Prokofiev's Romeo and Juliet and Cinderella.
Swan Lake, Sleeping Beauty plus ballets mentioned by Andrew.
Andrew, I've studied ballet for many years and have gone to many performances - and have often thought about the "music makers" - could you tell us what it's like to play for the ballet - thanks
I played in a "regular" symphony orchestra for 17 years before I switched to my current gig. My old colleagues generally thought I was insane, i.e. giving up being in the spotlight and descending into the pit, and fulfilling what is generally considered to be be a supporting role.
I've never given that a second thought, perhaps because I've played everything from the standard symphonic repertoire multiple times over the years. I don't think I've missed out on anything.
The music my orchestra plays stretches from the glorious (Tchaikovsky and Prokofiev ballets, Stravinsky/Balanchine) to the less exalted (Minkus, Delibes, Adam) to the dreary. Many modern ballet scores are grab-bags of movements from various sources. Certain pieces turn up disconcertingly often in works of various choreographers.
One thing that did surprise me when I was new on the job was that there is next to no interaction between the dancers and the musicians. Could just be where I work, but I have often wondered if it's the same elsewhere.