Like many, my journey into the enchanting world of Barbie movies began with a VHS tape. Encased in bubblegum-pink cellophane, it was Barbie and the Nutcracker (2001), a charming adaptation of Tchaikovsky’s timeless ballet. As a three-year-old, this movie was pure magic. Barbie, in motion-captured dance sequences from the New York City Ballet, twirled and glittered across the screen. Her meticulously animated white-blonde hair and Tchaikovsky’s magnificent score, performed by the London Symphony Orchestra, created a captivating experience. Countless afternoons were spent watching Barbie dance to Tchaikovsky in my pink nightgown.
Leading up to Greta Gerwig’s Barbie movie release, I’ve reflected on the profound impact these original Barbie movies had on my childhood. Mattel released seven Barbie films that incorporated classical music into their scores during my formative years. Barbie of Swan Lake (2003) revisited Tchaikovsky, offering a happier ending for Odette and her Prince. Then came Barbie and the Magic of Pegasus (2005), borrowing loosely from Béla Bartók’s Bluebeard’s Castle but thankfully not its darker themes. Despite questionable plot elements sometimes, the sheer beauty of Barbie ice skating to Beethoven’s Pastoral Symphony, along with pieces from Haydn, Prokofiev, and Grieg, was captivating.
Barbie as Rapunzel (2002) made powerful use of Antonin Dvořák’s Symphony No. 9, From the New World, for its dramatic moments. The symphony’s emotional range, from longing to intensity, was incredibly impactful, especially for a child. Hearing Dvořák’s Symphony No. 9 for the first time was a visceral experience, and revisiting it as an adult still brings that same thrill.
However, it was Barbie in the Twelve Dancing Princesses (2006) that truly cemented my love for a particular composer: Felix Mendelssohn. This movie is essentially a celebration of Mendelssohn’s music. His vibrant Italian Symphony forms the backbone of the score, complemented by selections from his A Midsummer Night’s Dream music. The second movement of his Reformation Symphony features in a key dance scene, forever linking it in my mind with pure joy. Interestingly, the movie’s main theme departs from Mendelssohn, borrowing its melody from the Siciliana in Ottorino Respighi’s Ancient Airs and Dances Suite No. 3. This melody was so enchanting it would keep me dancing long after the movie ended. For fans of Barbie movies, 12 Dancing Princesses stands out not just for its enchanting story, but for its exceptional musical score.
Talking with childhood friends recently, I discovered many shared this connection to classical music through these movies. One friend even booked a flight to hear the Seattle Symphony perform Dvořák for her birthday, placing From the New World on her playlist alongside contemporary tracks. Another friend and I excitedly realized that a favorite childhood tune from Barbie Movies 12 Dancing Princesses originated from 17th-century London, sparking a shared appreciation for folk music.
While the animation in these Barbie movies might seem dated now, their impact is undeniable. They introduced a generation to classical music, myself included, in a fun and accessible way. Discovering Tchaikovsky, Mendelssohn, and Dvořák in concert halls later in life was like reuniting with old friends, their music already imbued with magic thanks to Barbie. As children’s media evolves, I hope we continue to find innovative ways to bring the wonder of classical music to young audiences. And if it involves a bit of pink, even better!
