The Nutcracker

After the success of The Sleeping Beauty in 1890, Ivan Vsevolozhsky, the director of the Imperial Theatres, commissioned Tchaikovsky to compose a double-bill program featuring both an opera and a ballet. The opera would be Iolanta. For the ballet, Tchaikovsky would again join forces with Marius Petipa, with whom he had collaborated on The Sleeping Beauty. The material Vsevolozhsky chose was an adaptation of E. T. A. Hoffmann's story "The Nutcracker and the Mouse King", by Alexandre Dumas called "The Story of a Nutcracker". 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 story within its main plot titled "The Tale of the Hard Nut", which explains how the Prince was turned into the Nutcracker. This had to be excised for the ballet. Petipa gave Tchaikovsky extremely detailed instructions for the composition of each number, down to the tempo and number of bars. Tchaikovsky composed parts of The Nutcracker in Rouen, France. ==History==

Saint Petersburg premiere as the Cavalier, in a later performance in the original run of The Nutcracker, 1892 The first performance of the ballet was held as a double premiere together with Tchaikovsky's last opera, Iolanta, on , at the Imperial Mariinsky Theatre in Saint Petersburg, Russia. Although the libretto was by Marius Petipa, who exactly choreographed the first production has been debated. Petipa began work on the choreography in August 1892; however, illness removed him from its completion and his assistant of seven years, Lev Ivanov, was brought in. Although Ivanov is often credited as the choreographer, some contemporary accounts credit Petipa. The performance was conducted by Italian composer 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 Timofey Stukolkin as Drosselmeyer. Unlike in many later productions, the children's roles were performed by real children – students of the Imperial Ballet School in Saint Petersburg, with Belinskaya as Clara, and Vassily Stukolkin as Fritz – rather than adults. The first performance of The Nutcracker was not deemed a success. The reaction to the dancers themselves was ambivalent. Although some critics praised Dell'Era on her pointework as the Sugar Plum Fairy (she allegedly received five curtain-calls), one critic called her "corpulent" and "podgy". Olga Preobrajenskaya as the Columbine doll was panned by one critic as "completely insipid" and praised as "charming" by another. Alexandre Benois described the choreography of the battle scene as confusing: "One can not understand anything. Disorderly pushing about from corner to corner and running backwards and forwards – quite amateurish." and for not being faithful to the Hoffmann tale. Much of the criticism focused on the featuring of children so prominently in the ballet, and many bemoaned 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 nearly midnight during the program). Subsequent productions as the Sugar Plum Fairy and Nikolai Legat as Prince Coqueluche in the Grand pas de deux in the original production of The Nutcracker. Imperial Mariinsky Theatre, Saint Petersburg, In 1919, choreographer Alexander Gorsky staged a production which eliminated the Sugar Plum Fairy and her Cavalier and gave their dances to Clara and the Nutcracker Prince, who were played by adults instead of children. This was the first production to do so. An abridged version of the ballet was first performed outside Russia in Budapest (Royal Opera House) in 1927, with choreography by Ede Brada. In 1934, choreographer Vasili Vainonen staged a version of the work that addressed many of the criticisms of the original 1892 production by casting adult dancers in the roles of Clara and the Prince, as Gorsky had. The Vainonen version influenced several later productions. Another abridged version of the ballet, performed by the Ballet Russe de Monte Carlo, was staged in New York City in 1940, Alexandra Fedorova – again, after Petipa's version. The New York City Ballet gave its first annual performance of George Balanchine's reworked staging of The Nutcracker in 1954. Since Gorsky, Vainonen and Balanchine's productions, many other choreographers have made their own versions. Some institute the changes made by Gorsky and Vainonen while others, like Balanchine, utilize the original libretto. Some notable productions include Rudolf Nureyev's 1963 production for the Royal Ballet, Yury Grigorovich for the Bolshoi Ballet, Mikhail Baryshnikov for the American Ballet Theatre, Fernand Nault for Les Grands Ballets Canadiens starting in 1964, Kent Stowell for Pacific Northwest Ballet starting in 1983, and Peter Wright for the Royal Ballet and the Birmingham Royal Ballet. In recent years, revisionist productions, including those by Mark Morris, Matthew Bourne, and Mikhail Chemiakin have appeared; these depart radically from both the original 1892 libretto and Vainonen's revival, while Maurice Béjart's version completely discards the original plot and characters. In addition to annual live stagings of the work, many productions have also been televised or released on home video. ==Roles==

The following extrapolation of the characters (in order of appearance) is drawn from an examination of the stage directions in the score. Act I Act II == Plot ==

Below is a synopsis based on the original 1892 libretto by Marius Petipa. The story varies from production to production, though most follow the basic outline. The names of the characters also vary. In the original Hoffmann story, the young heroine is called Marie Stahlbaum and Clara (Klärchen) is her doll's name. In the adaptation by Dumas on which Petipa based his libretto, her name is Marie Silberhaus. presents are given out to the children. When the owl-topped grandfather clock strikes eight, a mysterious figure enters the room. It is Drosselmeyer—a councilman, magician, and Clara's godfather. He is also a talented toymaker who has brought with him gifts for the children, including four lifelike dolls who dance to the delight of all. He then has them put away for safekeeping. Clara and her brother Fritz are sad to see the dolls being taken away, but Drosselmeyer has yet another toy for them: a wooden nutcracker doll, which the other children ignore. Clara immediately takes a liking to it, but Fritz accidentally breaks it. Clara is heartbroken, but Drosselmeyer fixes the nutcracker, much to everyone's relief. During the night, after everyone else has gone to bed, Clara returns to the parlor to check on the nutcracker. As she reaches the small bed, the clock strikes midnight and she looks up to see Drosselmeyer perched atop it. Suddenly, mice begin to fill the room and the Christmas tree begins to grow to dizzying heights. The nutcracker also grows to life size. Clara finds herself in the midst of a battle between an army of gingerbread soldiers and the mice, led by their king. The nutcracker appears to lead the gingerbread men, who are joined by tin soldiers, and by dolls who serve as doctors to carry away the wounded. As the seven-headed Mouse King advances on the still-wounded nutcracker, Clara throws her slipper at him, distracting him long enough for the nutcracker to stab him. Scene 2: A Pine Forest The mice retreat and the nutcracker is transformed into a human prince. He leads Clara through the moonlit night to a pine forest in which the snowflakes dance around them, beckoning them on to his kingdom as the first act ends. Act II The Land of Sweets Clara and the Prince travel to the beautiful Land of Sweets, ruled by the Sugar Plum Fairy in the Prince's place until his return. He recounts for her how he had been saved from the Mouse King by Clara and transformed back into himself. In honor of the young heroine, a celebration of sweets from around the world is produced: chocolate from Spain, coffee from Arabia, tea from China, and candy canes from Russia all dance for their amusement; Marzipan shepherdesses perform on their flutes; Mother Ginger has her children, the Polichinelles, emerge from under her enormous hoop skirt to dance; a string of beautiful flowers performs a waltz. To conclude the night, the Sugar Plum Fairy and her Cavalier perform a dance. A final waltz is performed by all the sweets, after which the Sugar Plum Fairy ushers Clara and the Prince down from their throne. He bows to her, she kisses Clara goodbye, and leads them to a reindeer-drawn sleigh. It takes off as they wave goodbye to all the subjects who wave back. In the original libretto, the ballet's apotheosis "represents a large beehive with flying bees, closely guarding their riches". Just like Swan Lake, there have been various alternative endings created in productions subsequent to the original. In Alexander Gorsky’s version and in later productions that follow its structure, the ballet concludes with Clara awakening beside her Nutcracker soldier and performing a dance in remembrance of the dream that carried her into a world filled with fantastic adventures. ==Musical sources and influences==

The Nutcracker is one of the composer's most popular compositions. The music belongs to the Romantic period and contains some of his most memorable melodies, several of which are frequently used in television and film. (They are often heard in TV commercials shown during the Christmas season.) Tchaikovsky is said to have argued with a friend who wagered that the composer could not write a melody based on a one-octave scale in sequence. Tchaikovsky asked if it mattered whether the notes were in ascending or descending order and was assured it did not. This resulted in the Adagio from the , which, in the ballet, nearly always immediately follows the "Waltz of the Flowers". A story is also told that Tchaikovsky's sister Alexandra (9 January 1842 – 9 April 1891) had died shortly before he began composition of the ballet and that his sister's death influenced him to compose a melancholy, descending scale melody for the adagio of the Grand Pas de Deux. However, it is more naturally perceived as a dreams-come-true theme because of another celebrated scale use, the ascending one in the Barcarolle from The Seasons. Tchaikovsky was less satisfied with The Nutcracker than with The Sleeping Beauty. (In the film Fantasia, commentator Deems Taylor observes that he "really detested" the score.) Tchaikovsky accepted the commission from Vsevolozhsky but did not particularly want to write the ballet (though he did write to a friend while composing it, "I am daily becoming more and more attuned to my task"). ==Instrumentation==

The music is written for an orchestra with the following instrumentation. Woodwinds : 3 flutes (2nd and 3rd doubling on piccolo) : 2 oboes : 1 cor anglais : 2 clarinets in B and A : 1 bass clarinet in B : 2 bassoons Brass : 4 French horns in F : 2 trumpets in A and B : 2 tenor trombones : 1 bass trombone : 1 tuba Percussion : Timpani : Snare drum : Cymbals : Bass drum : Triangle : Tambourine : Castanets : Tam-tam : Glockenspiel : Keyboard : Celesta Voice : Soprano and alto chorus Strings : 2 harps : Violin I : Violin II : Viola : Violoncello : Double bass ==Musical scenes==

From the Imperial Ballet's 1892 program Titles of all of the numbers listed here come from Marius Petipa's original scenario as well as the original libretto and programs of the first production of 1892. All libretti and programs of works performed on the stages of the Imperial Theatres were titled in French, which was the official language of the Imperial Court, as well as the language from which balletic terminology is derived. Casse-Noisette. Ballet-féerie in two acts and three tableaux with apotheosis. Act I • Petite ouverture • Scène: Une fête de Noël • Marche et petit galop des enfants • Danse des incroyables et merveilleuses • Entrée de Drosselmeyer • Danses des poupées mécaniques— • Le Casse-Noisette—Polka et la berceuse • Danse "Großvater" • Grand scène fantastique: la métamorphose du salon • La bataille de Casse-Noisette et du Roi des souris • Le voyage • Valse des flocons de neige Act II • Grand divertissement—{{block indent|1={{ordered list|start=14 • Pas de deux— • Coda générale • Apothéose: Une ruche Structure List of acts, scenes (tableaux) and musical numbers, along with tempo indications. Numbers are given according to the original Russian and French titles of the first edition score (1892), the piano reduction score by Sergei Taneyev (1892), both published by P. Jurgenson in Moscow, and the Soviet collected edition of the composer's works, as reprinted Melville, New York: Belwin Mills [n.d.] ==Concert excerpts and arrangements==

Tchaikovsky: The Nutcracker Suite, Op. 71a conducted by Tchaikovsky made a selection of eight of the numbers from the ballet before the ballet's December 1892 première, forming The Nutcracker Suite, Op. 71a, intended for concert performance. The suite was first performed, under the composer's direction, on 19 March 1892 at an assembly of the Saint Petersburg branch of the Musical Society. The suite became instantly popular, with almost every number encored at its premiere, while the complete ballet did not begin to achieve its great popularity until after the George Balanchine staging became a hit in New York City. The suite became very popular on the concert stage, and was excerpted in Disney's Fantasia, omitting the Miniature Overture and the March. The outline below represents the selection and sequence of the Nutcracker Suite made by the composer: Grainger: ''Paraphrase on Tchaikovsky's Flower Waltz'', for solo piano The ''Paraphrase on Tchaikovsky's Flower Waltz is a successful piano arrangement from one of the movements from The Nutcracker'' by the pianist and composer Percy Grainger. Pletnev: Concert suite from The Nutcracker, for solo piano The pianist and conductor Mikhail Pletnev adapted some of the music into a virtuosic concert suite for piano solo: Contemporary arrangements • In 1942, Freddy Martin and his orchestra recorded The Nutcracker Suite for Dance Orchestra on a set of 4 10-inch 78-RPM records issued by RCA Victor. An arrangement of the suite that lay between dance music and jazz. • In 1947, Fred Waring and His Pennsylvanians recorded "The Nutcracker Suite" on a two-part Decca Records 12-inch 78 RPM record with one part on each side as Decca DU 90022, packaged in a picture sleeve. This version had custom lyrics written for Waring's chorus by, among others, Waring himself. The arrangements were by Harry Simeone. • In 1952, the Les Brown big band recorded a version of the Nutcracker Suite, arranged by Frank Comstock, for Coral Records. Brown rerecorded the arrangement in stereo for his 1958 Capitol Records album Concert Modern. • In 1960, Duke Ellington and Billy Strayhorn composed jazz interpretations of pieces from Tchaikovsky's score, recorded and released on LP as The Nutcracker Suite. In 1999, this suite was supplemented with additional arrangements from the score by David Berger for The Harlem Nutcracker, a production of the ballet by choreographer Donald Byrd (born 1949) set during the Harlem Renaissance. • In 1960, Shorty Rogers released ''The Swingin' Nutcracker'', featuring jazz interpretations of pieces from Tchaikovsky's score. • In 1962, American poet and humorist Ogden Nash wrote verses inspired by the ballet, and these verses have sometimes been performed in concert versions of the Nutcracker Suite. It has been recorded with Peter Ustinov reciting the verses, and the music is unchanged from the original. • In 1962 a novelty boogie piano arrangement of the "Marche", titled "Nut Rocker", was a No. 1 single in the UK, and No. 21 in the US. Credited to B. Bumble and the Stingers, it was produced by Kim Fowley and featured studio musicians Al Hazan (piano), Earl Palmer (drums), Tommy Tedesco (guitar) and Red Callender (bass). "Nut Rocker" has subsequently been covered by many others including The Shadows, Emerson, Lake & Palmer, The Ventures, Dropkick Murphys, The Brian Setzer Orchestra, and the Trans-Siberian Orchestra. The Ventures' own instrumental rock cover of "Nut Rocker", known as "Nutty", is commonly connected to the NHL team, the Boston Bruins, from being used as the theme for the Bruins' telecast games for over two decades, from the late 1960s. In 2004, The Invincible Czars arranged, recorded, and now annually perform the entire suite for rock band. • The Trans-Siberian Orchestra's first album, Christmas Eve and Other Stories, includes an instrumental piece titled "A Mad Russian's Christmas", which is a rock version of music from The Nutcracker. • On the other end of the scale is the comedic version by Spike Jones and his City Slickers released by RCA Victor in December 1945 as "Spike Jones presents for the Kiddies: The Nutcracker Suite (With Apologies to Tchaikovsky)", featuring humorous lyrics by Foster Carling and additional music by Joe "Country" Washburne. This version was also released in 1949 as a three-record 45 RPM box set and in 1952 on a single 45 RPM extended play record with a total running time of 15:48 for the two sides. An abridged and resequenced version of this recording was issued in 1971 on the LP album Spike Jones is Murdering the Classics, one of the rare comedic pop records to be issued on the prestigious RCA Red Seal label. • International choreographer Val Caniparoli has created several versions of The Nutcracker ballet for Louisville Ballet, Cincinnati Ballet, Royal New Zealand Ballet, and Grand Rapids Ballet. While his ballets remain classically rooted, he has contemporarized them with changes such as making Marie an adult instead of a child, or having Drosselmeir emerges through the clock face during the overture making "him more humorous and mischievous." Caniparoli has been influenced by his simultaneous career as a dancer, having joined San Francisco Ballet in 1971 and performing as Drosselmeir and other various Nutcracker roles ever since that time. • The Disco Biscuits, a trance-fusion jam band from Philadelphia, have performed "Waltz of the Flowers" and "Dance of the Sugar Plum Fairy" on multiple occasions. • The Los Angeles Guitar Quartet (LAGQ) recorded the Suite arranged for four acoustic guitars on their CD recording Dances from Renaissance to Nutcracker (1992, Delos). • In 1993, guitarist Tim Sparks recorded his arrangements for acoustic guitar on The Nutcracker Suite. • The Shirim Klezmer Orchestra released a klezmer version, titled "Klezmer Nutcracker", in 1998 on the Newport label. The album became the basis for a December 2008 production by Ellen Kushner, titled The Klezmer Nutcracker and staged off-Broadway in New York City. • In 2002, The Constructus Corporation used the melody of Sugar Plum Fairy for their track "Choose Your Own Adventure". • In 2009, Pet Shop Boys used a melody from "March" for their track "All Over the World", taken from their album Yes. • In 2012, jazz pianist Eyran Katsenelenbogen released his renditions of Dance of the Sugar Plum Fairy, Dance of the Reed Flutes, Russian Dance and Waltz of the Flowers from the Nutcracker Suite. • In 2014, Pentatonix released an a cappella arrangement of "Dance of the Sugar Plum Fairy" on the holiday album ''That's Christmas to Me'' and received a Grammy Award on 16 February 2016 for best arrangement. • In 2016, Jennifer Thomas included an instrumental version of "Dance of the Sugar Plum Fairy" on her album Winter Symphony. • In 2017, Lindsey Stirling released her version of "Dance of the Sugar Plum Fairy" on her holiday album Warmer in the Winter. • In 2018, Pentatonix released an a cappella arrangement of "Waltz of the Flowers" on the holiday album Christmas Is Here!. • In 2019, Madonna sampled a portion on her song "Dark Ballet" from her Madame X album. • In 2019, Mariah Carey released a normal and an a cappella version of "Dance of the Sugar Plum Fairy" entitled the "Sugar Plum Fairy Introlude" to open and close her 25th Deluxe Anniversary Edition of Merry Christmas. • In 2020, Coone made a hardstyle cover version titled "The Nutcracker". ==Selected discography==

The Nutcracker made its initial appearance on disc in 1909 in an abridged performance on the Odeon label. Historically, this four-disc set is considered to be the first record album. The recording was conducted by Herman Finck and featured the London Palace Orchestra. It was not until after the modern LP record appeared in 1948 that recordings of the complete ballet began to be made. Because of the ballet's approximate ninety minute length when performed without intermission, applause, or interpolated numbers, the music requires two LPs. Most CD issues of the music take up two discs, often with fillers. An exception is the 81-minute 1998 Philips recording by Valery Gergiev that fits onto one CD because of Gergiev's somewhat brisker tempi. • In 1954, the first complete recording of the ballet was released on two LPs by Mercury Records. The cover design was by George Maas with illustrations by Dorothy Maas. The music was performed by the Minneapolis Symphony Orchestra, conducted by Antal Doráti. Doráti later re-recorded the complete ballet in stereo, with the London Symphony Orchestra in 1962 for Mercury and with the Amsterdam Concertgebouw Orchestra in 1975 for Philips Classics. According to Mercury Records, the 1962 recording was made on 35mm magnetic film rather than audio tape, and used album cover art identical to that of the 1954 recording. Doráti is the only conductor so far to have made three different recordings of the complete ballet. Some critics have cited the 1975 recording as the finest ever made of the complete ballet. It is also faithful to the score in employing a boys' choir in the Waltz of the Snowflakes. Many other recordings use an adult or mixed choir. • In 1956, Artur Rodziński and the Royal Philharmonic Orchestra made a complete recording of the ballet in stereo for Westminster Records. • In 1959, the first stereo LP album set of the complete ballet, with Ernest Ansermet conducting the Orchestre de la Suisse Romande, appeared on Decca Records in the UK and London Records in the US. • The first complete stereo Nutcracker with a Russian conductor and a Russian orchestra appeared in 1960, when Gennady Rozhdestvensky's recording with the Bolshoi Theatre Orchestra, was issued first in the Soviet Union on the Melodiya label, then imported to the U.S. by Columbia Masterworks. It was also Columbia Masterworks' first complete Nutcracker. With the advent of the stereo LP coinciding with the growing popularity of the complete ballet, many other complete recordings have been made. Notable conductors who have done so include Maurice Abravanel, André Previn, Michael Tilson Thomas, Mariss Jansons, Seiji Ozawa, Richard Bonynge, Semyon Bychkov, Alexander Vedernikov, Ondrej Lenard, Mikhail Pletnev, and Simon Rattle. • The soundtrack of the 1977 television production with Mikhail Baryshnikov and Gelsey Kirkland, featuring the National Philharmonic Orchestra conducted by Kenneth Schermerhorn, was issued in stereo on a Columbia Masterworks 2 LP-set, but has not appeared on CD. The LP soundtrack recording was, for a time, the only stereo version of the Baryshnikov Nutcracker available, since the performance was originally telecast in monophonic sound. The DVD of the performance is in stereo. • The first complete recording of the ballet in digital stereo was issued in 1985, by RCA Red Seal featuring Leonard Slatkin conducting the St. Louis Symphony Orchestra. RCA later reissued the recording in a multi-CD set containing complete recordings of Tchaikovsky's two other ballets, Swan Lake and The Sleeping Beauty. There have been two major theatrical film versions of the ballet, and both have corresponding soundtrack albums. • The first theatrical film adaptation, made in 1985, is of the Pacific Northwest Ballet version, and was conducted by Sir Charles Mackerras. The music is played in this production by the London Symphony Orchestra. The film was directed by Carroll Ballard, who had never before directed a ballet film (and has not done so since). Patricia Barker played Clara in the fantasy sequences, and Vanessa Sharp played her in the Christmas party scene. Wade Walthall was the Nutcracker Prince. • The second film adaptation was a 1993 film of the New York City Ballet version, titled ''George Balanchine's The Nutcracker, with David Zinman conducting the New York City Ballet Orchestra. The director was Emile Ardolino, who had won the Emmy, Obie, and Academy Awards for filming dance, and was to die of AIDS later that year. Principal dancers included the Balanchine muse Darci Kistler, who played the Sugar Plum Fairy, Heather Watts, Damian Woetzel, and Kyra Nichols. Two well-known actors also took part: Macaulay Culkin appeared as the Nutcracker/Prince, and Kevin Kline served as the offscreen narrator. The soundtrack features the interpolated number from The Sleeping Beauty'' that Balanchine used in the production, and the music is heard on the album in the order that it appears in the film, not in the order that it appears in the original ballet. • Notable albums of excerpts from the ballet, rather than just the usual Nutcracker Suite, were recorded by Eugene Ormandy conducting the Philadelphia Orchestra for Columbia Masterworks, and Fritz Reiner and the Chicago Symphony Orchestra for RCA Victor. Arthur Fiedler and the Boston Pops Orchestra (for RCA Victor), as well as Erich Kunzel and the Cincinnati Pops Orchestra (for Telarc) have also recorded albums of extended excerpts. The original issue of Michael Tilson Thomas's version with the Philharmonia Orchestra on CBS Masterworks was complete; the currently available edition is abridged. Ormandy, Reiner and Fiedler never recorded a complete version of the ballet; however, Kunzel's album of excerpts runs 73 minutes, containing more than two-thirds of the music. Conductor Neeme Järvi has recorded act 2 of the ballet complete, along with excerpts from Swan Lake. The music is played by the Royal Scottish National Orchestra. • Many famous conductors of the twentieth century made recordings of the suite, but not of the complete ballet. These include Arturo Toscanini, Sir Thomas Beecham, Claudio Abbado, Leonard Bernstein, Herbert von Karajan, James Levine, Sir Neville Marriner, Robert Shaw, Mstislav Rostropovich, Sir Georg Solti, Leopold Stokowski, Zubin Mehta, and John Williams. • In 2007, Josh Perschbacher recorded an organ transcription of the Nutcracker Suite. ==Ethnic stereotypes and cultural misattribution==

In the United States, commentary emerged in the 2010s about the Chinese and Arabian characteristic dances. In a 2014 article titled "Sorry, 'The Nutcracker' Is Racist", writer Alice Robb panned the typical choreography of the Chinese dance as white people wearing "harem pants and a straw hat, eyes painted to look slanted" and "wearing chopsticks in their black wigs"; the Arabian dance, she said, has a woman who "slinks around the stage in a belly shirt, bells attached to her ankles". Some people who have performed in productions of the ballet do not see a problem because they are continuing what is viewed as "a tradition". According to George Balanchine, the Arabian dance was a sensuous belly dance intended for the fathers, not the children. Among the attempts to change the dances in the United States were Austin McCormick making the Arabian dance into a pole dance, and San Francisco Ballet and Virginia Ballet Company & School changing the Chinese dance to a dragon dance. The Nutcrackers "Arabian" dance is in fact an embellished, exotified version of a traditional Georgian lullaby, with no genuine connection to the Arab culture. Alastair Macaulay of The New York Times defended Tchaikovsky, saying he "never intended his Chinese and Arabian music to be ethnographically correct". He said, "their extraordinary color and energy are far from condescending, and they make the world of 'The Nutcracker' larger." He argued that to change anything is to "unbalance The Nutcracker" with music the author did not write, as if there were stereotypes, Tchaikovsky also used them in representing his own country of Russia. ==In popular culture==

Television • The 2015 Canadian television film The Curse of Clara: A Holiday Tale, based on an autobiographical short story by onetime Canadian ballet student Vickie Fagan, centres on a young ballet student preparing to dance the role of Clara in a production of The Nutcracker. Children's recordings There have been several recorded children's adaptations of the E. T. A. Hoffmann story (the basis for the ballet) using Tchaikovsky's music, some quite faithful, some not. One that was not was a version titled The Nutcracker Suite for Children, narrated by Metropolitan Opera announcer Milton Cross, which used a two-piano arrangement of the music. It was released as a 78-RPM album set in the 1940s. A later version, titled The Nutcracker Suite, starred Denise Bryer and a full cast, was released in the 1960s on LP and made use of Tchaikovsky's music in the original orchestral arrangements. It was quite faithful to Hoffmann's story The Nutcracker and the Mouse King, on which the ballet is based, even to the point of including the section in which Clara cuts her arm on the glass toy cabinet, and also mentioning that she married the Prince at the end. It also included a less gruesome version of "The Tale of the Hard Nut", the tale-within-a-tale in Hoffmann's story. It was released as part of the Tale Spinners for Children series. Spike Jones produced a 78 rpm record set "Spike Jones presents for the kiddies The Nutcracker Suite (with Apologies to Tchaikovsky)" in 1944. It includes the tracks "The Little Girl's Dream", "Land of the Sugar Plum Fairy", "The Fairy Ball", "The Mysterious Room", "Back to the Fairy Ball" and "End of the Little Girl's Dream". It includes additional choruses and some swing music. Journalism • In 2009, Pulitzer Prize–winning dance critic Sarah Kaufman wrote a series of articles for The Washington Post criticizing the primacy of The Nutcracker in the American repertory for stunting the creative evolution of ballet in the United States: • In 2010, Alastair Macaulay, dance critic for The New York Times (who had previously taken Kaufman to task for her criticism of The Nutcracker) began The Nutcracker Chronicles, a series of blog articles documenting his travels across the United States to see different productions of the ballet. • In 2014, Ellen O'Connell, who trained with the Royal Ballet in London, wrote, in Salon (website), on the darker side of The Nutcracker story. In E. T. A. Hoffmann's original story, the Nutcracker and Mouse King, Marie's (Clara's), journey becomes a fevered delirium that transports her to a land where she sees sparkling Christmas Forests and Marzipan Castles, but in a world populated with dolls. Hoffmann's tales were so bizarre, Sigmund Freud wrote about them in The Uncanny. ==See also==