Swan Lake Music by Pyotr Ilyich Tchaikovsky Original choreography by Marius Petipa and Lev Ivanov Revised choreography and stage direction by Konstantin Sergeyev
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Performance Guide
Working Rehearsal
Cuesheet
Mariinsky Ballet
Swan Lake The Most Popular Ballet of All Time
Act I: The Castle Grounds As Prince Siegfried’s friends are preparing a birthday celebration for him, the Queen dampens her son’s mood by reminding him he must soon choose a bride. After she leaves, Siegfried’s friends distract him by suggesting a hunting expedition at a nearby lake.
Act II: The Lakeside Alone at the lake, Siegfried watches the swans as they transform into beautiful women. He is entranced by the swan queen Odette. She is frightened when Siegfried approaches, but softens under his tender gaze. Odette explains that she and her maidens have been cursed by the evil, owl-like sorcerer Von Rothbart, and must take the form of swans from dawn until midnight. Odette can only be freed by the spell if a man proclaims eternal love to her. The couple dances a duet, and Siegfried pledges he will never love another.
Photo of Viktoria Tereshkina and Vladimir Shklyarov by Natasha Razina
Swan Lake is likely the most popular of classical ballets, and is a favorite of both dancers and audience members. Almost every major ballet company has Swan Lake in their repertory, but not all can boast they’ve produced it since the very beginning. The ballet was created in Russia and had its first successful performance at the Mariinsky Theatre in 1895. You will see this original Marius Petipa (pronounced PET-ee-pah) and Lev Ivanov (ee-VAH-noff) version, updated with choreography by Konstantin Sergeyev (sir-GAY-eff) in 1950.
The Story
Considered a flop when it debuted in 1877, Swan Lake only became popular after it was re-choreographed in 1895 by Petipa and Ivanov.
Photo by Valentin Baranovsky
Watch for patterns and geometric designs in Ivanov’s choreography of the swans’ lakeside scenes.
Act III: The Great Hall of Siegfried’s Castle At the ball, beautiful girls try unsuccessfully to win the Prince’s favor. A special guest arrives disguised to look like Odette. She is Odile, Von Rothbart’s wicked daughter, who charms Siegfried with her striking resemblance. Believing she is Odette, Siegfried asks Von Rothbart if he can marry her, and pledges to love only her. Suddenly the ballroom darkens, and the Prince hears Odette’s cries. Knowing he has been deceived, Siegfried runs to find Odette.
Act IV: The Lakeside In the Mariinsky Ballet version presented today, there is a happy ending. Siegfried kills Von Rothbart, cutting off his wing, and the two lovers are joined on earth, not in heaven.
Interestingly, the original 1895 ballet had a tragic ending, but Konstantin Sergeyev, former director of the company, changed it in 1950. His version was created when Russia was part of the communist Soviet Union. Any ending with hints of a heavenly afterlife would have been offensive to government censors, since public displays of religion were prohibited. The result? The triumphant lovers survive, as you will see today. Note: Most Americans have experienced Swan Lake as a tragic ballet. The ending we are most familiar with is Odette plunging herself into the lake to avoid Von Rothbart’s death curse. Siegfried joins her, refusing to live without her. They drown but are united for eternity in the afterlife. Which ending do you prefer? Why?
cover Photo of VIKTORIA Tereshkina and Vladimir Shklyarov by Natasha Razina
Messages in Movement Usually the challenging roles of Odette and Odile are danced by the same ballerina who embodies these two very different characters/personalities— the innocent Odette and the evil Odile. During the working rehearsal, watch for… the way Odette shows fear when initially startled by Siegfried, specifically how her whole body trembles, she backs away, and her arms reach upward as if trying to fly away. Photo of Alina Somova by Natasha Razina
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trust and love Odette shows for Siegfried as they dance their duet; she nestles against his shoulder and he embraces her. the reluctance Odette shows as she is forced to leave Siegfried and return to the lake, while extending her arms toward him.
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Odette’s movements are swan-like. Watch for fluttering gestures, lifts, and turns that suggest flight. n
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how different the duet is between Odile and Seigfried (Act III), as Odile’s movements illustrate both her confidence and arrogance. how the prince kneels at the end of the duet and Odile stands over him, her leg raised triumphantly. Odile’s difficult series of 32 quick turns, or fouettés (pronounced fu-ET-tays), demonstrating her total control over the prince, who is under her spell.
David M. Rubenstein Chairman Michael M. Kaiser President Darrell M. Ayers Vice President, Education Additional support for Performances for Young Audiences is provided by Adobe Foundation, The Clark Charitable Foundation; Mr. James V. Kimsey; The Macy’s Foundation; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; Paul M. Angell Family Foundation; an endowment from the Ryna and Melvin Cohen Family Foundation; U.S. Department of Education; Washington Gas; and by generous contributors to the Abe Fortas Memorial Fund and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas. The Kennedy Center’s Ballet Season is presented with the support of Elizabeth and Michael Kojaian. Mariinsky Ballet’s engagement is presented with the support of the State Plaza Hotel. International Programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts. Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program. Education and related artistic programs are made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.
www.kennedy-center.org/artsedge Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center. Learn more about education at the Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education and do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government. © 2014 The John F. Kennedy Center for the Performing Arts