| abstract | - Swan Lake is a ballet by Pyotr Ilyich Tchaikovsky, his Opus 20. It tells the story of a prince who falls in love with a princess, Odette. She has been placed under an enchantment by the evil sorcerer Von Rothbart, and consequently is a swan by day and a human at night. To lift the spell, a human prince must pledge his love for her; to break the sorcerer's power completely, someone must die for her. The prince attends a ball, where the sorcerer disguises his daughter, Odile, to look like Odette. The confused prince declares his intention to marry Odile, and then is made to realize that she is not Odette. The ending of the ballet varies from production to production; several recent versions end with Odette condemned to live as a swan and the Prince grieving. The dual roles of Odette and Odile are danced by the same ballerina.
- Swan Lake (Russian: Лебединое озеро/Lebedinoye ozero), Op. 20, is a ballet composed by Pyotr Ilyich Tchaikovsky in 1875–76. The scenario, initially in four acts, was fashioned from Russian folk tales[a] and tells the story of Odette, a princess turned into a swan by an evil sorcerer's curse. The choreographer of the original production was Julius Reisinger. The ballet was premiered by the Bolshoi Ballet on 4 March [O.S. 20 February] 1877[1][2] at the Bolshoi Theatre in Moscow. Although it is presented in many different versions, most ballet companies base their stagings both choreographically and musically on the 1895 revival of Marius Petipa and Lev Ivanov, first staged for the Imperial Ballet on 15 January 1895, at the Mariinsky Theatre in St. Petersburg. For this revival, Tchaikovsky's score was revised by the St. Petersburg Imperial Theatre's chief conductor and composer Riccardo Drigo. Origins of the Swan Lake story Many critics have disputed the original source of the Swan Lake story. The libretto is based on a story by the German author Johann Karl August Musäus, "Der geraubte Schleier" (The Stolen Veil), though this story provides only the general outline of the plot of Swan Lake. The Russian folktale "The White Duck" also bears some resemblance to the story of the ballet, and may have been another possible source. The contemporaries of Tchaikovsky recalled the composer taking great interest in the life story of Bavarian King Ludwig II, whose tragic life had supposedly been marked by the sign of Swan and who—either consciously or not—was chosen as the prototype of the dreamer Prince Siegfried. The Russian ballet patriarch Fyodor Lopukhov has called Swan Lake a "national ballet" because of its swans, which he argues originate from Russian lyrically romantic sources, while many of the movements of the corps de ballet originated from Slavonic ring-dances. According to Lopukhov, "both the plot of Swan Lake, the image of the Swan and the very idea of a faithful love are essentially Russian". Original Production of 1877 The première of Swan Lake on Friday, 4 March 1877, was given as a benefit performance for the ballerina Pelageya Karpakova (also known as Polina Karpakova), who performed the role of Odette, with the Bolshoi Theatre's Première danseur Victor Gillert as Prince Siegfried. Karpakova likely also danced the part Odile, although it is not known for certain. The Russian ballerina Anna Sobeshchanskaya — for whom the original (1877) role of Odette was intended — was pulled from the première performance when a governing official in Moscow complained about her, stating that she had accepted several pieces of expensive jewelry from him, only to then marry a fellow danseur and sell the pieces for cash. Sobeshchanskaya was replaced by Pelageya Karpakova who danced the rôle of the Swan Queen until the former was reinstated by Petipa. The première was not well-received, with near unanimous criticism concerning the dancers, orchestra, and décor. Unfortunately Tchaikovsky's masterful score was lost in the debacle of the poor production, and though there were a few critics who recognised its virtues, most considered it to be far too complicated for ballet. Most of the critics were not themselves familiar with ballet or music but rather with spoken melodrama. Critics considered Tchaikovsky's music "too noisy, too 'Wagnerian' and too symphonic".[9] The critics also found fault with Reisinger's choreography which they thought was "unimaginative and altogether unmemorable".[9] The production's "failure" was due to several reasons. The German origins of the story of Swan Lake were "treated with suspicion while the tale itself was regarded as 'stupid' with unpronounceable surnames for its characters".[9] The dancer of Odette (and probably Odile though this has never been proved for certain) was a secondary soloist and "not particularly convincing"[9] "The poverty of the production, meaning the décor and costumes, the absence of outstanding performers, the Balletmaster's weakness of imagination, and, finally, the orchestra...all of this together permitted (Tchaikovsky) with good reason to cast the blame for the failure on others." —Modest Tchaikovsky, brother of the composer Yet the fact remains (and is too often omitted in accounts of this initial production) that this staging survived for six years with a total of 41 performances - many more than several other ballets from the repertoire of this theatre.[10] Though the original composition of Swan Lake was initially received negatively, with audiences and critics claiming that the music was too complex to be a ballet piece, currently the work is seen as one of Tchaikovsky’s most valuable, and surged him into the realm of the most important ballet composers. Tchaikovsky Pas de Deux 1877 Anna Sobeshchanskaya as Odette in Julius Reisinger's original production of Swan Lake, Moscow, 1877 In spite of the poor reaction to the première, the ballet nevertheless continued to be performed. On 26 April 1877 the prima ballerina of the Moscow Imperial Bolshoi Theatre Anna Sobeshchanskaya made her début as Odette/Odile in Swan Lake, and from the start she was completely dissatisfied with the production of the ballet, but most of all with Reisinger's choreography and Tchaikovsky's music. Sobeshchanskaya travelled to St. Petersburg to have Marius Petipa—Premier Maître de Ballet of the St. Petersburg Imperial Theatres—choreograph a new pas de deux to replace the Pas de six that functioned as the third act's Grand Pas. For a ballerina to request a supplemental pas or variation was standard practice in 19th century ballet, and often these "custom-made" dances quite literally became the legal property of the ballerina they were composed for. Petipa choreographed Sobeshchanskaya's pas de deux to music composed by Ludwig Minkus, who held the post of Ballet composer to the St Petersburg Imperial Theatres. The piece was a standard pas de deux classique that consisted of a short entrée, the grand adage, a variation for the dancer, a variation for the ballerina, and a coda. Word of this change soon found its way to Tchaikovsky, who became very angry, stating that, whether the ballet is good or bad, he alone shall be held responsible for its music. He then agreed to compose a new pas de deux for the ballerina, but soon a problem arose: Sobeshchanskaya had no reservations about performing a pas to Tchaikovsky's new music, but she wanted to retain Petipa's choreography, and she had no wish to travel to St. Petersburg again to have the Ballet Master arrange a new pas for her. In light of this, Tchaikovsky agreed to compose a pas that would correspond to Minkus' music to such a degree that the ballerina would not even be required to rehearse. Sobeshchanskaya was so pleased with Tchaikovsky's new version of the Minkus music that she requested he compose for her an additional variation, which he did. Until 1953 this pas de deux was thought to be lost, until an accidentally discovered repétiteur was found in the archives of the Moscow Bolshoi Theatre among the orchestral parts used for Alexander Gorsky's revival of Le Corsaire (Gorsky had included the piece in his version of Le Corsaire staged in 1912). In 1960 George Balanchine choreographed a pas de deux to this music for the Ballerina Violette Verdy, and the Danseur Conrad Ludlow performed on the City Center of Music and Drama in New York City under the title Tschaikovsky Pas de Deux, as it is still known and performed today. Petipa-Ivanov-Drigo revival of 1895 Pierina Legnani as Odette (1895) During the late 1880s and early 1890s, Petipa and Vsevolozhsky considered reviving Swan Lake and were in talks with Tchaikovsky about doing so. However, Tchaikovsky died on 6 November 1893, just when plans to revive Swan Lake were beginning to come to fruition. It remains uncertain whether Tchaikovsky was even going to revise the music for the prospected revival of Swan Lake. Whatever the case, as a result of Tchaikovsky's death, Drigo was forced to revise the score himself, but not before receiving approval from Modest. There are major differences between Drigo's and Tchaikovsky's Swan Lake score. (Today, it is Riccardo Drigo's revision of Tchaikovsky's score as done for Petipa and Ivanov's 1895 revival, and not Tchaikovsky's original score of 1877, that many—though by no means all—ballet companies use when performing Swan Lake.) Pavel Gerdt as Prince Siegfried (Mariinsky Theatre, 1895) In February 1894, two memorial concerts planned by Vsevolozhsky were given in honor of Tchaikovsky. The production included the second Act of Swan Lake, choreographed by Lev Ivanov, Second Balletmaster to the Imperial Ballet. Ivanov's choreography for the memorial concert was unanimously hailed as wonderful. The Ballerina who danced Odette and Odile was the Italian virtuosa Pierina Legnani, and it was because of her great talent that the prospected revival of Swan Lake was planned for her benefit performance in the 1894–1895 season. She had made her début with the Imperial Ballet in Cinderella, produced in December 1893 (choreographed by Marius Petipa, Lev Ivanov, and Enrico Cecchetti to the music of Baron Boris Fitinhof-Schell). Her performance demonstrated her phenomenal technique, climaxing in her variation from the final tableau no fewer than thirty-two fouettés en tournant (the most ever performed at that time) during the grand pas. The dazzled public roared with demands for an encore, and the Ballerina repeated her variation, this time performing twenty-eight fouettés en tournant. However, the death of Tsar Alexander III on 1 November 1894 and the period of official mourning that followed it brought all ballet performances and rehearsals to a close for some time, and as a result all efforts were able to be concentrated on the pre-production of the revival of Swan Lake. Ivanov and Petipa chose to collaborate on the production, with Ivanov retaining his dances for the second Act while choreographing the fourth, and with Petipa staging the first and third Acts. Tchaikovsky's younger brother Modest was called upon to make the required changes to the ballet's libretto, the most prominent being his revision of the ballet's finale; instead of the lovers simply drowning at the hand of the wicked Von Rothbart as in the original 1877 scenario, Odette commits suicide by drowning herself, with Prince Siegfried choosing to die as well, rather than live without her, and soon the lovers' spirits are reunited in an apotheosis. Aside from the revision of the libretto the ballet was changed from four acts to three—with Act II becoming Act I-Scene 2. All was ready by the beginning of 1895, and the ballet had its première on Friday, 27 January. Pierina Legnani danced Odette/Odile, with Pavel Gerdt as Prince Siegfried, Alexei Bulgakov as Von Rothbart, and Alexander Oblakov as Benno. The première of the Petipa/Ivanov/Drigo was quite a success, though not as much of one as it has been in modern times. Most of the reviews in the St. Petersburg newspapers were positive. Unlike the première of The Sleeping Beauty, Swan Lake did not dominate the repertory of the Mariinsky Theatre in its first season. It was given only sixteen performances between the première and the 1895–1896 season, and was not performed at all in 1897. Even more surprising, the ballet was performed only four times in 1898 and 1899. The ballet belonged solely to Legnani until she left St. Petersburg for her native Italy in 1901. After her departure, the ballet was taken over by Mathilde Kschessinskaya, who was as much celebrated in the rôle as was her Italian predecessor. Later productions Zenaida Yanowsky as Odette in a 2007 production of Swan Lake at London's Royal Opera House Throughout the long and complex performance history of Swan Lake the 1895 edition of Petipa, Ivanov, and Drigo has served as the version from which many stagings have been based. Nearly every balletmaster or choreographer who has re-staged Swan Lake has sought to make modifications to the ballet's scenario, while still maintaining to a considerable extent the traditional choreography for the dances, which is regarded as virtually sacrosanct. Likewise, over time the rôle of Siegfried has become far more prominent, due largely to the evolution of ballet technique. In 1940, San Francisco Ballet became the first American company to stage a complete production of Swan Lake. The enormously successful production starred Lew Christensen as Prince Siegfried, Jacqueline Martin as Odette, and Janet Reed as Odile. Willam Christensen based his choreography on the Petipa-Ivanov production, turning to San Francisco’s large population of Russian émigrés, headed by Princess and Prince Vasili Alexandrovich of Russia, to help him ensure that the production succeeded in its goal of preserving Russian culture in San Francisco. Several notable productions have diverged from the original and its 1895 revival: Illusions Like "Swan Lake" 1976: John Neumeier Hamburg Ballet, Neumeier interpolated the story of Ludwig II of Bavaria into the Swan Lake plot, via Ludwig's fascination with swans. Much of the original score was used with additional Tchaikovsky material and the choreography combined the familiar Petipa/Ivanov material with new dances and scenes by Neumeier. The ballet finishes with Ludwig’s death by drowning while confined to an asylum, set to the dramatic music for the Act Three conclusion. With the theme of the unhappy royal being forced into heterosexual marriage for reasons of state and also the cross reference to the personal lives of actual royalty, this work anticipated both Bourne’s and Murphy’s interpretation. Illusions Like "Swan Lake" remains in the repertoire of major German ballet companies. Matthew Bourne's Swan Lake departed from the traditional ballet by replacing the female corps de ballet with male dancers. Since its inception in 1995, Matthew Bourne's production has never been off the stage for more than a few months.[citation needed] It has toured the United Kingdom and returned to London several times. It has been performed on extended tours in Greece, Israel, Turkey, Australia, Italy, Japan, Korea, Russia, France, Germany, the Netherlands, the United States, and Ireland in addition to the United Kingdom. Bourne's Swan Lake has won over 30 international awards to date The 2000 American Ballet Theatre version (taped for television in 2005), rather than having the curtain down as the slow introduction is played, used this music to accompany a new prologue in which the audience is shown how Von Rothbart first transforms Odette into a swan. This prologue is similar to Vladimir Burmeister's production of "Swan Lake" (firstly staged in Stanislavsky Theatre in Moscow, 1953) but has some differences. Von Rothbart in this production is played by two dancers; one appears as a handsome young man who is easily able to lure Odette in the new prologue, and the other dancer is covered in sinister "monster makeup" which reveals the magician's true self. (in the film Black Swan, Natalie Portman, as Nina, dreams this in the film's opening sequence). About half-an-hour of the complete score is omitted from this production. Graeme Murphy's Swan Lake was first performed in 2002, and was loosely based on the breakdown of the marriage of Lady Diana to Prince Charles and his relationship with Camilla Parker Bowles. It combined the rôles of Von Rothbart and Odile into that of a Baroness, and the focus of the story is a love triangle.[14] In 2010, Black Swan, a film starring Natalie Portman and Mila Kunis, featured sequences from Swan Lake. Roles Odette (The Queen of the Swans), the heroine of the story; a beautiful Princess, who has been transformed into a swan Prince Siegfried, the hero of the story; a handsome Prince who falls in love with Odette Von Rothbart, the antagonist of the story; an evil sorcerer, who has enchanted Odette Odile, his daughter, the secondary antagonist Benno von Sommerstern, the Prince's friend The Sovereign Princess, Siegfried's mother Wolfgang, his tutor Baron von Stein The Baroness, his wife Freiherr von Schwarzfels His wife A herald A footman Court gentlemen and ladies, friends of the prince, heralds, guests, pages, villagers, servants, swans, cygnets
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