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30 September 2022 (Fri), 19:00 World famous Bolshoi Ballet and Opera theatre (established 1776) - Marvellous Main (Historic) Stage - Classical Ballet Swan Lake. State Music Theatre named after Natalia Sats

Running time: 2 hour 15 minutes (till 22:30)

The performance has 2 intermissions

Schedule for Swan Lake. State Music Theatre named after Natalia Sats 2022

Composer: Peter Tchaikovsky
Libretto: Vladimir Kirillov
Stage Director: Vladimir Kirillov
Choreography: Marius Petipa
Stills: Kirill Andreev
Costume Designer: Kirill Andreev

Opera company: Bolshoi Opera
Orchestra: Bolshoi Theatre Symphony Orchestra

Classical Ballet in 4 acts

Performed in Russian, with syncronized English supertitles

Ballet with prologue in 2 acts and 4 scenes

Libretto: P.Tchaikovsky edited by V.Kirillov
Choreography: M.Ivanov, M.Petipa
Staging director: national artist of Russia Vladimir Kirillov
Stills and costumes: Kirill Andreev

"The Swan Lake" is one of the most famous and favourite ballet among the audience. It was staged almost in all ballet theatres of the world. Representatives of the majority ballet generations from different countries have been trying to understand secrets and philosophical depth of Tchaikovsky’s by now. The White Swan itself, created by great composer’s imagination, will stay the symbol of the Russian ballet, its purity and noble grandeur for ever. It’s not an accident, the Great Russian ballet dancers stayed in people’s memory as legends after performing the part of the swan Queen Odetta. Marina Semenova, Galina Ulanova, Maya Plisetskaya, Raisa Struchkova, Natalia Bessmertnova were among them.

"Swan Lake"

It is difficult to understand these days how it could have happened that the first show of the “Lake” in 1877, in Moscow’s Bolshoi, was a flop, and that it took many years for the ballet to achieve its worldwide cult status. The c
omposer, Pyotr Ilych Tchaikovsky, never lived to see the ultimate success of his creation.

The story begins in 1875, when Bolshoi commissions a ballet score from the young but already famous composer. It was not yet customary practice –despite Tchaikovsky fame and previous successes, which included four symphonies, the now famous Piano Concerto and “Eugene Onegin” opera, the Imperial Theatres of the time would normally employ the composers on Imperial payroll, such as Cesare Pugni, Ludwig Minkus, and Riccardo Drigo. Keeping that in mind, Tchaikovsky did not embark on the course of a revolution in the Russian ballet, and studied the classic ballet scores assiduously, planning to produce a score that would be in tune with the established tradition but at the same time would sound new and interesting. The task of composition occupied him from May 1875 to April 1876. The story was a knightly fairy tale, and historians still debate the literary origins –some opt for Heine, some for Musaeus, a German fairy-tale writer, some for Russian folklore fairy tales, some even for Pushkin.

The first show took place on February 20, 1877, and was a flop. The critics reviled the chief choreographer, Wentsel Reisinger, and were short on praise for Polina (Pelageya) Karpakova, the first interpreter of the main female part. The failure of the first show was detrimental for the immediate reputation of the ballet itself, and for quite some time nobody dared to stage it again.

The situation changed after Tchaikovsky’s death. In 1893, Mariinka decided to revive the “Swan Lake”. A new version of the libretto and the music was to be produced by Modest Tchaikovsky, the composer’s brother, Ivan Vsevolzhsky, the director of the Imperial Theatres himself, and by Riccardo Drigo. The latter used the original music as a source material for a completely new score. The choreography was supervised by Marius Petipa and his pupil Lev Ivanov. The tradition claims that while Petipa was the father of the unique choreography of the new ballet, its truly Russian singing character is there thanks to Ivanov. The lake and swan scenes, famous for their perfection, are undoubtedly his alone. It was Ivanov who came up with the idea of enchanted ladies with their criss-crossed arms and heads tilted to one side, which every spectator immediately recognized for birds that sit with their wings folded. The very magical world of the swan lake was created by Ivanov. Petipa’s are the scenes of courtly dances and festivities and their intricate lace of waltzes and various dances – Spanish, Hungarian, Polish. Petipa also created an antipode for Ivanov’s White Queen of Swans –its black twin Odile, and its beautiful black pas-de-deux of the second act.

It was this particular stage version that came to be admired as the pinnacle of Russian ballet. This production, as none other, was the perfect setting for many famous dancers to showcase their art. The Swan Lake is a unique and perfect creation, and despite the changing musical and dancing fashions, the performance of Odette and Odile parts is still considered a touchstone for the mettle of any serious dancer. The White Swan is truly a symbol of Russian Ballet, of its beauty and magnificence. 


Synopsis

ACT I
Scene one
The terrace of castle is filled with joy and merriment - Prince Siegfried is celebrating his coming of age, his courtiers congratulate him while his mischievous jester entertains the assembles guests. The servants announce the arrival of his mother the queen, she presents her son with a crossbow for the hunt. The queen reminds her son that at tomorrow coming of age ball he will have to choose a bride. Night is fast approaching and the guests take leave, Siegfried is finally alone with his thoughts and premonitions of what the future may bring. In the twilight a flock of swans pass over and he rushes to the lake.

Scene two
At the lake in the heart of the forest, the swans having stepped ashore turn into beautiful young girls Siegfried about to draw his crossbow stops fascinated by their beauty. Odette the swan princess is startled by Siegfrieds presence, he assures her no harm will come to her. Odette tells him of her terrible plight. Tells him of her high birth and how she has fallen under the spell of be a swan and only in the hours of darkness to assume her human form. She tells him she is bound for eternity by the spell unless an unblemished youth swears eternal fidelity and marries her. Siegfried realizes his destiny has changed. Day is breaking, the swans are again swimming on the lake, Odette bids a sad farewell, Siegfried is left desolate.


ACT II
Scene three
The coming of age ball commences at the castle. The young noblewoman whom the Queen has chosen as prospective brides are presented to Prince Siegfried, he shows no interest thinking only of Odette. The entertainment and merrymaking continue until a fanfare announces the arrival of more guests. Rothbart disguised as a knight sweeps in with his daughter Odille, Siegfried is dazzled by her beauty and her resemblance to Odette, swears his love and fidelity... Rothbart the sorcerer triumphs in his deception.
Siegfried horrified at what he has done rushes from the ball and into the night.

ACT III
Scene four
At the lakeside Odette tells her fellow swans of Rothbarts devilish trickery. Siegfried fleeing from the ball arrives at the shore begging Odette’s forgiveness and telling of his undying love for her. Rothbart appears and he and his black swans battle with Siegfried and the forces of good until the light of the dawn breaks and the forces of evil are vanquished. The rising sun gives birth to new life, happiness and love.

Music For Ballet: Fragment 1   Fragment 2

© Text 2010 Art and Culture Magazine "St Peterburg"


Synopsis

Act I

The Carousal 
Chamber in Oprichnik Grigory Gryaznoy’s house. Grigory is plunged in deep thought. He has fallen passionately in love with Marfa, daughter of the merchant Sobakin, but she is already betrothed to the young boyar, Ivan Lykov. In order to put his love out of his mind, Grigory decides to organize a drinking-party. One of his guests is the Tsar’s foreign physi­cian, Bomelius; Gryaznoy has an important matter to discuss with him.

His guests start arriving: the oprichniks led by Malyuta Skuratov, Gryaznoy’s friend, Ivan Lykov and the long-awaited Yelisey Bomelius. Lykov tells the assembled company of the for­eign parts from whence he has recently returned. Psaltery players and singers entertain the guests with songs and dancing. The guests sing the praises of their sovereign, Ivan the Terrible.

During the revelries, Malyuta mentions Lyubasha. "Who is Lyubasha?" Bomelius asks. "Gryaznoy’s mistress, a right bonny lass!" Malyuta replies. Gryaznoy calls Lyubasha and, at Malyuta’s request, she sings a song about the bitter fate of a girl who is forced to marry a man she doesn’t love. The carousal comes to an end and the guests depart. Gryaznoy detains Bomelius. Lyubasha, sensing that something is wrong, hides and listens to their conversation. Graznoy asks Bomelius for a love potion. The physician promises to provide him with a powder which has the power to arouse love in a girl’s heart. After Bomelius has gone, Lyubasha accuses Grigory of having fallen out of love with her. But Grigory doesn’t listen. He can think of nothing else but his passion for Marfa. The bells sound for the early morning service. Grigory departs leaving Lyubasha alone with her despair. She cannot live without Grigory’s love. Lyubasha vows she will seek out the girl who is the cause other troubles and bewitch her away from Gryaznoy.

Act II

The Love Potion 
A street in the Alexandrov sloboda. The parishioners are coming out of the monastery after the evening service. The oprichniks turn up: they are concocting some new mischief against the boyars. The common people try to keep out of their way: they fear both the boyars and the oprichniks, loyal servants to the stern Tsar.

Marfa, accompanied by Dunyasha and Petrovna, the house­keeper, come out of the monastery gates. At the porch of her house, Marfa stands talking to her friend other betrothed, Ivan Lykov. Suddenly someone in a black monk’s cassock and skull­cap appears through the monastery gates and walks slowly along the street. Marfa’s eyes meet those of the monk. She doesn’t rec­ognize Ivan the Terrible but the stranger’s intent gaze frightens her. It is only when she catches sight of her father and her betrothed, who are approaching the house, that she calms down and forgets her weird encounter. Sobakin invites Lykin into the house and the girls follow them in. Dusk is falling. A shadow is circling round the Sobakin house. It is Lyubasha. She cautiously steals up to the porch: she wants to have a look at her rival. Having peeped through the lit-up win­dow, Dunyasha clams down: "Is that Marfa? There is no need for me to worry then, Grigory will soon tire other!" But, peep­ing again through the window, Dunyasha realizes she has mis­taken Dunyasha for Marfa. Dunyasha is struck by Marfa’s beau­ty. "He won’t fall out of love with her in a hurry. I’ll soon show her, though!"

Out of her mind with despair, Lyubasha rushes to Bomelius’s house. Bomelius appears in answer to her call. Lyubasha begs him to sell her a potion which will destroy human beauty. Bomelius agrees, demanding in return Lyubasha’s love. Indignant, Lyubasha wants to leave, but Bomelius threatens to tell Gryaznoy what she has asked him for.

The sound of Marfa’s laughter coming from the Sobakins house, makes Lyubasha agree to Bomelius’s terms. Bomelius goes off to mix the potion, leaving Lyubasha alone with her oppressive thoughts. At this point, Lykov leaves the Sobakin household accompanied by the master of the house. Learning from their conversation that Grigory is expected at Marfa’s home the next day, Lyubasha renews her pleas for a potion: Bomelius has now reappeared. Bomelius tries to drag the des­perate girl into his house, but the sound of the oprichniks singing in the distance stays his hand. Lyubasha is about to rush towards the oprichniks, where she will find Grigory, when she remembers he no longer loves her and comes to a halt. Bomelius hides by the door, waiting for Lyubasha. Lyubasha forces herself to go to the physician. She feels as if she is going to her execution. The oprichniks appear in the street. Led by Malyuta, they are on their way to massacre the seditious boyars. The light goes out in Bomelius’ house.

Act III

Druzhka 
Chamber in Merchant Sobakin’s house. Sobakin tells Ivan Lykov and Gryaznoy that Marfa, together with Dunyasha and the boyars’ daughters, have been summoned to the palace for the Tsar intends to choose himself a bride. This alarms both Lykov and Gryaznoy. Sobakin tries to calm down Lykov. Echoing Sobakin’s sentiments, Gryaznoy sug­gests he be druzhka (one of the participants, representing the bride­groom, in the old wedding rites) at Lykov’s wedding. But as he congratu­lates Lykov, there is a mocking intonation in his voice. Domna Saburova, Dunyasha’s mother, appears. She describes how the ceremony for choosing the Tsar’s bride went. The Tsar hardly glanced in Marfa’s direction, but he paid Dunyasha a lot of attention, joking and talking with her. Lykov sighs with relief.

Grigory fills two goblets, he intends to drink a toast to the bride and bridegroom. Unnoticed, he pours the powder that Bomelius has given him into Marfa’s goblet - the love potion. As soon as Marfa, who has returned from the palace together with Dunyasha, enters the room, Grigory congratulates the couple and gives then each a goblet. In accordance with tradition, Marfa drinks her goblet dry. Everyone congratulates Marfa and Lykov. Saburova strikes up a song in honor of the bride in which the latter’s friends join in.

Suddenly, Petrovna rushes into the room and falls at Sobakin’s feet. "The boyars are on their way to you bearing a message from the Tsar!" "To me? You are out о your mind, woman!" Sobakin exclaims.

Malyuta appears with the boyars and proclaims the Tsar’s will - Marfa is to be his wife.

Act IV

The Bride 
The Tsar’s chamber where Marfa, the Tsar’s bride, is now living preparatory to her wedding. An unknown ailment afflicts her. Bitter fears for his daughter give Sobakin no peace. Domna Saburova tries in vain to allay his anxiety. Gryaznoy appears: "The person responsible has confessed to everything and the Tsar’s foreign physician has promised to cure her ailment", he tells Sobakin. Sobakin has no idea who this person is. He makes haste to tell his daughter what he has heard. Marfa, at her wits end, runs into the chamber. She realizes that Lykov has been blamed for her ailment, trying to save him, she pretends to feel quite well again. "I’m quite well, I’m quite well", she says in an agitated voice. But Gryaznoy replies that the Tsar had ordered the execution of Lykov who, according to Gryaznoy, had confessed to giving Marfa a potion, and that he, Gryaznoy, with his own hands had carried out the sentence. Learning of the death of her beloved, Marfa falls unconscious to the floor.

On coming to, Marfa recognizes no one. Mistaking Gryaznoy for Lykov, she converses tenderly with him, recalling the happy hours they have spent together. Shaken by Marfa’s words, Gryaznoy admits that he had slandered Lykov and that he, him­self, and given Marfa the love potion. But Marfa doesn’t hear him, all her thoughts are in the past. She again recalls her childhood, spent in Novgorod, and her betrothed. Gryaznoy is in despair. But before giving himself up into the hands of the oprichniks, he wants to "have things out with" Bomelius who deceived him. "You’d better have things out with me", says Lyubasha who has appeared on the scene. And she tells Grigory how she had substituted poison for the love potion Bomelius had given Grigory and which Grigory had then given Marfa. Grigory kills Lyubasha by plunging his knife into her heart. Grigory bids farewell to Marfa and gives himself up to the oprichniks and Malyuta. But Marfa sees and hears nothing. All her thoughts are in the past, with Lykov. She dies with his name on her lips.






Schedule for Swan Lake. State Music Theatre named after Natalia Sats 2022


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