The Nutcracker

The cascanues (from Russian): ▪) / Schelkúnchik listen (?·i) It's a fairy tale and ballet structured in two acts, which was commissioned by the director of the imperial theatres, Ivan Vsévolozhsky, in 1891 and was premiered in 1892. The music was composed by Piotr Ilich Chaikovski between 1891 and 1892. It is his opus 71 and is the third of his ballets. Initially choreography was to be created by Marius Petipa and Lev Ivanov, but a series of tragic events separated Petipa from the assembly. The libretto was written by Ivan Vsévolozhsky and Petipa himself, based on the adaptation of Alejandro Dumas of the story The cascanues and the king of miceE.T.A. Hoffmann.

Before its premiere Tchaikovsky selected eight of the numbers from the ballet to form the Nutcracker Suite op. 71a, designed to play in concert. The suite was performed under the composer's direction on March 19, 1892, on the occasion of a meeting of the section of the Musical Society in Saint Petersburg. The suite was popular ever since, although the ballet The complete ballet did not achieve its great popularity until the 1960s. The music of this ballet is known, among other things, for its use of the celesta, an instrument that the composer had already used in his symphonic ballad The voivode of 1891. It is the solo instrument in the Dance of the Sugar Plum Fairy, but also appears in other parts of the second act.

The first performance took place on December 18, 1892 at the Mariinsky Theater in Saint Petersburg. Some fifty years later Walt Disney used some of the music from The Nutcracker in the film His Fantasia (1940). The public liked the film and became interested in ballet. Interest grew when George Balanchine's performance of The Nutcracker was televised in the late 1950s. The ballet has been performed in many different venues since then and has perhaps become the most popular of all ballets in western countries, mainly performed at Christmas.

History

Composition

Following the success of Sleeping Beauty in 1890, Ivan Vsevolozhsky, the director of the Imperial Theatres, commissioned Tchaikovsky to compose a double bill with an opera and a ballet. The opera would be Iolanta. For the ballet Tchaikovsky would once again join forces with Marius Petipa, with whom he had already collaborated on Sleeping Beauty. The material that Petipa chose on this occasion was an adaptation entitled The Tale of the Nutcracker, which Alexandre Dumas had written based on The Nutcracker and the Mouse King by E. T. A. Hoffmann. The plot of Hoffmann's story (and Dumas's adaptation) was greatly simplified for the two-act ballet. Hoffmann's tale contains a long flashback within its main plot, titled The Hickory Tale, which explains how the prince became the nutcracker. This episode had to be omitted from the ballet. Petipa provided Tchaikovsky with very detailed instructions for the composition of each number, including the tempo and number of bars. The completion of the work was briefly interrupted by the composer's visit to the United States for 25 days to conduct the concerts for the opening of Carnegie Hall. Tchaikovsky composed parts of this ballet in Rouen, France.

Tchaikovsky was less satisfied with The Nutcracker than he was with his earlier ballet Sleeping Beauty. Although he accepted Vsevolozhsky's commission, he had no particular interest in composing it—although he wrote to a friend during the ballet's composition: "I am every day more and more in tune with my task." he says that during the composition of the music for the ballet Tchaikovsky argued with a friend, who bet that the composer could not write a melody based on the notes of the eighth in sequence. Tchaikovsky asked him if it mattered whether the notes were ascending or descending, to which he replied that it did not. This gave rise to the Grand adagio of the Grand pas de deux, in the second act, which is usually danced after the Waltz of the Flowers.

Representations

World premiere in St. Petersburg

Original production, 1892.

The ballet premiered on December 18, 1892 at the Mariinsky Theater in Saint Petersburg, Russia. It was part of a double premiere together with Iolanta, Tchaikovsky's last opera. The libretto was written by Marius Petipa, but what has been the subject of debate is who exactly choreographed the first production. Petipa began working on choreography in August 1892, but that same month his 15-year-old daughter Evgenia died of cancer. Later, he fell ill with a serious skin condition, the disease took him away from work and Lev Ivanov, his assistant for seven years, took over the task. So there is no certainty that Petipa would have choreographed the ballet. Ivanov is often credited with the choreography, although some contemporary chronicles attribute it to Petipa.

The performance was directed by Riccardo Drigo, with Antonietta Dell'Era as the Sugar Plum Fairy, Pavel Gerdt as Prince Coqueluche, Stanislava Belinskaya as Clara, Sergei Legat as the Nutcracker Prince and Timofei Stukolkin as Drosselmeyer. The children's roles, unlike in many later productions, were performed by actual children rather than adults (with Belinskaya as Clara, and Vasili Stukolkin as Fritz), the students of the Imperial Ballet School in Saint Petersburg.

The premiere of The Nutcracker was not considered a success at the time. The reaction regarding the dancers themselves was ambivalent. While some critics praised Dell'Era's work en pointe as the Sugar Plum Fairy (she reportedly received five curtain calls), one critic called her "burly" and " plump". Olga Preobrazhenskaya as the Columbine doll was described as "utterly bland" by one reviewer and as "lovely" by another. One audience member described the choreography of the battle scene as confusing: "One cannot understand nothing. Shoving haphazardly from corner to corner and running back and forth—quite amateurish." The script was criticized for being "unbalanced" and for not being faithful to Hoffmann's tale.

Much of the criticism focused on the prominent role of children in the ballet, and many lamented the fact that the ballerina did not dance until the Grand pas de deux near the end of the second act (which did not occur until almost midnight during the programme). Some found the transition between the earthly world of the first scene and the fantasy world of the second act too abrupt. by Tchaikovsky received a better reception. Some critics described it as "astoundingly rich in detailed inspiration" and "from beginning to end, beautiful and melodious, original and characteristic". But even this was not unanimous, as some critics found the party scene "heavy" and the Grand pas de deux "insipid".

Other notable productions

• 1919: with choreography of Aleksandr Gorski. He eliminated the Sugar Fair and its knight, awarding his dances to Clara and Prince Cascanueces that were interpreted by adults instead of children. His was the first production to do so.
• 1927: with choreography of Ede Brada for the Royal Opera House of Budapest, in an abbreviated version.
• 1934: with the choreography of Vasili Vainonen for the Kírov Theatre of Leningrad. His version of the work addressed many of the criticisms of the original 1892 assembly, choosing adult dancers for the roles of Clara and the Prince, as Gorski had done. He had influence on several subsequent productions.
• 1934: with choreography of Nicholas Sergeyev in England, following the original choreography. The first full representation outside Russia. Annual representations ballet there since 1952.
• 1940: with choreography of Alexandra Fiódorova by the Ruso Ballet of Monte Carlo in New York. It's another abbreviated version of ballet once again, according to the version of Petipa.
• 1944: with Willam Christensen choreography for the San Francisco ballet. The first complete assembly ballet in the United States was on December 24, 1944. This was the first American company to make this ballet an annual tradition; and for ten years it was the only one representing the ballet complete in the US. U.S. In fact, it continues to represent itself today. The success of this version was the first step to The cascanues will be constituted in an annual Christmas tradition all over the world in the late 1960s.
• 1944: with choreography of George Balanchine for the New York City Ballet. Since then The cascanues Balanchine is represented in New York every year. It has been represented twice live on television, although it was not well received its first television edition in the program Seven Lively Arts (Seven Joyful Arts) and starring Macaulay Culkin in his unique character ballet on screen. In Balanchine's version the characters of Clara (here called Marie) and the cascanueces are interpreted by children; therefore their choreography is less difficult than that of adults.
• 1957: with choreography of David Lichine for the London Ballet Festival in London.
• 1966: with choreography of Yuri Grigoróvich for the Bolshei Theatre in Moscow.
• 1967: with choreography of John Cranko for the ballet of Stuttgart.
• 1968: with Rudolf Nuréyev choreography for the Royal Theatre of Stockholm.
• 1973: with choreography by Margaret Mehuys for the Montréal Ouest ballet in Montreal.
• 1974: without choreography of Emerson, Lake & Palmer on disk I Believe In Father Christmas
• 1976]: with choreography of Roland Petit for the Marseille ballet in Paris.
• 1976: with choreography of Mikhail Barýshnikov for American Ballet Theatre, which premiered at the Kennedy Center. This version seriously challenged the popularity of the Balanchine version. In 1977 CBS television for the first time with limited commercial interruptions. This version has a new choreography and is a Christmas classic on current television. Barýshnikov omits the Sugar Fair and Prince Koklyush, and gives his dances to Clara and Prince Cascanueces; so in his version, the latter are not simply spectators in the second act. In addition, although the music of the Ginger Mom sounds, we never see it; only four court clowns who dance. Clara's brother, Fritz, does not break the cascanueces, but a drunk guest with no name to the Christmas party that is trying to make the toy grow to be of natural size. The last time you see it in human form is as you go down with the other guests, but in the end you become the king of mice in Clara's dream.
  Originally, the theatrical version was starred at Barýshnikov, Marianna Tcherkassky as Clara, and Alexander Minz as Drosselmeyer. But the television version Gelsey Kirkland was Clara, one of Gelsey's most memorable characters. Except Tcherkassky, the rest of the cast in the theatrical version also acted in the television version. This version was filmed in a television studio (without hearing) in Toronto. Since then, The cascanues Barýshnikov is the most popular TV version and the most sold in video and DVD, surpassing any other video version of both The cascanues (including the 1993 Balanchine version film) as any other ballet. It is still televised annually on some PBS channels.
  In 2004, it remastered and re-edited on DVD with obvious improvements in terms of image and sound. It's one of two unique versions of ballet the other was the exaggerated and satirical version of Mark Morris, The Hard Nut (lit. 'La nuez dura'), televised by PBS in 1992. On the other hand, Seven Lively Arts He won an Emmy as the best new program in 1957, so you could say that The cascanues played a role in victory, though the ballet was not specifically mentioned. Several years later, Alessandra Ferri danced the character of Clara in a revival of the representation of Barýshnikov.

• 1996: with choreography of Vicente Nebrada for the company ballet Teresa Carreño Theatre in Caracas. This version of the ballet has been danced uninterruptedly at the Teatro Teresa Carreño since its premiere in 1996.
• 2008: with choreography by Javier Mejía for the Municipal Theatre in Santiago de Cali.
• 2019: With choreography by Ana Paulina Gamboa for the Ricardo Castro Theater in Victoria de Durango, Durango.

Since the Gorski, Vainonen and Balanchine productions, many other choreographers have made their own versions. Some include the changes made by Gorski and Vainonen while others, like Balanchine, use the original script. Notable productions include Rudolf Nureyev for the Royal Ballet, Yuri Grigorovich for the Bolshoi Theatre, Mikhail Baryshnikov for the American Ballet Theatre, and Peter Wright for the Royal Ballet and Birmingham Ballet.

In recent years, revisionist productions such as those by Mark Morris, Matthew Bourne and Mikhail Shemiakin have appeared, which are based directly on the original 1892 libretto as well as Vainonen's revival. For its part, Maurice Bejart's version completely discards the original plot and characters. In addition to the annual live performances of the play, many productions have also been televised and/or edited on video.

Libretto

Characters

The two lists of characters are derived from the score, indicated according to the reprint of the Soviet edition. The ballet productions vary their fidelity based on this character assignment.

Characters according to the translation of the preambles to the Soviet edition:

• Chairman
• His wife
• His children:
  • Clara [María] (Клара [Mâри] on the score)
  • Fritz
• Mariana, niece of the President
• Councilman Drosselmeyer, godfather of Clara and Fritz
• Cascanues
• Sugar Fairy, sovereign of sweets
• Prince Koklyush [Orgeat]
• Major
• Arlequin
• Aunt Milli
• Soldier
• Columbine
• Mom Gigogne [Mom Ginger]
• King of mice
• Relatives, guests, people in wardrobes, children, angels, servants, mice, wrists, rabbits, toys, soldiers, gnomists, snowflakes, fairies, sweets, cakes, confections, moros, landscapes, princesses, entourages, clowns, shepherds, flowers, etc.

The following extrapolation of the characters, more detailed and somewhat different (in order of appearance), is drawn from an examination of the stage directions to the score in their Soviet edition—the edition in which they were printed in the original French with Russian translations added as footnotes—:

Plot

The story varies from set to set, though most follow the basic outline. The names of the characters also vary. In the original tale by E. T. A. Hoffmann the young heroine is called Marie or Maria Stahlbaum and Clara or Klärchen is the name of one of her dolls. In Dumas's adaptation, on which Petipa based her script, her name is Marie Silberhaus, so the protagonist can appear with the name Clara, Marie or Maria and with the last name Stahlbaum or Silberhaus. Below is a summary based on Marius Petipa's original libretto from 1892.

Act I

Original drawing of Konstantin Ivanov for the stage of the first act, 1892.

Scene 1: The Stahlbaum home.

The work opens with a miniature overture just like the suite. The music creates the fairy tale atmosphere through the high registers of the orchestra. The curtain opens to show the Stahlbaum home on Christmas Eve, where Clara, her brother Fritz, and her parents are preparing to decorate the tree for that night's party with friends and family. The festivities begin. A march is interpreted. As Grandma's owl clock strikes eight, a mysterious character enters the room. It is Drosselmeyer, a local councilor, magician, and Clara's godfather, who is also a talented toymaker who has brought gifts for the children. Everyone is happy except Clara, who hasn't received a present yet. Drosselmeyer then shows them three life-size dancing dolls. When they finish their dance, Clara approaches Drosselmeyer asking for a gift. Drosselmeyer has another toy. It is a nutcracker in the traditional shape of a soldier in training uniform. Clara is delighted, but her brother is envious and breaks it. The party ends and the Stahlbaum family goes to bed. While everyone sleeps Drosselmeyer fixes the nutcracker. When the clock strikes midnight Clara wakes up to see that her window is open. Suddenly, mice begin to fill the room, the Christmas tree begins to grow, and the nutcracker comes to life. Clara finds herself in the middle of a battle between an army of Gingerbread Soldiers and the mice led by the Mouse King. Here Tchaikovsky maintains the miniature atmosphere of the overture, placing most of the battle music in the high registers of the orchestra. The Nutcracker appears to lead the Gingerbread soldiers, who are joined by tin soldiers and dolls serving as doctors to carry away the wounded. As the Mouse King advances towards the still injured Nutcracker, Clara helps him by holding the Mouse King's tail and throwing a shoe at him; the nutcracker seizes the opportunity and stabs the king, who dies.

Scene 2: A pine forest.

The mice retreat and the Nutcracker transforms into a prince. Both travel towards a pine forest in which snowflakes dance around them. The fairies and queens dance to welcome them. The music expresses the wonderful images with a wordless children's choir. The curtain falls and the first act ends.

In Hoffmann's original tale and in the 1985 and 2001 versions, the prince is Drosselmeyer's nephew, who had been turned into a nutcracker by the mouse king. All the events after the Christmas party are solved by Drosselmeyer by removing the spell.

Act II

Original drawing of Konstantin Ivanov for the stage of the second act, 1892.

Scene 1: The kingdom of sweets.

Clara, the Nutcracker, and Drosselmeyer arrive at the candy kingdom where they are greeted by the Sugar Plum Fairy, her knight, and the rest of the candy. There follows a Spanish dance sometimes identified with chocolate, a Chinese dance related to tea, an Arabic dance related to coffee and a Russian dance sometimes called candy canes (the Russian dance is the Trepak). Also Mama Gingerbread and hers, her polychinelas (chocolates or court clowns in Barýshnikov's version), the reed flutes (shepherds of marzipan or kazoo), the Sugar Fairy and the Waltz of the Flowers . But the dances in the kingdom of sweets do not always follow the same order. After the celebrations, Clara wakes up under the Christmas tree with her wooden nutcracker, elated by her wonderful adventure, and the curtain falls.

In Balanchine's version, Clara is never seen waking up, but after all the dancing in the kingdom of sweets, she and the prince slide off in a reindeer sleigh and the play ends. The dream has been real, as in Hoffmann's original tale. The Royal Ballet version also depicts him in this way. Finally, Drosselmeyer's nephew, who had been transformed into a nutcracker, reappears in human form in his uncle's toy store.

Analysis

	Variation of sugar fairy
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(The author of this analysis is unknown) The music from Tchaikovsky's ballet is one of his most popular scores. The music is from the Romantic period and contains some of the most memorable melodies from it, several of which are frequently heard on television and in the movies, especially around Christmas. The Russian dance or Trepak is one of the most recognized pieces of the ballet along with such famous numbers as Flower Waltz i>, March or Dance of the Sugar Plum Fairy. The ballet contains amazingly advanced harmonies and a wealth of melodic invention unmatched in ballet music. Nonetheless, the composer's reverence for Rococo music and music of the late 18th century can be detected in passages like the overture, Entrée des parents and Tempo di Grossvater in the first act.

A novelty in Tchaikovsky's original score was the use of the celesta, a new instrument that the composer had discovered in Paris. He wanted it to characterize the character of the Sugar Plum Fairy because of his "sweet and heavenly sound". He appears not only in his & # 34; Dance & # 34;, but also in other passages in the second act. Tchaikovsky was proud of the celesta effect and wanted his music played quickly for the public, before it could be 'discovered'. However, the first thing he wrote for the celesta is included in his symphonic ballad The Voivode from the previous year. In the ballet he also uses toy instruments during the Christmas party scene.

Tchaikovsky is said to have argued with a friend who bet that the composer could not write a melody based on the notes of the scale one octave in sequence. Tchaikovsky asked if it mattered whether the notes were in ascending or descending order and was assured that it did not. This resulted in the Adagio of the Gran pas de deux which usually immediately follows the Waltz of the Flowers. On the other hand, it is said that Tchaikovsky's sister had died shortly before he began the composition of the ballet, and that this influenced him to compose a melancholic melody with a descending scale for the Adagio of the Great pas de deux.

Tchaikovsky was less satisfied with The Nutcracker than he was with Sleeping Beauty. In the film Fantasia, commentator Deems Taylor notes that he "actually hated" the score. Tchaikovsky accepted the commission from Vsevolozhsky but he did not want to write the ballet especially. The composer himself, while composing the work, wrote to a friend: "I am every day more and more in tune with my task."

The original ballet only lasts about 85 minutes if performed without applause or an intermission, and is therefore much shorter than Swan Lake or Sleeping Beauty. However, some modern stagings have omitted or rearranged some of the music, or else inserted selections from elsewhere, thus increasing confusion about the suites. In fact, most of the most famous versions of the ballet have slightly rearranged the order of the dances or even modified the music itself.

For example, the 1954 version staged by George Balanchine for the New York City Ballet adds to the original score an entr'acte that the composer had written for the second act of Sleeping Beauty, but now rarely played in productions of that ballet. It is used as a transition between the departure of the guests and the battle with the mice. Almost all recordings on LP and CD of the complete score of Tchaikovsky's ballet present it exactly as he intended it.

Instrumentation

• Voice: choir.
• Cuerda: 2 harps, violins I, violins II, violas, cellos, contrabas.
• Wind wood: 3 flutes (2 folded in flute), 2 oboes, English corn, 2 clarinets (if bemol, la), low clarinet (if bemol, la), 2 fagotes.
• Metal Wind: 4 tubes (fa and if bemol), 2 trumpets (if bemol, la), 3 trombones, tuba.
• Percussion: Celesta, timbal, triangle, castanets, pandereta, orchestral box, dishes, bombo, gong, glockenspiel, toy instruments (sonajero, trumpet, drum, cuckoo, perdiz, dishes.

Structure

List of acts, scenes (frames) and musical numbers, together with tempo indications. The numbers are broken down according to the original Russian and French titles of the first edition of the score (1892), the score of the piano reduction by Sergei Taneyev (1892), both published by P. Jurgenson in Moscow, and the Russian collected edition of the composer's works, as published in Melville, New York: Belwin Mills [n.d.]

Versions

Tchaikovsky

Tchaikovsky made a selection of eight numbers from the ballet before its premiere in December 1892. With them he formed the The Nutcracker Suite, op. 71a conceived to be performed in concert form. The suite was first performed under the baton of the composer himself on March 19, 1892 at a meeting of the section of the Saint Petersburg Musical Society. The suite was a success from the outset, with an encore of almost every number in its premiere performance, while the complete ballet did not achieve its full popularity until after George Balanchine's staging hit the city of New York. The suite became very popular in the concert arena and was featured in the Disney film Fantasia. The Nutcracker Suite should not be confused with the complete ballet. The following scheme represents the selection and sequence chosen by the composer for the suite.

I. Miniature opening

II. Danzas features

a. March

b. Dance of the sugar fairy [with a different end the ballet version]

c. Russian Dance (Trepak)

d. Spanish Dance

e. Chinese Dance

f. Dance of the Mirlitons

III. Vals of flowers.

A second, lesser known and less frequently played suite of some of the other numbers has been recorded on occasion:

Act I, Table I: No. 4 " 5

Act II: Adagio del Grand pas de de deux

Act II: Introduction, Dance Scene and Spanish Dance

Act II: Final Vals and Apotheosis.

Some directors, such as Robert Irving of the New York City Ballet, have made recordings of the two suites from Tchaikovsky's ballet on disk. For many years Irving directed the New York City Ballet's annual production of The Nutcracker. York City Ballet, including the telecast on CBS's Playhouse 90 in 1958.

Grainger

Paraphrase on Tchaikovsky's Waltz of Flowers is a successful piano arrangement of one of the movements of The Nutcracker performed by pianist and composer Percy Grainger.

Pletniov

The pianist and conductor Mikhail Pletniov adapted some of the music to create a virtuoso concerto suite for solo piano, with the following structure:

a. March

b. Dance of the sugar fairy

c. Tarantella

d. Intermezzo

e. Russian Trepak

f. Chinese Dance

g. Come on.

Other arrangements

• In 1942 Freddy Martin and his orchestra recorded The Nutcracker Suite for Dance Orchestra in a set of four 10-inch and 78 RPM discs. It was a suite arrangement that oscillated between dance music and the jazzwhich was launched by RCA Victor.
• In December 1945, and again in 1971, the humorous version of Spike Jones was launched as part of the LP Spike Jones is Murdering the Classics (Spike Jones is killing classics). It is one of the few comic pop discs to be published in the prestigious RCA Red Seal label.
• In 1960 Duke Ellington and Billy Strayhorn composed some interpretations of jazz departing from pieces of the Chaikovski score, which were recorded and published in a LP entitled The Nutcracker Suite. In 1999 this suite was complemented with additional David Berger score arrangements for the disk The Harlem Nutcracker, a ballet production made by Donald Byrd set in the Harlem Renaissance.
• In 1960 Shorty Rogers edited The Swingin' Nutcrackerincluding interpretations of jazz of pieces of the Chaikovski score.
• In 1962 American poet and humorist Ogden Nash wrote some verses inspired by ballet, and these verses have sometimes been interpreted in the concert versions of the ballet Suite El cascanueces. Peter Ustinov was recorded reciting the verses and the music unchanged with respect to the original.
• In 1962 a new arrangement boogie-woogie for piano March entitled "Nut Rocker", was the simple number one in the United Kingdom and No. 21 in the United States. It was created by B. Bumble and the Stingers and produced by Kim Fowley, with the participation of Al Hazan session musicians on piano, Earl Palmer on the drum, Tommy Tedesco on guitar and Red Callender on bass. "Nut Rocker" was later versioned by many other artists such as The Shadows, Emerson, Lake & Palmer, The Ventures, Dropkick Murphys, The Brian Setzer Orchestra and Trans-Siberian Orchestra. The instrumental rock version of The Ventures, known as "Nutty", usually relates to the NHL team the Boston Bruins, as it was used as a tune in the television broadcasting of the Bruins parties for more than two decades since the late 1960s. In 2004 The Invincible Czars fixed and recorded the complete suite for group rockand interpret it annually.
• In 1981, the English composer Louis Clark made a popurri musical mix of the songs of this band, with the name Hooked on Tchaikovsky; in an arrangement played by the Royal Philharmonic Orchestra.
• In 1992 Los Angeles Guitar Quartet (LAGQ) recorded a suite arrangement for four acoustic guitars on their album Dances from Renaissance to Nutcracker In Delos.
• In 1996 the first album of Trans-Siberian Orchestra was published, Christmas Eve and Other Storieswhich includes an instrumental piece entitled "A Mad Russian's Christmas". It's a rock version of music. The cascanues.
• In 1997 Wolf Hoffmann, guitarist of the band Accept, in his album Classical makes his version of the Arab Dance.
• In 1998 the Shirim Klezmer orchestra published a version klezmer entitled Klezmer Nutcracker on the Newport seal. On this record, the production of Ellen Kushner entitled The Klezmer Nutcracker and represented on Broadway in New York in December 2008.
• In 2008 Christmas at the Devil's House launched a progressive metal / instrumental rock version of the Suite El cascanueces. Includes Miniature opening, March, Dance of the sugar fairy, Russian Dance, Chinese Dance, Arab Dance, Dance of the Mirlitons and Vals of flowers.
• In 2009 Pet Shop Boys used a melody of the Suite El cascanueces for your song "All Over the World" included in your album Yes.
• In 2010 the Belgian rapper Lunaman had a success with "Nutcracka" that included a melody of The cascanues as a song choir.
• In 2012 the jazz pianist Eyran Katsenelenbogen published his interpretations of the following pieces: Dance of the sugar fairy, Dance of the Mirlitons, Russian Dance and Vals of flowers of the Suite El cascanueces.
• In 2012 the Duo Symphonious recorded an extended version of the suite in an arrangement for two classic guitars in his debut album The Portable Nutcracker. Your version includes A pine forest in winter as well as the Pas de de deux complete.
• The Disco Biscuits, a # Philadelphia trance-ffusion has touched the Vals of flowers and the Dance of the sugar fairy on multiple occasions.

Gallery

• 

  Lydia Rubtsova (Marianna), Stanislava Belínskaya (Clara) and Vasili Stukolkin (Fritz) in original assembly, 1892.

• 

  Iván Vsévolozhsky costume design, 1892.

• 

  Costume design for Mother Gigogne and her polychinelas from Iván Vsévolozhsky, 1892.

• 

  Olga Preobrazhénskaya (Sugar Fair) and Nikolái Legat (Coqueluche Prince) in the Grand pas de de deux, c. 1900.

• 

  Mounting of the Ballets Russes of Monte-Carlo, 1940.

• 

  Vals of snowflakes, 1981.

• 

  Stas Kmiec interpreting Trepak (or Russian dance), 1985.

• 

  Miyako Yoshida and Steven McRae (prince), 2009.

• 

  Mounting in Kazan, 2012.