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Diana and Acteon Pas de Deux: Full Orchestra, Conductor Score & Parts

$125.00 USD

Diana and Acteon Pas de Deux: Full Orchestra, Conductor Score & Parts

Name: Diana and Acteon Pas de Deux: Full Orchestra, Conductor Score & Parts
Brand: Alfred Music
SKU: 36-A888302
Price: 125.00 USD
Availability: InStock

By Riccardo Drigo, ed./arr. by William McDermott

Item: 36-A888302

$125.00

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The history behind the composition and implementation of the Diane et Actéon Pas de Deux can be confusing. The first version of this pas, with music by Riccardo Drigo (1846-1930), appears to have been used in the 1891 Marius Petipa revival of Le Roi Candaule (Tsar Kandavl), a ballet originally written in 1868. Drigo was asked to compose additional music to the add to the original score by Cesare Pugni, although this original version was titled as Pas de Diane and was originally a pas de trois. Alternatively, it is also thought that Drigo's Pas de Deux was written for inclusion as additional music in an 1886 Petipa revival of Pugni's La Esmeralda, though many consider this history to be erroneous. Whether it was written for Petipa revivals of one ballet or the other, it is certain that Agrippina Vaganova made this divertissement famous in her 1935 revival of La Esmeralda, and this is the version known today, which abandons much of the original mythological story. Where the original story has Actéon (Actaeon) accidentally discovering the goddess Diana (Diane) bathing at a pool, after which an enraged Diana turns the Greek hunter into a stag to have his own hunting dogs rip to pieces. In Vaganova's version, the pas is more of a rapturous dance between two lovers. This excerpt remains very popular on the international stage still today. Instrumentation: 2.2.2.2: 4.2.3.0: Timp.Perc(1): Hp: Str (4-4-3-3-3).

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Series: Kalmus Ballet Library

Publisher: Keiser Productions, Inc.

UPC: 659359775246

SKU: 36-A888302

Instrumentation: 2.2.2.2: 4.2.3.0: Timp.Perc(1): Hp: Str (4-4-3-3-3)

More about this title

About the Composer: Riccardo Drigo

Riccardo Drigo (1846-1930) was the principal composer and later conductor of the Imperial Ballet at the Mariinsky Theatre in St. Petersburg during the height of the Russian Imperial Ballet era. He wrote the scores for numerous ballets choreographed by Marius Petipa and became known for his gift for melody and orchestral color, crafting music that complemented Petipa's intricate choreography without overshadowing the dancers.

Drigo's prolific output includes full-length ballets, divertissements, and variations that remain central to classical ballet repertoire today. His work bridges the Romantic and early Modern periods in ballet music, and conductors value his orchestrations for their clarity, balance, and direct appeal to audiences.

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Why we love this

This pas de deux sits at the intersection of ballet history and orchestral craftsmanship. The orchestration sparkles with the delicacy of the Romantic period yet commands a full ensemble, making it ideal for conductors seeking repertoire that engages every section while remaining musically coherent and tuneful. For orchestras with ballet programs or classical concert series, this excerpt delivers immediate appeal without excessive technical demands on individual players.

What to expect

The music captures a moment of rapture and elegance, unfolding with the grace of classical ballet choreography. Lyrical melodies float above shimmering accompaniments, evoking the aesthetic of 19th-century Imperial Russia where precision and romance intertwine without sentimentality.

Who it's for

Orchestras and conductors programming classical ballet excerpts, concert galas, or pops-style classical music events. This pas de deux also works well for educational orchestras strong enough to handle full instrumentation and seeking Romantic-era repertoire with clear dramatic shape and narrative appeal.

How to get the most out of it

Balance the melody between first violins and woodwinds, particularly the flute, to preserve the gossamer quality of the opening despite full orchestration.
Shape phrases with the dancers in mind; clarity of phrasing matters more than dramatic swells in this ballet context.
Maintain rhythmic precision in the accompaniment figures, as any softness in ensemble articulation will muddy the delicate lines.
Use the harp judiciously to color transitions without becoming overly prominent; it should shimmer, not dominate.

How to use it

Program this as part of a classical ballet gala or an evening devoted to Romantic-era orchestral music. It pairs naturally with other Drigo excerpts or divertissements from the same era, or stand alone as an intermission piece that showcases orchestral color without requiring extensive rehearsal time. The excerpt's moderate length and clear structure make it suitable for both professional and advanced amateur ensembles.