuivit ses tournées en Asie et au Moyen-Orient : Japon, Chine, Philippines, Malaisie, Inde et Égypte. Partout, son nom devint légendaire. Elle apportait avec elle l’élégance du ballet impérial russe, la poésie de Petipa et la musique brillante de Minkus.

Dans ce vaste répertoire qu’elle présentait aux publics les plus éloignés, le Grand Pas de Paquita occupait une place particulière. Pavlova l’adorait. Elle considérait cette œuvre comme un concentré parfait de l’esthétique classique : pureté des lignes, musicalité raffinée et virtuosité éclatante. Grâce à elle, ce morceau emblématique voyagea sur tous les continents : de l’Europe aux États-Unis, de l’Amérique du Sud à l’Égypte, de l’Asie aux grandes capitales culturelles du monde.

Ainsi, Paquita, Minkus et Petipa parcoururent la planète grâce à Pavlova. Elle fit découvrir ce style à des publics qui n’avaient jamais vu de ballet auparavant. Elle transforma la danse classique en un langage universel.

Aujourd’hui encore, plus d’un siècle plus tard, cette tradition continue de vivre sur les scènes du monde. Les variations du Grand Pas de Paquita restent une vitrine exceptionnelle pour les solistes d’une compagnie. Elles permettent au public d’admirer la précision technique, l’élégance et la musicalité qui constituent l’essence même du ballet classique.

Le public catalan a récemment eu la chance d’assister à une soirée mémorable au Gran Teatre del Liceu, le 9 novembre, lors d’une grande gala qui a réuni des artistes remarquables ainsi que deux immenses étoiles russes, héritières directes de la discipline et de la tradition artistique d’Anna Pavlova : Olga Smirnova et Maria Khoreva.

Voir sur scène deux ballerines d’un tel niveau, profondément liées à la tradition académique russe, fut une expérience rare et inoubliable pour des centaines d’amateurs de ballet venus du monde entier. Cette soirée a rappelé avec éclat la puissance et la magie de la tradition classique transmise depuis Pavlova.

Aujourd’hui, cette magie se poursuit grâce aux danseurs du Ballet de Catalunya, qui ont déjà remporté un immense succès lors de cette gala et qui interpréteront à nouveau ces variations brillantes dans Paquita Divertissement au Teatre Principal de Terrassa. Leur interprétation permettra au public de revivre l’esprit du grand ballet classique, celui qui unit technique, musique et poésie dans un équilibre parfait.

Assister à ces représentations du 28 mars 2026 à 20h00 et du 29 mars 2026 à 18h00 sera donc bien plus qu’une simple soirée au théâtre. Ce sera une célébration du patrimoine du ballet classique, une rencontre avec l’héritage de Petipa, la musique lumineuse de Minkus et l’esprit éternel d’Anna Pavlova.

Quoi de plus beau pour accueillir le printemps que cette explosion de grâce, de virtuosité et de musique ?

Dans chaque variation du Grand Pas de Paquita, on peut encore sentir l’ombre lumineuse de Pavlova — cette artiste qui porta le ballet aux quatre coins du monde et qui demeure, aujourd’hui encore, l’incarnation même de la magie du ballet classique.

Joan Sutherland & Richard Bonynge

Royal Opera House - Richard Bonynge & Joan Sutherland 

Richard Bonynge and the Miracle of the Romantic Ballet Recorded

In the history of recorded music, there are great conductors, there are legendary conductors, and then there are those rare individuals whose work permanently alters what future generations are able to hear, know, and understand. Richard Bonynge belongs decisively to this last category. His contribution to music—both opera and ballet—is not merely distinguished by excellence, but by uniqueness. Quite simply, without Richard Bonynge, vast areas of nineteenth-century music would remain silent, forgotten, or forever imagined rather than heard.

Bonynge is often introduced through his long and extraordinary partnership with his wife, the incomparable soprano Joan Sutherland. That partnership alone would secure his place in musical history. Yet to reduce his legacy to accompaniment or collaboration would be to misunderstand the true nature of his artistry. Richard Bonynge was, above all, a conductor of vision: a musician with a profound understanding of style, a tireless scholar, and a passionate believer in the intrinsic value of music that others had dismissed as obsolete or unfashionable.

The Revival of a Lost World: Ballet Music

Bonynge’s achievement in ballet music is nothing short of miraculous. Over many decades, he devoted himself to uncovering nineteenth-century ballet scores that had vanished from the repertoire—works that had once filled theatres in Paris, Vienna, London, and St. Petersburg, yet had completely disappeared from modern performance. He searched obsessively through second-hand music shops, archives, and libraries in cities across Europe, often finding scores that had not been opened for generations.

What makes this effort so extraordinary is that Bonynge did not treat these discoveries as mere curiosities. He understood them as living music. He studied them, restored them, prepared them for performance, and recorded them with the same seriousness and artistic commitment he brought to the greatest masterpieces. Through Decca, he created a recorded legacy that no other conductor has matched: a vast, coherent, lovingly curated anthology of Romantic ballet music.

The 45-CD box set Richard Bonynge – The Complete Ballet Recordings stands as a monument to this work. Alongside universally known masterpieces such as Swan Lake, The Sleeping Beauty, The Nutcracker, and La Bayadère, the collection reveals an astonishing treasury of forgotten ballets by Adam, Delibes, Minkus, Drigo, Auber, Massenet, Berlioz, Meyerbeer, Lecocq, Pugni, and many others. These were not marginal figures: they were central to the musical life of the nineteenth century, particularly in Paris, where ballet occupied a position of immense cultural importance.

Bonynge understood instinctively how ballet music must breathe, dance, and sparkle. His tempi feel inevitable, his phrasing elastic and elegant, his orchestral textures luminous. This is not museum music. It is theatre, movement, color, and joy. Few moments in the box set are as overwhelming as the extended Grand Pas from Minkus’s Paquita—over twenty minutes of music that Bonynge shapes with such vitality and brilliance that it feels utterly unsurpassable. For many listeners, myself included, listening to these recordings for hours on end can feel like being transported somewhere between heaven and earth.

Opera and the Art of Bel Canto

Yet Bonynge’s contribution to opera is equally historic. Together with Joan Sutherland, he changed forever the way bel canto opera is heard, understood, and valued. At a time when many of these operas were neglected, cut, or misunderstood, Bonynge insisted on stylistic integrity, musical completeness, and orchestral refinement. He did not treat bel canto as vocal display supported by an orchestra, but as a fully integrated musical drama.

It is impossible to imagine Joan Sutherland’s discography without Richard Bonynge’s guidance, encouragement, and determination. Time and again, he persuaded her—and recording companies—to commit to studio recordings that no one expected, and in some cases, no one dared to imagine.

A particularly moving example is Anna Bolena by Donizetti, recorded in 1985, when Sutherland was already nearing the end of her active stage career. Few believed she would ever record the role in the studio. Yet she did—and the result remains, for many listeners, the definitive studio recording of the opera. Nearly forty years later, it stands not as a late-career curiosity, but as a towering artistic statement, preserved thanks to Bonynge’s insistence and vision.

The same can be said of recordings such as L’elisir d’amore with Luciano Pavarotti, or Turandot—an opera no one expected Sutherland ever to record. And yet she did, delivering a performance of astonishing authority, vocal security, and grandeur. Her Turandot remains one of the most compelling on disc, and it is a role many listeners, myself included, return to repeatedly with undiminished admiration.

Then there are her unforgettable portrayals of Elvira in I Puritani, Amina in La Sonnambula, Violetta in La Traviata, and above all Norma, Bellini’s supreme creation. In all of these recordings, Bonynge’s conducting is not merely supportive; it is revelatory. He understands the architecture of the music, the dramatic pacing, the expressive weight of orchestral color. He allows the voice to soar, but never at the expense of musical coherence or stylistic truth.

A Personal and Collective Debt

Richard Bonynge did more for the worlds of opera and ballet than almost any conductor of his generation. He expanded the repertoire, preserved endangered works, and gave them performances of lasting beauty. He trusted audiences to listen, to discover, and to fall in love with music they had never heard before.

I had the great fortune of meeting Richard Bonynge in 2001 and of thanking him personally for his extraordinary work. It is a moment I will always treasure. Yet any personal gratitude pales beside the collective debt owed to him by millions of listeners around the world. Thanks to him, we can hear what would otherwise be lost. Thanks to him, an entire musical century continues to sing, dance, and enchant.

Richard Bonynge achieved something no other conductor has achieved: he rescued forgotten beauty and gave it permanence. For lovers of nineteenth-century music—whether opera or ballet—his recordings are not merely important. They are indispensable.

For that, we will never be grateful enough.

Few achievements in the history of recorded music can truly be described as unique. Fewer still can be called irreplaceable. Richard Bonynge – The Complete Ballet Recordings, released by Decca as a monumental 45-CD box set, belongs unquestionably to that rare category: a once-in-a-lifetime artistic achievement that no other conductor has equaled, and perhaps none ever will.

Richard Bonynge is widely celebrated for his legendary partnership with his wife, the great soprano Joan Sutherland, and for his authoritative interpretations of bel canto opera. Yet to focus solely on opera would be to overlook one of his most extraordinary and enduring contributions to musical culture: the resurrection, study, performance, and recording of nineteenth-century ballet music—much of it forgotten, neglected, or assumed to be lost forever.

Bonynge himself explained in interviews how, over many years, he devoted countless hours to searching through antiquarian music shops and libraries across Europe, patiently uncovering original ballet scores from the nineteenth century. These were works that had once enjoyed enormous success in Paris, London, Vienna, and St. Petersburg, yet had vanished completely from the repertoire. Some had never been recorded; others had not even been performed for generations. In many cases, few musicians alive were even aware that these ballets had ever existed.

Bonynge did far more than simply “find” these scores. He studied them meticulously, reconstructed performance traditions, prepared the orchestral materials, and brought them back to life in the recording studio with a level of care, stylistic understanding, and affection that only a true devotee could provide. Conducting magnificent orchestras under the Decca label, he transformed fragile, dusty manuscripts into living, breathing music—rich in color, rhythm, elegance, and theatrical vitality.

This collection does not limit itself to the universally known masterpieces such as Swan Lake, The Sleeping Beauty, The Nutcracker, or La Bayadère. Alongside these pillars of the repertoire, the box set opens a door to a dazzling lost world: ballets by Adam, Delibes, Drigo, Minkus, Massenet, Auber, Berlioz, Meyerbeer, Lecocq, Pugni, and many others. French, Russian, Italian, Austrian, German, Danish—Bonynge’s range is astonishing, and his stylistic instinct unfailingly sure.

What makes these recordings truly exceptional is not merely their rarity, but their quality. Bonynge understood ballet music from the inside: its pulse, its breathing, its dramatic arc, and its intimate connection to movement. Tempi are natural, phrasing is elastic, rhythms dance, and the orchestral colors glow. This is ballet music conducted by someone who loved it deeply and knew exactly how it should sound.

The Decca engineering, as always, is superb. Even recordings originating from analogue tapes of the 1960s and 1970s are transferred with remarkable clarity, warmth, and balance. The presentation of the box set is equally admirable: 45 CDs housed in elegant cardboard sleeves, many reproducing the original LP artwork, accompanied by detailed documentation that reflects the care and seriousness of the project.

On a personal level, these recordings offer moments of almost indescribable joy. One need only listen to the extended Grand Pas from Minkus’s Paquita—over twenty minutes of sheer brilliance—to understand the magic Bonynge achieved. The orchestration sparkles, the melodic invention seems inexhaustible, and the performance reaches a level that feels not merely excellent, but definitive. For many listeners, myself included, this music can induce a sense of pure happiness: hours spent listening feel like being in heaven, here on earth.

I had the great fortune of meeting Richard Bonynge in 2001, and of thanking him personally for his extraordinary work in both opera and ballet. That moment remains unforgettable. What he gave us through these recordings is not just pleasure, but cultural memory—an entire musical universe rescued from oblivion.

This box set is more than a collection of CDs. It is a historical document, an act of love, and a gift to future generations. For lovers of nineteenth-century music, ballet enthusiasts, and anyone who believes that beauty is worth preserving, Richard Bonynge – The Complete Ballet Recordings is not merely recommended—it is essential.

Richard Bonynge achieved what no other conductor has achieved: he made the invisible audible, the forgotten unforgettable, and the lost eternal. For that, neither I nor the millions of admirers around the world who treasure these recordings will ever be sufficiently grateful.

Adam, Adolphe

• Le Diable à quatre

• Giselle

  • Danse des vignerons

  • Pas seul

  • Peasant pas de deux

  • Grand Pas de Deux (Act II)

• Le Corsaire

• Giralda – Overture

• La Poupée de Nuremberg – Overture

Auber, Daniel-François-Esprit

• Marco Spada – Ballet (complete)

• Marco Spada – Overture

• Gustave III (Le Bal masqué) – Overture

• Gustave III (Le Bal masqué) – Ballet Music

• Cello Concerto No. 1 in A minor

• Lestocq – Overture

• La Neige – Overture

Asafyev, Boris

• Papillons

Berlioz, Hector

• Les Troyens – Ballet music

Bizet, Georges

• Don Procopio – Entr’acte

Boieldieu, François-Adrien

• Le Calife de Bagdad – Overture

• La Dame blanche – Overture

Britten, Benjamin

• Soirées musicales (after Rossini), Op. 9

• Matinées musicales (after Rossini), Op. 24

Burgmüller, Friedrich

• La Péri – Romantic ballet in two acts

Catalani, Alfredo

• Loreley – Danza delle ondine

Chopin, Frédéric

• Les Sylphides

Czibulka, Alphons

• Love’s Dream After the Ball, Op. 356

Delibes, Léo

• Coppélia

• Sylvia

• La Source

• Naïla – Intermezzo

• Le Roi l’a dit – Entr’acte

Donizetti, Gaetano

• La Favorita – Ballet music

• Ballabile (from La Favorite)

• Roberto Devereux – Overture

Drigo, Riccardo

• La Flûte magique

• Pas de Trois

• Le Réveil de Flore – excerpts

• Esmeralda – Pas de deux

• Le Corsaire – Pas de deux

Gounod, Charles

• Faust – Ballet music

• La Reine de Saba – Waltz

• Le Tribut de Zamora – Danse grecque

Handel, Georg Friedrich

• Alcina – Ballet music

Hérold, Ferdinand

• Zampa – Overture

Kreisler, Fritz

• Schön Rosmarin

Kurpiński, Karol

• Polish Wedding – Mazurka

Leoni, Francesco

• The Prayer and the Sword

Lecocq, Charles

• La Fille de Madame Angot – Ballet music

• La Fille de Madame Angot – Overture

Lincke, Paul

• Glow Worm Idyll (Lysistrata)

Lovenskjold, Herman

• La Sylphide – Pas de deux

Luigini, Alexandre

• Ballet égyptien

Maillart, Louis-Aimé

• Les Dragons de Villars – Overture

Massenet, Jules

• Manon – Ballet

• Le Carillon

• Scènes alsaciennes

• Fantaisie for Cello and Orchestra

• Cigale

• Valse très lente

• Le Cid – Ballet music

• Le Cid – Suite

• Méditation (from Thaïs)

• La Navarraise – Nocturne

• Chérubin – Entr’acte

• Don César de Bazan – Sévillana

• Le Roi de Lahore – Waltz and Entr’acte

• Les Érinnyes – Invocation

Meyerbeer, Giacomo

• Les Patineurs – Ballet

• Les Patineurs – Suite

• Le Prophète – Coronation March

Minkus, Ludwig

• La Bayadère

• Don Quixote – Pas de deux

• Paquita – Pas de deux

Offenbach, Jacques

• Le Papillon

• La Fille du tambour-major – Overture

Planquette, Robert

• Les Cloches de Corneville – Overture

Popper, David

• Cello Concerto No. 2 in E minor, Op. 24

Pugni, Cesare

• Pas de quatre

Rossini, Gioachino

• La Boutique fantasque

• Guillaume Tell – Ballet music

• Torvaldo e Dorliska – Overture

Rubinstein, Anton

• Danses des fiancées de Cachemir (from Feramors)

Saint-Saëns, Camille

• Le Cygne (Carnaval des animaux)

• Henry VIII – Danse de la Gipsy

Strauss II, Johann

• Aschenbrödel-Walzer

• Ritter Pásmán – Ballet music

• An der schönen blauen Donau, Op. 314

• Die Fledermaus – Ballet music (Act II)

• Die Fledermaus – Overture

Tchaikovsky, Pyotr Ilyich

• The Nutcracker, Op. 71

• Swan Lake, Op. 20

• Sleeping Beauty, Op. 66

• Swan Lake – Pas de deux

• The Nutcracker – Pas de deux

• Aurora Variation (Sleeping Beauty)

• The Seasons, Op. 37b: December

• Souvenir d’un lieu cher, Op. 42

Thomas, Ambroise

• Hamlet – Ballet music

• Hamlet – Act IV Ballet Music

• Mignon – Overture

Verdi, Giuseppe

• Il Trovatore – Ballet Music (Acts II & III)

• Giovanna d’Arco – Overture

Wallace, William Vincent

• Maritana – Overture

Weber, Carl Maria von

• Invitation to the Dance, Op. 65

Anon.

• Bolero (1830)