For nearly two hundred years, E. T. A. Hoffmann's tale of the Nutcracker has enchanted readers, inspired artists and composers, and delighted audiences around the world. In cities and towns everywhere, children thrill to annual performances of Tchaikovsky's classic Christmas ballet about a girl named Marie who helps a wooden nutcracker defeat an evil army of mice, and is rewarded by a visit to the magical dream world, the Land of Toys. Lisbeth Zwerger's stunning, all-new interpretation of ""The Nutcracker, adapted from the original Hoffmann tale, rounds out the story depicted in the ballet, exploring the background of the feud between the Nutcracker and the seven-headed Mouse King, the true role of the mysterious Drosselmeier, the tragic fate of Princess Pirlipat, the spell cast by Mistress Mousie that is finally broken by loyal Marie, and the satisfying, happily-ever-after conclusion to the great battle and fantastic journey. In pictures filled with wit and whimsy, drama, mystery, and magic, Lisbeth Zwerger transports us to the darkest reaches and brightest beauty of this fairy-tale world.
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Lisbeth Zwerger was born in Vienna, where she later studied at the Academy of Art. Internationally renowned as one of the finest contemporary illustrators of children's literature, Zwerger chose ""The Gift of the Magi"" as the first American story she illustrated.
Reviewed with Hans Christian Andersen's The Little Mermaid.
Gr. 3-5. Artist Zwerger expands her repertoire of beguilingly illustrated tales by two, both of which contain surprises for readers primarily familiar with popular film or stage versions. Mermaid reinstates the tragic ending and spiritual-mystical components abandoned by Disney; nutcracker, though condensed by adaptor Susanne Koppe, preserves the Mouse King's seven heads and devotes a good chunk of the narrative (as in Hoffman's original) to the story-within-a-story starring Princess Pirlipat. The hypnotic, even slightly chilly, sensibility that pervades Zwerger's work seems a more logical accompaniment to the poignant Mermaid than to nutcracker, whose spirited fantasy seems somehow dampened by the artist's penchant for quiet, dimly lit scenes and slightly arcane imagery. Zwerger first illustrated The Nutcracker and the Mouse King in 1979, but has created entirely new paintings this time around, which will compete for balletomanes' attention with Sendak's lengthier, more rambunctious 1981 treatment. These renditions of cherished stories will prove useful in the coming months, as the 200th anniversary of Andersen's birth approaches and as ballet companies commence their annual march to the Kingdom of Sweets. Jennifer Mattson
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