Swan Lake (Russian: ????????????? < span lang = "ru-Latn" title = "Russian text"> Lebedinoye ozero ), Op. 20, was a ballet composed by Pyotr Ilyich Tchaikovsky in 1875-76. Despite its initial failure, it is now one of the most popular of all ballet.
The scenario, originally in two innings, is made from Russian and/or German folklore and tells the story of Odette, a princess transformed into a goose by the wicked witch's curse. The choreographer of the original production was Julius Reisinger (VÃÆ'¡clav Reisinger). This ballet was aired by Bolshoi Ballet on March 4 [O.S. 20 February] Ã, 1877 at the Bolshoi Theater in Moscow. Although presented in various versions, most ballet companies base their mounts on choreographic and musical grounds on the revival of Marius Petipa and Lev Ivanov, first performed for Imperial Ballet on January 15, 1895, at the Mariinsky Theater in St. Petersburg. Petersburg. For this revival, the value of Tchaikovsky was revised by the head of the conductor and composer of St. Petersburg Imperial Theater, Riccardo Drigo.
Video Swan Lake
History
The origin of ballet
There is no evidence to prove who wrote the original libretto, or from where the idea for the plot came from. Russian and German folklore has been suggested as a possible source, including "The White Duck" and "The Stolen Veil" by Johann Karl August MusÃÆ'¤us, but the two tales differ significantly from ballet.
One theory is that the original choreographer, Julius Reisinger, who was a Bohemian (and therefore tends to be familiar with The Stolen Veil), created the story. Another theory is that it was written by Vladimir Petrovich Begichev, director of the Moscow Imperial Theater at the time, possibly with Vasily Geltser, Danseur of the Moscow Imperial Bolshoi Theater (a live libretto copy bearing his name). Since the first published libretto is incompatible with Tchaikovsky's music in many places, one theory is that the first published version was written by a journalist after seeing the initial practice (new opera and ballet production always reported in newspapers, along with their respective scenarios).
Some of Tchaikovsky's contemporaries recalled the composers who were very interested in the life story of King Ludwig II of Bavaria, whose tragic life had been marked by the Swan sign and could have been the prototype of the dream Prince Siegfried. However, Ludwig's tragic death occurred 10 years after the ballet's first performance.
Begichev commissioned the Swan Lake score from Tchaikovsky in May 1875 for 800 rubles. Tchaikovsky works only with the baseline of Julius Reisinger about the requirements for each dance. However, unlike instructions for The Sleeping Beauty and The Nutcracker , no written instructions are known to be safe.
Tchaikovsky influence
From around the turn of the nineteenth century to the early 1890s, ballet scores were almost always written by composers known as "specialists", who were highly skilled in loud, clear, decorative, and rhythmic music. at that moment in ballet mode. Tchaikovsky studied "specialist" music such as Cesare Pugni Italia and Ludwig Minkus Austria, before starting work at Swan Lake.
Tchaikovsky had a rather negative opinion about ballet "specialist" until he studied it in detail, impressed by the infinite variety of infectious melodies. Tchaikovsky most admired the ballet music composers such as LÃÆ' Â © o Delibes, Adolphe Adam, and then, Riccardo Drigo. He will then write to his protégé, composer Sergei Taneyev, "I listen to Delibes 'Sylvia' ballet... what charm, what elegance, riches of melody, rhythm and harmony I'm ashamed, because if I know about this music , I will not write 'Swan Lake'. " Tchaikovsky most admired Adam's 1844 score for Giselle , which uses Leitmotif techniques: connecting certain themes with character or mood, the technique he will use at Swan Lake , and then, The Sleeping Beauty .
Tchaikovsky draws on his previous compositions for his Swan Lake score. According to two relatives of Tchaikovsky - his nephew Yuri Lvovich Davydov and his nephew Anna Meck-Davydova - previous composers have created a small ballet named The Lake of the Swans in their homes in 1871. These include famous ballet > Leitmotif , Swan's Theme or Song of the Swans . He also used material from The Voyevoda , an opera he left in 1868. The
In April 1876, the score was complete, and the practice began. Soon Reisinger began to set certain numbers next to what he nicknamed "unimaginable". Reisinger even started choreographing the dance for other composer's music, but Tchaikovsky protested and the pieces were restored. Although two artists are asked to collaborate, each seems to prefer to work independently of the others as possible.
Composition process
Tchaikovsky's excitement with Swan Lake is evident from the speed with which he was compiled: commissioned in the spring of 1875, the work was made in one full year. His letters to Sergei Taneyev from August 1875 show, however, that it was not just his excitement that forced him to create it so quickly but his desire to finish it as soon as possible, thus allowing him to start the opera. Each, he created a number of the first three numbers of ballet, then orchestration in autumn and winter, and still struggles with instrumentation in the spring. In April 1876, the work was completed. The mention of the Tchaikovsky draft suggests a kind of abstract but no such concept has ever been seen. Tchaikovsky wrote letters to friends who expressed his longing desire to work with this type of music, and his excitement about his exciting duties at the moment, though exhausting.
Performance history
Moscow premiÃÆ'¨re (world premiÃÆ'¨re)
- Date : March 4 (OS 20 February) 1877
- Places : Bolshoi Theater, Moscow
- Balletmaster : Julius Reisinger
- Conductor : Stepan Ryabov
- Scene Designer : Karl Valts (Acts 2 & 4), Ivan Shangin (Round 1), Karl Groppius (Round 3)
St. Petersburg premiÃÆ'¨re
- Date : January 27, 1895
- Places : Mariinsky Theater, St. Petersburg
- Balletmaster : Marius Petipa (Acts 1 & amp; 3), Lev Ivanov (Acts 2 & amp; 4)
- Conductor : Riccardo Drigo
- Scene Designer : Ivan Andreyev, Mikhail Bocharov, Henrich Levogt
- Costume Designer : Yevgeni Ponomaryov
Other famous productions
- 1880 and 1882, Moscow, Bolshoi Theater, staged by Joseph Hansen after Reisinger, the conductor and designer as in the premiÃÆ'¨re
- 1901, Moscow, Bolshoi Theater, staged by Aleksandr Gorsky, performed by Andrey Arends, the scene by Aleksandr Golovin (Act 1), Konstantin Korovin (Acts 2 & 4), N. Klodt (Round 3)
- 1911, London, Ballet Russes, Sergei Diaghilev production, choreography by Michel Fokine after Petipa-Ivanov, scenes by Golovin and Korovin
Original translator
Original production 1877
The premiÃÆ'¨re on Friday, March 4, 1877, was awarded as a performance benefit for the ballerina Pelageya Karpakova (also known as Polina Karpakova), who performed the role of Odette, with Victor Gillert's premiÃÆ'¨re danseur as Prince Siegfried. Karpakova may have also danced Odile's part, although it is believed the ballet was originally called for two different dancers. It is now common practice for the same ballerina to dance Odette and Odile.
Russian Balerina Anna Sobeshchanskaya initially acted as Odette, but was replaced when a government official in Moscow complained about him, claiming that he had received the jewelry from him, only to later marry a fellow dancer and sell pieces for cash.
¨re Premium is not well received. Although there are some critics who acknowledge those values, most consider them too complicated for ballet. It's labeled, "too noisy, too 'Wagnerian' and too symphonic." Critics also consider Reisinger's choreography "unimaginative and not at all impressive." The German origins of the story "are treated with suspicion while the tale itself is considered a 'fool' with a family name that can not be expressed for its character." Karpakova is a secondary soloist and "not very convincing."
"The poverty of production, which means dÃÆ'Â © cast and costumes, the absence of exceptional players, the weakness of the Balletmaster's imagination, and, finally, the orchestra... all these together are allowed (Tchaikovsky) with good reason to throw blame for the failures of people other. "
But the fact remains (and too often omitted in this early production story) that this performance lasted six years with a total of 41 performances - more than some of the other ballet from this theater repertoire.
Tchaikovsky pas de deux 1877
On April 26, 1877, Anna Sobeshchanskaya made it dà © Ã… © but as Odette/Odile at Swan Lake, and from the beginning she was completely dissatisfied with the ballet. Sobeshchanskaya asks Marius Petipa - Premier MaÃÆ'®tre de Ballet from St. Petersburg Imperial Theaters-- to make a choreography a pas de deux to replace pas de six in the third round (for ballerinas to request additional fitting) or variations is standard practice in 19th-century ballet, and often these "custom-made" dances are the property of the ballerinas they are organized for).
Petipa created the pas de deux for music by Ludwig Minkus, a ballet composer at St. Petersburg Imperial Theaters. The snippet is a standard pas de deux classique consisting of a short entrÃÆ' Â © e , a grand adage , a variation for each dancer individually, and a coda .
Tchaikovsky is angry with this change, stating that whether ballet is good or bad, he himself must be responsible for his music. He agreed to write a new post de deux , but immediately the problem arose: Sobeshchanskaya wanted to retain the choreography of Petipa. Tchaikovsky agreed to write pas that would fit a title like that, ballerina would not even be required to practice. Sobeshchanskaya is very happy with Tchaikovsky's new music, he asks him to write additional variations, which he did.
Until 1953 this was deemed lost, until a repeater of the titeur was discovered by accident in the archives of the Moscow Bolshoi Theater among the orchestra parts used for the revival of Alexander Gorsky > Le Corsaire (Gorsky has included a part in his version of Le Corsaire staged in 1912). In 1960 George Balanchine choreographed pas de deux into this music for Violette Verdy, and Conrad Ludlow performed at the City Center for Music and Drama in New York City under the title Tschaikovsky Pas de Deux >, as it is still known and done today.
Next production 1879-1894
Julius Reisinger's successor as a balletmaster is Joseph Peter Hansen. Hansen made many efforts to save Swan Lake and on January 13, 1880 he presented a new ballet production for his own benefit performance. Part of Odette/Odile is danced by Evdokia Kalmykova, a student of the Imperial Moscow Ballet School, with Alfred Bekefi as Prince Siegfried. This production is much more acceptable than the original, though by no means a huge success. Hansen presented another version of Swan Lake on October 28, 1882, again with Kalmykova as Odette/Odile. For this production Hansen arranged Grand Pas for the ballroom scene he titled La Cosmopolitana . This is taken from the European section of the Grand Pas d'action known as The Military of the Continents of Marius Petipa 1875 ballet The Bandits for Ludwig Minkus. The version of Hansen Swan Lake was given only four times, his last appearance was on January 2nd, 1883, and soon the ballet was down from the repertoire altogether.
Overall, Swan Lake was given a total of forty-one shows between the premiÃÆ'¨re and the last show of 1883 - a rather long run for a ballet that was received very poorly at its premiere. Hansen will be Balletmaster at the Alhambra Theater in London and on December 1, 1884 he presented a one-round ballet titled The Swans , inspired by Swan Lake's second scene . The music was composed by the Alhambra Theater chef d'orchestre Georges Jacoby.
The second scene of Swan Lake was then presented on February 21st in Prague by Ballet of the National Theater in a version posted by Balletmaster August Berger. Ballet is given during two concerts by Tchaikovsky. The composer recorded in his diary that he experienced "the moment of absolute happiness" when ballet was done. Berger's production follows the libretto of 1877, although the names of Prince Siegfried and Benno were changed to Jaroslav and Zde? Ek, with rÃÆ'Â'lele Benno danced by a female dancer en travestie . The rÃÆ'Â'le Prince Siegfried danced by Berger himself with the ballerina Giulietta Paltriniera-Bergrova as Odette. Berger's production was given only eight shows and was even planned to be produced at Fantasia Park in Moscow in 1893, but never materialized. The Petipa-Ivanov-Drigo revival of 1895
During the late 1880s and early 1890s, Petipa and Vsevolozhsky discussed with Tchaikovsky about the possibility of reviving Swan Lake. However, Tchaikovsky died on November 6, 1893, just as the plan to revive Swan Lake began to bear fruit. It is still uncertain whether Tchaikovsky is ready to revise the music for this awakening. Whatever the case, as a result of Tchaikovsky's death, Drigo was forced to revise his own score, having received approval from Tchaikovsky's sister, Modest. There is a big difference between Swan Lake Drigo and Tchaikovsky scores. Today, it was Riccardo Drigo's revision of the Tchaikovsky score, and not the original score of Tchaikovsky in 1877, used by most ballet companies.
In February 1894, two concerts of warning planned by Vsevolozhsky were given in honor of Tchaikovsky. Production includes the second Act of Swan Lake, choreographed by Lev Ivanov, Balletmaster Second to Imperial Ballet. The choreography of Ivanov for the acclamation memorial concert was greeted very beautifully.
The resurrection of Swan Lake was planned for the performance of Piera Legnani benefits in the 1894-1895 season. The death of Tsar Alexander III on 1 November 1894 and the official mourning period brought all the ballet and practice to close for some time, and as a result all efforts could be concentrated on the pre-production of Swan Lake's full awakening. Ivanov and Petipa collaborated in production, with Ivanov retaining his dance for the second Act while performing the fourth choreography, with Petipa performing the first and third Stories.
Simple Tchaikovsky was called to make changes to the ballet libret, including the Odette character who transformed from fairy-fairy girl into a cursed mortal lady, a ballet villain changing from Odette's stepmother to witch von Rothbart, and the end of the ballet: from the lovers just drowning at the hands of the mother Odette's step as in the original 1877 scenario, Odette committed suicide by drowning herself, with Prince Siegfried choosing to die as well, rather than living without her, and soon the lovers' spirit reunited in apotheosis. In addition to the libretto revision, the ballet has been changed from four rounds to three - with Act II being Act I-Scene 2.
All was ready in early 1895 and the ballet had a premium on Friday, January 27th. Pierina Legnani danced Odette/Odile, with Pavel Gerdt as Prince Siegfried, Alexei Bulgakov as Rothbart, and Alexander Oblakov as Benno. Most of the reviews in St. Petersburg is positive.
In contrast to the premiÃÆ'¨re The Sleeping Beauty , Swan Lake did not dominate the Mariinsky Theater repertoire in its first season. It was awarded only sixteen performances between the premiÃÆ'¨re and the seasons of 1895-1896, and was not done at all in 1897. Even more surprisingly, the ballet was performed only four times in 1898 and 1899. The ballet belonged only to Legnani until he left St.. Petersburg for his native Italy in 1901. After his departure, the ballet was taken over by Mathilde Kschessinskaya, which was also celebrated in rassa like its Italian predecessor.
Production later
Throughout the history of the 1895 Swan Lake performance, has functioned as a version where most of the stagings have been based. Almost every balletmaster or choreographer who has restated Swan Lake has made modifications to the ballet scenario, while still retaining many traditional choreography for the dance, which is considered as sacrosanct. Likewise, over time Siegfried becomes more prominent, especially as the evolution of ballet techniques.
In 1940, the San Francisco Ballet became the first American company to perform complete production of Swan Lake. A very successful production starring Lew Christensen as Prince Siegfried, Jacqueline Martin as Odette, and Janet Reed as Odile. Willam Christensen based his choreography on the production of Petipa-Ivanov, switched to a large San Francisco population of Russian migrà © Å © s, headed by Princess and Prince Vasili Alexandrovich of Russia, to help him ensure that production succeeds in its goal of preserving Russia. culture in San Francisco.
Some famous productions have deviated from the original and its rise in 1895:
Maps Swan Lake
Instrumentation
Swan Lake scored for the great late 19th century orchestra:
- String : violins I and II; violas, violoncellos; double bass
- Woodwinds : piccolo; 2 flutes; 2 oboes; 2 clarinets in B ? , A and C; 2 bassoons
- Brass : 4 French horns in F; 2 corners in A and B ? ; 2 trumpets in F, D, and E; 3 trombones (2 tenors, 1 bass); tuba
- Percussion : timpani; snare drum; cymbals; drum bass; triangle; tambourine; castanets; tam-tam; glockenspiel; bells
- More : kecapi
Role
- Princess Odette ( the Swan Queen and the White Swan or also the Swan Princess ), a beautiful Princess has turned into a white swan.
- Prince Siegfried, the handsome Prince who falls in love with Odette
- Baron Von Rothbart, a wicked shaman, who has enchanted Odette
- Odile (the Black Swan), Rothbart's daughter
- Benno von Sommerstern, Prince's friend
- Queen, Prince Siegfried's mother
- Wolfgang, his teacher
- Baron von Stein
- Baroness, his wife
- Freiherr von Schwarzfels
- His wife
- Announcer A bachelor
- Gentlemen and court ladies, friends of princes, heralds, guests, yard, villagers, servants, geese, cygnet
Variations to Characters
In 1895, Benno von Sommerstern became "Benno," and Odette "Queen of the Swans." Also Baron von Stein, his wife, and Freiherr von Schwarzfels and his wife are no longer identified in the program. The princess in power or in power is often given "Empress Mother".
The Rothbart character (sometimes spelled Rotbart) has been open to many interpretations. The reason for his curse on Odette is unknown; several versions, including two feature films, have the reasons suggested, but none are usually explained by ballet. He is rarely depicted in human form, except in Act III. He is usually shown as an owl-like creature. In most productions, the sacrifice of the couple resulted in its destruction. However, there is a version in which he won. One example is the Bolshoi Ballet version, where he played a bad luck game with Siegfried, which he won in the end, causing Siegfried to lose everything. In the production of the second American Ballet Theater of Swan Lake, he was described by two dancers: a young, handsome man who lured Odette to catastrophe in the prologue, and reptile creatures. In this version, the lovers' suicide inspired the rest of the imprisoned Rothbart swans to revive him and overcome his spell.
Odile, Rothbart's daughter usually wears black (though in production in 1895, she did not), and only appears in Act III. In most modern productions, he is portrayed as Odette's double double (though the resemblance is due to Rothbart's magic), and therefore Siegfried can not be blamed for believing him as Odette. There are suggestions that in the original production, Odette and Odile are danced by two different ballerinas. This also occurs in some avant-garde production.
Synopsis
Swan Lake is generally presented in four scenes, four scenes (mainly outside Russia and Eastern Europe) or three rounds, four scenes (mainly in Russia and Eastern Europe). The biggest difference from production around the world is that the end of the story, which was at first tragic, is now sometimes transformed into a happy ending.
Prolog
Some of the productions include a prologue showing how Princess Odette turned into a goose by Rothbart.
Round 1
The magnificent garden in front of the castle.
[ScÃÆ'¨ne: Allegro giusto] Prince Siegfried is celebrating his birthday with his tutor, friends and farmers [Waltz]. The party's event was interrupted by Siegfried's mother, the Queen [ScÃÆ'¨ne: Allegro moderato], concerned about her carefree daughter's lifestyle. She tells him that she should choose the bride on the royal balls the next night (some of the productions include presentations from several possible candidates). Siegfried is angry that he can not marry out of love. His friend, Benno, and his tutor tried to lift his troubled mood. At nightfall [ Sujet ], Benno sees a group of geese flying overhead and advises them to go hunting [Finale I]. Siegfried and his friends took their bows and set out to chase the goose.
Round 2
Cleaning the edge of the lake in the woods by the ruins of the chapel. Night illuminated by moonlight.
Siegfried has been separated from his friends. He arrived at the edge of the lake, like a herd of land geese [ScÃÆ'¨ne. Moderato]. He directs his arrow [ScÃ|ne. Allegro moderato-], but froze when one of them turned into a beautiful girl, Odette [ScÃÆ'¨ne. -Moderato]. At first, he was afraid of Siegfried. When he promises not to hurt him, he explains that he and his friends are the victims of a spell cast by a wicked witch like an owl, Rothbart. During the day they turn into swans and only at night, on the enchanted side of the lake - created from the tears of Odette's mother - do they return to human form. The spell can only be broken if someone who has never been loved before swears to love Odette forever. Suddenly Rothbart appeared [ScÃ|ne. -Allegro vivo]. Siegfried threatens to kill him but Odette intercedes - if Rothbart dies before his spell is broken, it can never be undone.
When Rothbart disappears, the goose girls fill the clearing [ScÃ|ne: Allegro, Moderato assai quasi andante]. Siegfried breaks his bow, and prepares to win the trust of Odette when both fall in love. But when dawn arrives, the evil spell draws Odette and her friends back to the lake and they turn into swans again.
Round 3
A luxurious hall at the castle.
Guests arrive at the palace for a costume party. Six princesses are presented to the prince [Entrance of the Guests and Waltz], as candidates for marriage. Rothbart arrived in disguise [ScÃ|ne: Allegro, Allegro giusto] with his daughter, Odile, who turned out to be like Odette. Although the princesses tried to pull the prince with their dance [Pas de six], Siegfried only had eyes for Odile. [ScÃÆ'¨ne: Allegro, Tempo di valse, Allegro vivo] Odette appeared (usually at the castle window) and in vain tried to warn Siegfried, but Siegfried did not see it and told the court that he was going to marry Odile. Rothbart shows Siegfried Odette's magical vision and he realizes his mistake. Grief, Siegfried hurried back to the lake.
Round 4
On the edge of the lake.
Odette was confused. The goose-virgins tried to comfort her. Siegfried returns to the lake and makes a passionate apology. He forgave him, but his betrayal can not be undone. Rather than remain a goose forever, Odette chooses to die. Siegfried chose to die with him and they jumped into the lake. It broke Rothbart's spell over the swan girls, causing him to lose his power over them and he died. In an apotheosis, the girls swan watch Siegfried and Odette ascend to Heaven together, forever united in love.
1877 synopsis libretto
Round 1: Prince Siegfried, his friends, and a group of farmers are celebrating the Prince's arrival. Siegfried's mother arrives to tell him that she wants him to get married so he can make sure he does not embarrass their family line with his marriage. He had arranged a ball in which Siegfried would choose his bride from among the noble princesses. After the celebration, Siegfried and his friend, Benno, found a group of flying geese and decided to hunt them down.
Round 2: Siegfried and Benno trace the geese to the lake, but they disappear. A woman wearing a crown appeared and confronted the two men. He tells them that his name is Odette and he is one of the geese they hunt. He told them his story: Odette's mother, a good fairy, had married a knight, but she died and the knights remarried. Odette's stepmother was a wizard who wanted to kill her, but her grandfather rescued her. Grandpa Odette had cried so much over Odette's mother's death that she created the lake with her tears. Odette and her friends live on the lake with Odette's grandfather, and can turn themselves into swans whenever they want. Odette's stepmother still wanted to kill her, and followed her in the shape of an owl, but Odette had a crown that protected her from danger. When Odette married, the witch would lose her power to harm her. Siegfried fell in love with Odette, but Odette worried that the witch would ruin their happiness.
Round 3: Some young noble ladies dance on Siegfried balls, but the Prince refuses to marry any of them. Baron von Rothbart and his daughter Odile arrive. Siegfried thinks that Odile looks like Odette, but Benno disagrees. Siegfried danced with Odile, grew more enamored with her, and finally agreed to marry her. At that moment Rothbart turned into a devil, Odile laughed, and a white swan wearing a crown appeared at the window. The prince came out of the castle.
Round 4: In tears, Odette tells his friends that Siegfried does not keep his love oath. Seeing that Siegfried is coming, Odette's friends leave and urge her to go with them, but Odette wants to see Siegfried for the last time. The storm began. Siegfried comes in and begs Odette to forgive. Odette refused and tried to leave. Siegfried snatched the crown from his head and tossed it into the lake, saying "Willing or unwilling, you'll always be with me!" Owl flew overhead, carrying his crown. "What have you done? I'm dying!" Odette said, and fell into Siegfried's arms. The lake rose from the storm and drowned Odette and Siegfried. The storm subsided, and a group of geese appeared on the lake.
Alternative suffixes
Many different ends exist, ranging from romantic to tragic.
- In 1950, Konstantin Sergeyev staged the new Swan Lake for the Mariinsky Ballet (later Kirov) after Petipa and Ivanov, but incorporated parts of Vaganova and Gorsky. Under the Soviet regime, a tragic end was replaced by a happy one, so in the Mariinsky and Bolshoi versions, Odette and Siegfried lived happily ever after.
- In today's dancing version by Ballet Mariinsky, the end is one of "happily ever after" where Siegfried fights Rothbart and tears off his wings, killing him. Odette is returned to human form and she and Siegfried unite happily. This version is often used by Russian and Chinese ballet companies. A similar ending is used in The Swan Princess .
- In 1986 Rudolf Nureyev's version choreographed for the Paris Opera Ballet, Rothbart fought with Siegfried, who overcame and died, leaving Rothbart to bring Odette triumphantly into the sky.
- In a version that had a very close end to Mariinsky's revival in 1895, danced by the American Ballet Theater in 2005, Siegfried's false promise of loyalty to Odile sent Odette to remain a goose forever. After realizing that the last moment of his humanity was near, Odette committed suicide by throwing himself into the lake. Prince also did that. This act of sacrifice and love destroyed the power of Rothbart, and he was destroyed. In the final table, lovers are seen rising together to heaven in apotheosis. In a version drew by the New York City Ballet in 2006 (with choreography by Peter Martins after Lev Ivanov, Marius Petipa, and George Balanchine), the Prince's declaration that he wanted to marry Odile was a betrayal that condemned Odette to remain geese forever. Odette was called away into a swan form, and Siegfried was left alone in grief when the curtain fell.
- In the 2006 version by Stanton Welch for Houston Ballet, also based on Petipa and Ivanov, Prince Siegfried's last scene attempted to kill Rothbart with his arrow, lost and hit Odette instead. Odette falls, Rothbart's spell is now broken, and regains human form. The Prince embraces her when she dies, then brings her lifeless body into the lake, where she also drowns herself.
- In a version performed by the San Francisco Ballet in 2009, Siegfried and Odette threw themselves into the lake, as in Mariinsky's revival in 1895, and Rothbart was destroyed. Two swans, which are implied to be lovers, then seen flying over the Moon.
- In a version of the National Ballet of Canada in 2010, Odette forgave Siegfried for his betrayal and the promise of reconciliation shone shortly before Rothbart called out a violent storm. The struggle of Rothbart and Siegfried. When the storm subsided, Odette was left alone to mourn the dead Siegfried.
- In the 2012 version performed at Blackpool's Great Theater by the Russian State Ballet of Siberia, the Prince drags Rothbart into the lake and both drown. Odette was left as a swan.
- In the 2011 version of the First National Ballet My Swan Lake , specifically re-created for small children, the power of Siegfried and Odette's love allowed other geese to rise and defeat Rothbart, who fell into his hands death. This breaks the curse, and Siegfried and Odette live happily ever after. It's like the end of "Happily ever after" Mariinsky Ballet.
- In the production of Danish Royal Ballet HÃÆ'¼bbe and Schandorff 2015 and 2016, Siegfried was forced by Rothbart to marry his daughter, having cursed Odette into his curse as a goose forever by mistakenly declaring his love for Odile.
Structure
In 2014 the Small Princess Ballet Academy (LPBA) features the entire Swan Lake in Second Life. Adaptations follow the original, but some parts like pas de deux are not likely to appear in Second Life and have been changed. All sections are played by individual avatars.
Discography selected
Audio
- 1954, Antal DorÃÆ'¡ti (conductor), Minneapolis Symphony Orchestra (first complete recording, late 1953, initially controlled only in mono; some artificial stereo problems released in LP)
- 1959, Ernest Ansermet (conductor), Orchester de la Suisse Romande, recorded on stereo on Oct.-Nov., 1958, is summarized
- 1974, Anatole Fistoulari (conductor), Radio Filharmonisch Orkest with Ruggiero Ricci, violin
- 1976, AndrÃÆ' Â © Previn (conductor), London Symphony Orchestra, with Ida Haendel, violin
- 1979, Seiji Ozawa (conductor), Boston Symphony Orchestra, with Joseph Silverstein, violin
- 1982, John Lanchbery (conductor), Philharmonia Orchestra
- 1988, Yevgeny Svetlanov (conductor), Russian State Symphony Orchestra
- 1990, Michael Tilson Thomas (conductor), London Symphony Orchestra
- 1992, Charles Dutoit (conductor), Montreal Symphony Orchestra
- 2006, Valery Gergiev (conductor), Mariinsky Theater Orchestra
- 2013 Neeme Jarvi (conductor), Bergen Philharmonic Orchestra, with James Ehnes, violin: multi-channel SACD recording
Source of the article : Wikipedia
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