Alexander Glazunov:
Raymonda, suite from the ballet, Op. 57a (with Score)
Composed: 1898
Conductor: José Serebrier
Orchestra: Royal Scottish National Orchestra

00:00 1a. Moderato (E-flat major)
02:15 1b. Lento maestoso (E-flat major)
06:33 2. La traditore. Moderato (G major)
08:13 3. Moderato (B-flat major) - Entrée de Raymonda. Allegro giocoso (A major)
10:17 4. Andante (E major)
11:21 4a. Prélude et la Romanesca. Moderato (E minor)
13:29 4b. Prélude et variation. Allegretto (C major)
14:50 5. Entr'acte. Andante sostenuto (D-flat major)
19:32 6. Valse fantastique. Allegretto (F major)
23:41 7. Grand pas d'action. Grand Adagio. Andante (A major)
28:36 8. Variation IV (Raymonda). Allegretto (F major)
29:41 9a. Danse des garçons Arabes. Vivace (D major)
30:34 9b. Entrée des Sarrazins. Presto (G minor)
31:23 10. Entre-acte. Allegro moderato (E-flat major)

Raymonda (Russian: Раймонда) is a ballet in three acts, four scenes with an apotheosis, choreographed by Marius Petipa to music by Alexander Glazunov, his Opus 57. It was first presented by the Imperial Ballet at the Imperial Mariinsky Theatre on 19 January [O.S. 7 January] 1898 in Saint Petersburg, Russia. The ballet was created especially for the benefit performance of the Italian ballerina Pierina Legnani, who created the title role. Among the ballet's most celebrated passages is the Pas classique hongrois (a.k.a. Raymonda Pas de dix) from the third act, which is often performed independently.

Today Raymonda is performed by many ballet companies throughout the world with choreography that is derived primarily from the Kirov Ballet's 1948 revival as staged by Konstantin Sergeyev. Sergeyev greatly altered, and in some cases changed entirely, Marius Petipa's choreography, particularly in the dances for the corps de ballet. The choreography as revised by Sergeyev remains the traditional text for most of the world's productions of Raymonda, among them Rudolf Nureyev's version for the Paris Opéra Ballet and Anna-Marie Holmes's version for American Ballet Theatre, respectively.

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