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29 October 2022 (Sat), 19:00 Chamber Stage Boris Pokrovsky Theatre on Nikolskaya Street - Classical Ballet Swan Lake. State Music Theatre named after Natalia Sats
Running time: 2 hour 15 minutes
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
Classical Ballet in 3 acts
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
Place: Chamonix, the French Alps
Time: 1760
Act 1
The village square in Chamounix, Savoy, France.
It is dawn, and the villagers are singing on their way to church, for this is the day the young men go to Paris for the winter, to earn money as street entertainers.
Maddalena Loustolot awaits the return of her husband Antonio from a visit to the Marchesa, who owns their farm. Antonio has been anxious that their lease on the farm be renewed, and that the mortgage — held by the Marchesa — not be called in. Antonio arrives, relieved at having been assured that the Marchesa's brother, the Marchese (Marquis of Boisfleury) will speak on their behalf. The Marchese duly arrives, greeted enthusiastically by the villagers. He asks to see Linda, the Loustolot's beautiful daughter, but she is not there. Her parents assume that she has gone early to church.
The Marchese promises Antonio and Maddalena that he will renew- the lease and improve the buildings and farmland. There is, however, a hidden agenda: he has designs on Linda, who is the god-daughter of his sister the Marchesa, and he says that she must come to the castle, where "she may complete her education".
They leave, and Linda enters. She has not been to church, but rather to keep a rendezvous with her beloved Carlo, an impoverished artist; but she arrived too late and found only some flowers from him ("O luce di quest'anima"). Some girls arrive, followed by Pierotto, who sings his latest song while playing his hurdy-gurdy.
Pierotto's song is about a young girl who leaves home for a better life, but forgets her vows to her mother, falls in love, and then is betrayed. She returns home to find her mother dead, and spends the rest of her life weeping on her mother's grave.
Pierotto and the girls leave; then Carlo arrives, and meets Linda. They express their regret at missing each other earlier, and reaffirm their love. They leave, and the Prefect arrives to see Antonio. But instead of reassuring him of the Marchese's support, he warns Antonio that the Marchese has evil intentions towards his beloved daughter. The Prefect persuades Antonio that Linda must go to Paris with the men of the village, and stay there out of danger, with the Prefect's brother. The village gathers to say farewell to those who are leaving.
Act 2
Three months later in Paris
Linda has been followed by Carlo, who has revealed that he is not after all a penniless painter, but the young Viscount of Sirval, son of the Marchesa, and nephew of the Marchese. He has provided for her an apartment in a fashionable quarter, where she now lives until their marriage. Carlo visits her daily. Linda has sent money to her parents, but has not heard from them. She hears familiar music from the street below. It is Pierotto, whom she invites in, and who explains that on arrival in Paris he was taken ill and afterwards was unable to find Linda. He expresses surprise at the luxury of her accommodation, and Linda explains about Carlo, and that their relationship is respectable. Pierotto says that he has seen the Marchese in the street below. After he leaves, the Marchese arrives and tries to persuade Linda to come and live with him. Outraged, Linda orders him out of her house. Carlo arrives having heard the terrible news that his mother has discovered his relationship, and insists that he instead marry a young titled girl immediately. He cannot, however, bring himself to tell Linda, and instead reaffirms his love for her "whatever may happen" before departing again.
Now an old man comes to the door, asking for help. It is Antonio, and he does not recognise this grand young lady as his daughter. When Linda reveals her identity, he is devastated, believing her to be living a life of sin. She tries to reassure him, but when Pierotto comes back to tell Linda that he has discovered that Carlo is to be married to another that very day, Antonio flies into a rage and disowns his daughter. At the thought of her betrayal by Carlo, Linda collapses, losing her mind.
Act 3
Spring again in Chamounix
The villagers welcome the young men returning from Paris at winter's end. Carlo arrives and explains to the Prefect that his mother has relented and that he can after all marry Linda, whom he now seeks. The Prefect says that Linda was betrayed by a lover in Paris, has not returned, and cannot be found. Carlo is broken-hearted, telling the Prefect that he was her (entirely innocent) lover.
The Marchese arrives and tells the villagers that there is to be a wedding, and that all the villagers will be invited to the celebrations. "Just wait 'till you see who the bride is!" he says, not knowing of Linda's illness.
Pierotto now arrives, with Linda; they have travelled the 600 miles from Paris, and are exhausted. Carlo sees her, and is distraught by her condition. She recognises nobody. But Pierotto sings to her, his song stirs her, and at last she seems to know her mother. Carlo sings to her of his undying love, and when he sings the words they shared when they first met, Linda's reason is restored. The whole village rejoices in anticipation of the wedding.
Schedule for Swan Lake. State Music Theatre named after Natalia Sats 2022
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