In August 2022, the musicians of the Rachmaninoff International Orchestra gathered in Bratislava to perform their first recording under the direction of founder and artistic director Mikhail Pletnev. There is an acclaimed arrangement of Swan Lake by Mikhail Pletnev, coupled with Rodion Shchedrin's famous arrangement of the Carmen Suite from Bizet's masterpiece.
There have been a number of very fine performances on CD and DVD of of this marvellous timeless work - arguably the greatest masterpiece in the history of classical ballet - but a really good Blu ray disc is surely the visual holy grail! In my view this is by far the best overall presentation of Swan Lake to date. The playing and sound are magical under Gergiev's assured hand and the dancing is superb. It largely uses the traditional Petipa / Ivanov choreography. None of the sexual mannerisms that made Nureyev's dancing and choreography so distinctive, and the casting, costumes and sets are wonderfully conceived. No video performances include all the music Tchaikovsky wrote but this performance at 129 minutes seems quite complete…
This is the second instalment in our series devoted to Tchaikovsky’s three great ballets. The first recording, of The Sleeping Beauty, was praised upon its release, described by a reviewer in American Record Guide as ‘one of the finest I’ve heard’. Here Neeme Järvi and the Bergen Philharmonic Orchestra present the complete version of Swan Lake, with the pre-eminent James Ehnes lending his magic to the violin solos. This was Tchaikovsky’s first full-length ballet, but its premiere in 1877, staged at Moscow’s Bolshoy Theatre, was by no means a resounding success. According to most accounts, the choreography was inept, the shabby sets and costumes were borrowed from other productions, and the orchestral playing was poor. Most ballet companies today base their productions on the 1895 revival by the distinguished choreographer Marius Petipa.
Swan Lake (Russian: Лебединое Озеро, Lebedinoye Ozero) is a ballet, op. 20, by Pyotr Ilyich Tchaikovsky, composed 1875–1876. The scenario, initially in four acts, by Vladimir Begichev and Vasiliy Geltser was fashioned from Russian folk tales as well as an ancient German legend, which 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 received its premiere on February 27, 1877, at the Bolshoi Theatre in Moscow as The Lake of the Swans. 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 January 15, 1895, at the Mariinsky Theatre in St. Petersburg, Russia. For this revival, Tchaikovsky's score was revised by the St. Petersburg Imperial Theatre's chief conductor and composer Riccardo Drigo.
Matthew Bourne’s triumphant modern re-interpretation of SWAN LAKE turned tradition upside down, taking the dance world by storm. Now firmly crowned as a modern day classic, this iconic production is perhaps best-known for replacing the traditional female corps de ballet with a menacing male ensemble. Matthew Bourne blends dance, humour and spectacle with extravagant, award-winning designs by Lez Brotherston, to create a provocative and powerful Swan Lake for our times.
In the 2019/20 season Santtu-Matias Rouvali continued as Chief Conductor of Gothenburg Symphony and as Principal Conductor Designate of the Philharmonia Orchestra, where he succeeds Esa-Pekka Salonen as Principal Conductor in 2021/22. Alongside these posts he retains his longstanding position as Chief Conductor with Tampere Philharmonic Orchestra, close to his home in Finland. His international profile continues to flourish.
Swan Lake was the first of Tchaikovsky's three great ballets– works which added a new level of depth and sophistication to what had been a purely superficial art form. Today the music is so well-known and popular that it's impossible to comprehend the difficulties the composer experienced at early performances. Audiences found the music "too symphonic," and the dancers were put off by the prominence given to the orchestra which, they felt, distracted ballet fans from the action on stage. Of course, all of these supposed "defects" are precisely what we admire about the music today, and this elegant but exciting performance reveals the music in all of its glory.