Tchaikovsky Swan Lake

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.

At the palace, the royal family and their guests are gathered for Prince Siegfried s birthday celebrations. In a majestic ceremony, Siegfried is made a knight and young girls try to attract his attention, as he must choose a wife during the ball. Overcome by the sudden awareness of his future responsibilities, he escapes into the night and meets a strange flock of swans by a magical lake. White swan by day, human by night, the beautiful Odette awaits an oath of true love to break the curse on her. The great legend of the enigmatic swan/woman is one of the most romantic classical ballets, appropriately set in the era of courtly romance and characterised by elegance, style and harmony.

This 'Swan Lake' is a 'Swan Lake' for our times, capable of transporting the audience to another world. The magic in the story suddenly takes hold of the viewer. Ballet is not simply a way of telling the story. Rather than gestures asking to be deciphered, the choreographer created large-scale, visionary movements closer to an artistic language of symbols and plays on the whole spectrum of human emotions. It always maintains a relationship of creative tension with its surroundings, especially the music, the poetry of the set, the use of light and colour, the texture of the costumes. A key element of this artistic responsibility is to tell the story precisely but openly, without pinning it down, especially the ending an ending which is in a many-faceted sense a 'deliverance'. Does this mean that the lovers are saved? Is the spell's power broken? Are there other kinds of salvation and deliverance? Perhaps even by death and transfiguration? Ballerina Polina Semionova performs the mythic parts of Odette and Odile (white swan and black swan) with her great partner Stanislav Jermakov. The Zurich Opera House Orchestra is conducted by Russian musical director Vladimir Fedoseyev acclaimed in this repertoire.

Agnès Letestu, a feminine and warm Odette, and José Martinez, a convincing, pale, vulnerable prince Siegfried, are the stars of this deeply passionate, 'dream’ version of Swan Lake. Rudolf Nureyev’s interpretation of Tchaikovsky’s lyrical ballet, far from being a clichéd stereotype, is an exposé of astonishingly powerful and recognisable human emotions. Under the inspired and clear-cut musical direction of Vello Pähn, this production is one of the jewels of the Paris Opera Ballet’s repertoire.

Swan Lake has a special place in The Royal Ballet’s repertory. This new production by Artist in Residence Liam Scarlett features additional choreography whilst remaining faithful to Petipa and Ivanov’s classic. John Macfarlane’s opulent designs provide an atmospheric, period setting for this enthralling love story, illuminated by Tchaikovsky’s sublime score. Marianela Nuñez brings both poignancy and glitter to the dual role of Odette / Odile, with Vadim Muntagirov as the yearning Prince Siegfried, while the corps de ballet are showcased at their spellbinding best as the enchanted swans and cygnets.

This 2010 recording of Tchaikovsky's eternally popular Swan Lake ballet, with Mikhail Pletnev and the Russian National Orchestra might be ideal for dancing, but it is less ideal purely as a listening experience.

Natalia Makarova, one of the most important interpreters of the classical ballet repertoire in the twentieth century, has also had great success as a producer. Her staging of Swan Lake is based on the original choreography by Petipa and Ivanov, with additional choreography by the late Sir Frederick Ashton. Evelyn Hart and Peter Schaufuss dance the main roles in this studio recording. Makarova’s innovative interpretation presents the work as a story of perfect and eternal love. The main focus is on Siegfried’s love for Odette, her love for him, his unfaithfulness, for which she ultimately forgives him, and her self-sacrifice in going to her death with him in order to break the power of an evil curse.