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Swan Lake was the first ballet by Peter Ilyich Tchaikovsky. In 1875, Vladimir Petrovich Begichev, the director of the Imperial Theatres in Moscow, and Vasily Geltzer, a ballet dancer, commissioned Pyotr Ilyich Tchaikovsky to compose the music for a new ballet. At the time, Tchaikovsky was already an accomplished composer, known for his symphonies and operas, but he had not yet written a full-length ballet score. The ballet was intended for the Bolshoi Theatre in Moscow, which was seeking to expand its repertoire.
A fan of ballet, Tchaikovsky was very excited by the commission and quickly began work on the composition, but the journey of Swan Lake had begun several years earlier in the summer of 1871 in Kamenka, Ukraine. While Tchaikovsky was on holiday and staying with his sister Alexandra and her family on their Kamenka estate, during that holiday, he composed and choreographed an a small house ballet called “The Lake of the Swans” for his nieces and nephews. The serene and picturesque surroundings of Kamenka, including a small lake on the estate, are believed to have provided inspiration for Tchaikovsky.
The libretto was based on European legends about people turning into birds, more specially, the mythical swan maidens, who mostly appear in Norse and Germanic folklore and mythology. According to the legend, swan maidens are fairy maidens, who take the guise of swans by wearing swan skins. When they shed their skins, they are revealed to be beautiful young women. In many versions of the tale, a man comes across the swan maidens while they are bathing, and by stealing their swan feathers, he forces one of them to remain in human form and become his wife. However, the story usually ends tragically when the woman eventually regains her swan feathers and returns to her life as a swan, leaving the man heartbroken. These stories often featured themes of love, betrayal, and magical enchantment.
The original libretto was created by Vladimir Begichev and Vasily Geltzer, who were influenced by various fairy tales and myths. The core of the story revolves around the cursed princess Odette, who is transformed into a swan by the evil sorcerer Von Rothbart, and the tragic love story between Odette and Prince Siegfried. The story of “Swan Lake” was also shaped by the Romantic era’s fascination with themes of mysticism, duality, and tragic love. Odette’s dual role as both the White Swan and the tragic heroine, as well as the introduction of the seductive Odile (the Black Swan), were central to the emotional depth of the libretto.
The World Première (1877)
“Swan Lake” premiered at the Bolshoi Theatre in Moscow on March 4, 1877 (February 20, Old Style). The choreography was done by Julius Reisinger, the Bolshoi’s ballet master at the time. Unfortunately, the première was not a success. The ballet was criticized for its weak choreography, poorly executed dancing, and the overwhelming complexity of Tchaikovsky’s music, which some felt was too heavy and difficult to dance to. Reisinger’s choreography was seen as uninspired, and the production lacked the elegance and fluidity that later versions would achieve. The initial failure of the production meant that “Swan Lake” was largely forgotten for the next several years, and it was not performed regularly.
The Petipa/Ivanov Revival (1895)
The Petipa/Ivanov recreation of Swan Lake was premièred on the 27th January (January 15, Old Style) 1895 starring Pierina Legnani as Odette/Odile and Pavel Gerdt as Prince Siegfried. The 1895 production is considered the definitive version of “Swan Lake,” and it was here that much of the choreography and structure we know today was established. Petipa choreographed the first and third acts (the palace scenes), while Ivanov choreographed the lakeside acts (Acts II and IV), which are often regarded as some of the most beautiful and ethereal scenes in all of ballet. Petipa and Ivanov also made changes to the story, including the character of Odile (the Black Swan), who appears in the third act and tricks Siegfried into breaking his vow to Odette. This dual role for the ballerina – playing both Odette and Odile – became one of the most challenging and iconic in ballet. The 1895 version was an enormous success and quickly became one of the cornerstones of the classical ballet repertoire. The combination of Petipa and Ivanov’s choreography, Tchaikovsky’s music, and the compelling story of tragic love gave “Swan Lake” its enduring appeal.
The libretto of “Swan Lake” underwent significant changes after its initial 1877 première, particularly during the 1895 revival by the Mariinsky Theatre in St. Petersburg. These changes were crucial in shaping the version of the ballet that is most commonly performed today. The revisions were made to improve the coherence of the story, enhance its dramatic impact, and align it more closely with audience expectations.
Key Changes to the Libretto
1. Characterization and Dramatic Focus
• Odette/Odile:
In the original 1877 production, Odette (the White Swan) and Odile (the Black Swan) were not as distinctly contrasted in their portrayal as they are in later versions. The 1895 revision by Marius Petipa and Lev Ivanov emphasized the duality of these characters, highlighting the innocence and purity of Odette versus the seductive and deceptive nature of Odile. This contrast became central to the ballet’s dramatic tension, particularly in Act III’s famous “Black Swan Pas de Deux.”
• Von Rothbart:
Originally, Von Rothbart was a more ambiguous figure, with less emphasis on his role as the embodiment of evil. The 1895 libretto gave him a more defined and menacing presence, making him the clear antagonist of the story. His character was often portrayed as both a human and a monstrous bird-like creature, heightening the sense of supernatural threat.
2. Narrative Structure
• Act II’s Swan Maidens:
The 1895 version expanded the role of the swan maidens, giving them more choreographic importance. The “Dance of the Little Swans” (Cygnets) became one of the most iconic scenes in ballet, emphasizing the swan maidens’ tragic plight and their collective bond with Odette.
• Odile’s Deception:
In the original libretto, the deception of Prince Siegfried by Odile was less emphasized. The 1895 version made this the emotional and narrative climax of the ballet, where Siegfried’s tragic mistake— pledging his love to Odile, believing her to be Odette — became the turning point of the story.
3. The Ending
• Original Ending (1877):
The original ending of “Swan Lake” was tragic but somewhat ambiguous. In some interpretations of the 1877 production, Odette dies by throwing herself into the lake, followed by Siegfried. Their deaths defeat Von Rothbart, who loses his power over the swans. This ending left some ambiguity about the fate of the characters and the overall message of the ballet.
• 1895 Ending:
The 1895 version introduced a more definitive tragic ending where Odette and Siegfried die, but their love transcends death, often depicted with their souls ascending together, symbolizing the ultimate triumph of love over evil. In some productions following the 1895 revision, there was also a more optimistic ending, where Von Rothbart’s power is broken, and Odette and Siegfried are reunited in life, or their spirits are depicted as finding peace.
4. Structural Revisions
• Reordering of Scenes:
Some scenes and dances were reordered or even removed to improve the narrative flow. For example, the original libretto included more court scenes and divertissements, which were reduced or restructured in the 1895 version to keep the focus on the central love story.
Addition of New Dances:
The 1895 revival included new dances and pas de deux, which became integral to the ballet. These additions helped highlight the technical prowess of the dancers and added emotional depth to the story, particularly through Siegfried and Odette’s interactions.
Impact of the Changes
The changes to the libretto and choreography in the 1895 revival were instrumental in transforming “Swan Lake” from a flawed early attempt into a masterpiece of classical ballet. These revisions not only clarified the story but also aligned it with the dramatic and aesthetic standards of the late 19th century. The 1895 version became the standard for future productions, and its influence is still seen in most modern performances of “Swan Lake.”
These changes, particularly the clearer distinction between Odette and Odile, the heightened role of Von Rothbart, and the more defined tragic or redemptive ending, contributed to the ballet’s enduring popularity and its status as a central work in the ballet repertoire.
Swan Lake in the 20th Century
Among the earliest presentations of the ballet in the west was when a troupe of dancers from the Imperial Ballet led by Anna Pavlova and Nikolai Legat performed in Swan Lake across Scandinavia and Germany in their 1908-1909 tour of the west.
Swan Lake made its London première in 1910 when it was staged at the Hippodrome Theatre by another group of dancers from the Imperial Ballet led by Olga Preobrazhenskaya. A year later, on the 30th November 1911, Sergei Diaghilev staged a two-act production of Swan Lake for the Ballets Russes at the Royal Opera House, Covent Garden, with Matilda Kschessinskaya as Odette/Odile and Vaslav Nijinsky as Prince Siegfried.
Another notable early 20th century production was Bronislava Nijinska’s 1919 production for the State Opera Theatre in Kiev.
Diaghilev staged his two-act production again in Monte-Carlo in 1924, with Vera Trefilova, who was nearly 50 years old at the time, as Odette/Odile.
In 1941, Nikolai Sergeyev staged the second scene from his notation scores for the première performance of Mona Inglesby’s International Ballet, which took place on the 19th May 1941 at the Alhambra Theatre in Glasgow.
In 1947, Sergeyev and Inglesby staged the full length ballet with the former’s notation scores for International Ballet and the production premièred in March 1947 at the Adelphi Theatre, London.
Throughout the 20th century, Petipa and Ivanov’s Swan Lake has been staged in countless revivals all over the world. The most famous of modern productions include Dame Ninette De Valois’s various productions and Sir Anthony’s Dowell’s 1987 production for the Royal Ballet, George Balanchine’s 1951 one-act staging for New York City Ballet, Konstantin Sergeyev’s 1950 production for the Kirov/Mariinsky Ballet, Yuri Grigorovich’s production for the Bolshoi Ballet, which was revived in 2001, and Rudolf Nureyev’s production, staged for the Vienna Staatsoper Ballet in 1964 and for the Paris Opera Ballet in 1984.
Perhaps the most distinguishable feature about various modern productions is the usage of different endings, with some productions using tragic endings where either Siegfried and Odette or one or the other die and others using happy endings, in which Rothbart is vanquished and Siegfried and Odette are reunited to live happily ever after.
In February 2016, Alexei Ratmansky mounted a reconstruction of Petipa and Ivanov’s Swan Lake for the Zürich National Ballet. The reconstruction had its world première at the Zürich Opera House on the 4th February 2016, with Viktorina Kapitonova as Odette/Odile, Alexander Jones as Prince Siegfried, Manuel Renard as the Evil Genie/Von Rothbart and Andrei Cozlac as Benno. Months later, Ratmansky staged his reconstruction at the Teatro alla Scala for the La Scala Ballet, where it premièred on the 30th June 2016, with Nicoletta Manni as Odette/Odile, Timofei Andrijashenko as Prince Siegfried, Mick Zeni as the Evil Genie/Von Rothbart and Christian Fagetti as Benno.
Why “Swan Lake” is so popular in the world?
“Swan Lake” is one of the most popular and enduring ballets in the world for several reasons. Its popularity can be attributed to its combination of beautiful music, dramatic storytelling, technical demands, and the universal themes it explores. Here’s a closer look at why “Swan Lake” has achieved such lasting appeal:
– Timeless Music
Pyotr Ilyich Tchaikovsky’s Score: The music of “Swan Lake” is considered one of the greatest ballet scores ever composed. Tchaikovsky’s score is renowned for itsemotional depth, melodic beauty, and orchestral richness. The music enhances the drama and atmosphere of the ballet, making it memorable and impactful for audiences.
Iconic Themes: Pieces like the “Swan Theme,” “Dance of the Little Swans,” and the “Black Swan Pas de Deux” are instantly recognizable and have become synonymous with classical ballet.
– Rich and Engaging Storyline
Universal Themes: “Swan Lake” explores themes of love, betrayal, and redemption, which resonate universally. The story of a cursed princess and her struggle to break free from an evil sorcerer’s spell captures the imagination and emotions of audiences.
Tragic Romance: The ballet’s narrative, with its tragic romance between Prince Siegfried and Princess Odette, is both captivating and poignant, drawing audiences into a tale of doomed love and sacrifice.
– Spectacular Choreography
Technical Demands: The ballet requires exceptional technical skill from its dancers, including intricate footwork, powerful jumps, and expressive movements. This technical complexity showcases the virtuosity of the performers and is a major draw for ballet enthusiasts.
Visual Beauty: The choreography, particularly the iconic “Swan” scenes, emphasizes the grace and fluidity of the dancers, creating a visually stunning experience. The ethereal image of the swan maidens and the contrast between Odette and Odile add to the ballet’s visual appeal.
– Tradition and Legacy
Historical Significance: Since its premiere in 1877 and the subsequent 1895 revival by Petipa and Ivanov, “Swan Lake” has been a cornerstone of the classical balletrepertoire. Its history and evolution over time have solidified its place in ballet tradition.
Influence on Ballet: The ballet has influenced countless choreographers and productions, contributing to its continued relevance and popularity. Many of the world’s most prestigious ballet companies include “Swan Lake” in their regular repertory.
– Adaptability and Innovation
Multiple Interpretations: “Swan Lake” has been adapted and reinterpreted in various ways by different choreographers. Reinterpretations keep the ballet fresh and accessible to new generations.
Cultural Adaptations: The ballet has been performed and adapted around the world, often incorporating local cultural elements or modern sensibilities, making it relevant to diverse audiences.
– Emotional Impact
Powerful Storytelling: The ballet’s ability to evoke a wide range of emotions, from the tenderness of the love story to the intensity of the tragic ending, makes it a powerful experience for audiences. The combination of music, dance, and narrative creates a compelling emotional journey.
Elegance and Grace: The ballet’s portrayal of the swan maidens and the contrast between the lightness of Odette and the darkness of Odile evoke a strong sense of beauty and emotional depth.
“Swan Lake” is celebrated worldwide for its exquisite music, compelling story, technical complexity, and visual splendor. Its ability to adapt to different interpretations while maintaining its core elements has ensured its place as one of the most beloved and performed ballets in the world.
In the libretto of “Swan Lake,” these folkloric elements are woven into the story of Odette, the queen of the swan maidens, and Prince Siegfried. Odette and her fellow maidens are cursed by the evil sorcerer Von Rothbart to live as swans during the day, only regaining their human form at night. This reflects the swan maiden legends where transformation between bird and human form is central to the narrative.
The Curse: Odette and the swan maidens in “Swan Lake” are cursed to live as swans, similar to the magical or cursed nature of the swan maidens in folklore.
Transformation: The swan maidens in the ballet are bound to the enchanted lake, transforming between swans and humans, echoing the swan maiden’s ability to shift forms.
Love and Betrayal: In “Swan Lake,” Prince Siegfried’s love for Odette is supposed to break the curse, but he is tricked by Von Rothbart’s daughter Odile (the Black Swan), leading to the ballet’s tragic conclusion. This element of love that cannot fully overcome the magical barriers is a common motif in swan maiden legends.
Freedom and Captivity: Like the mythical swan maidens who long to escape their magical entrapment, Odette and the other swan maidens are bound to their cursed state, yearning for freedom through the power of true love.
The creators of “Swan Lake”—composer Pyotr Ilyich Tchaikovsky and the original librettists, Vladimir Begichev and Vasily Geltzer—adapted these myths into a more Romantic-era context. The ballet’s themes of tragic love, duality (Odette/Odile), and the struggle against magical forces fit the ideals of Romanticism, where nature, mysticism, and heightened emotions were dominant themes.
Conclusion
The swan maidens in “Swan Lake” are directly inspired by the ancient swan maiden myth found in European folklore, where women are magically transformed into swans and trapped in a liminal state between human and animal forms. The ballet takes these mythical elements and expands them into a dramatic story of love, betrayal, and magic, giving “Swan Lake” its enduring appeal and emotional depth.