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Bloodstruck (2. 01. Swan Lake - Wikipedia, the free encyclopedia. Swan Lake (Russian: . Pyotr Ilyich Tchaikovsky in 1. Despite its initial failure, it is now one of the most popular of all ballets. The scenario, initially in two acts, was fashioned from Russian folk tales. The choreographer of the original production was V. The ballet was premiered by the Bolshoi Ballet on 4 March . Although it is presented in many different versions, most ballet companies base their stagings both choreographically and musically on the 1. Marius Petipa and Lev Ivanov, first staged for the Imperial Ballet on 1. January 1. 89. 5, at the Mariinsky Theatre in St. For this revival, Tchaikovsky's score was revised by the St. Petersburg Imperial Theatre's chief conductor and composer Riccardo Drigo. History. The libretto is based on a story by the German author Johann Karl August Mus. The Russian folktale . The contemporaries of Tchaikovsky recalled the composer taking great interest in the life story of Bavarian King Ludwig II, whose tragic life had supposedly been marked by the sign of Swan and who. According to Lopukhov, . The most authoritative theory appears to be that it was written by Vladimir Petrovich Begichev, director of the Moscow Imperial Theatres during the time that the ballet was originally produced, and possibly Vasily Geltser, Danseur of the Moscow Imperial Bolshoi Theatre. However, Geltser was in all probability merely the first person to copy the scenario for publication, as a surviving copy bears his name. Since the first published libretto of the ballet and the actual music composed by Tchaikovsky do not correspond in many places, we may infer that the first actual published libretto was possibly crafted by a newspaper writer who had viewed the initial rehearsals, as new productions of operas and ballets were always reported in the newspapers of Imperial Russia, along with their respective scenarios. According to two of Tchaikovsky's relatives. This ballet featured the famous Leitmotif known as the Swan's Theme (or Song of the Swans ). Begichev commissioned the score of Swan Lake from Tchaikovsky in May 1. Begichev began to choose artists that would participate in the creation of the ballet. The choreographer assigned to the production was the Czech Julius Reisinger (1. It is not known what sort of collaborative processes were involved between Tchaikovsky and Reisinger. It seems that Tchaikovsky worked with only the most basic outline from Reisinger of the requirements for each dance. But unlike the instructions that Tchaikovsky received for the scores of The Sleeping Beauty and The Nutcracker, no such written instruction is known to have survived. When Reisinger began choreographing after the score was completed, he demanded some changes from Tchaikovsky. Whether by demanding the addition or removal of a dance, Reisinger made it clear that he was to be a very large part in the creation of this piece. Although the two artists were required to collaborate, each seemed to prefer working as independently of the other as possible. Tchaikovsky studied the music of . Tchaikovsky had a rather negative opinion of the . Tchaikovsky most admired the ballet music of such composers as L. He would later write to his prot. I was ashamed, for if I had known of this music then, I would not have written 'Swan Lake.'. He made use of material from The Voyevoda, an opera that he had abandoned in 1. The Grand adage (a. Another number which included a theme from The Voyevoda was the Entr'acte of the fourth scene. By April 1. 87. 6 the score was complete, and rehearsals began. Soon Reisinger began setting certain numbers aside that he dubbed . His letters to Sergei Taneyev from August 1. Respectively, he created scores of the first three numbers of the ballet, then the orchestration in the fall and winter, and was still struggling with the instrumentation in the spring. By April 1. 87. 6, the work was complete. Tchaikovsky wrote various letters to friends expressing his longstanding desire to work with this type of music, and his excitement concerning his current stimulating, albeit laborious task. February) 1. 87. 7Place: Bolshoi Theatre, Moscow. Balletmaster: Julius Reisinger. Conductor: Stepan Ryabov. Scene Designers: Karl Valts (Acts 2 & 4), Ivan Shangin (Act 1), Karl Groppius (Act 3)St. Klodt (Act 3)1. 91. London, Ballets Russes, Sergei Diaghilev production, choreography by Michel Fokine after Petipa- Ivanov, scenes by Golovin and Korovin. Original interpreters. R. Kubakin. Odile*Pierina Legnani. Mathilde Kschessinska. Original production of 1. Many interpreters of Odette have since doubled as Odile. The Russian ballerina Anna Sobeshchanskaya . Sobeshchanskaya was replaced by Pelageya Karpakova who danced the r. Unfortunately Tchaikovsky's masterful score was lost in the debacle of the poor production, and though there were a few critics who recognised its virtues, most considered it to be far too complicated for ballet. Most of the critics were not themselves familiar with ballet or music but rather with spoken melodrama. Critics considered Tchaikovsky's music . The German origins of the story of Swan Lake were . On 2. 6 April 1. 87. Moscow Imperial Bolshoi Theatre Anna Sobeshchanskaya made her d. Sobeshchanskaya travelled to St. Petersburg to have Marius Petipa. Petersburg Imperial Theatres. For a ballerina to request a supplemental pas or variation was standard practice in 1. The piece was a standard pas de deux classique that consisted of a short entr. He then agreed to compose a new pas de deux for the ballerina, but soon a problem arose: Sobeshchanskaya had no reservations about performing a pas to Tchaikovsky's new music, but she wanted to retain Petipa's choreography, and she had no wish to travel to St. Petersburg again to have the Ballet Master arrange a new pas for her. In light of this, Tchaikovsky agreed to compose a pas that would correspond to Minkus' music to such a degree that the ballerina would not even be required to rehearse. Sobeshchanskaya was so pleased with Tchaikovsky's new version of the Minkus music that she requested he compose for her an additional variation, which he did. Until 1. 95. 3 this pas de deux was thought to be lost, until an accidentally discovered rep. In 1. 96. 0 George Balanchine choreographed a pas de deux to this music for the Ballerina Violette Verdy, and the Danseur Conrad Ludlow performed on the City Center of Music and Drama in New York City under the title Tschaikovsky Pas de Deux. Hansen made considerable efforts throughout the late 1. Swan Lake and on 1. January 1. 88. 0 he presented a new production of the ballet for his own benefit performance. The part of Odette/Odile was danced by Evdokia Kalmykova, a student of the Moscow Imperial Ballet School, with Alfred Bekefi as Prince Siegfried. This production was far more well- received than the original, though it was by no means a great success. Hansen presented another version of Swan Lake on 2. October 1. 88. 2, again with Kalmykova as Odette/Odile. For this production Hansen arranged a Grand Pas for the ballroom scene which he titled La Cosmopolitana. This was taken from the European section of the Grand Pas d'action known as The Allegory of the Continents from Marius Petipa's 1. The Bandits to the music of Ludwig Minkus. Hansen's version of Swan Lake was given only four times, the final performance being on 2 January 1. In all, Swan Lake was given a total of forty- one performances between its premi. Hansen would go on to become Balletmaster to the Alhambra Theatre in London and on 1 December 1. The Swans, which was inspired by the second scene of Swan Lake. The music was composed by the Alhambra Theatre's chef d'orchestre Georges Jacoby. The second scene of Swan Lake was then presented on 2. February in Prague by the Ballet of the National Theatre in a version mounted by the Balletmaster August Berger. The ballet was given during two concerts which were conducted by Tchaikovsky. The composer noted in his diary that he experienced . Berger's production followed the 1. Prince Siegfried and Benno were changed to Jaroslav and Zde. Berger's production was only given eight performances and was even planned for production at the Fantasia Garden in Moscow in 1. Petipa. However, Tchaikovsky died on 6 November 1. Swan Lake were beginning to come to fruition. It remains uncertain whether Tchaikovsky was even going to revise the music for the prospected revival of Swan Lake. Whatever the case, as a result of Tchaikovsky's death, Drigo was forced to revise the score himself, but not before receiving approval from Tchaikovsky's younger brother, Modest. There are major differences between Drigo's and Tchaikovsky's Swan Lake score. The production included the second Act of Swan Lake, choreographed by Lev Ivanov, Second Balletmaster to the Imperial Ballet. Ivanov's choreography for the memorial concert was unanimously hailed as wonderful. The Ballerina who danced Odette and Odile was the Italian virtuosa Pierina Legnani, and it was because of her great talent that the prospected revival of Swan Lake was planned for her benefit performance in the 1. Her performance demonstrated her phenomenal technique, climaxing in her variation from the final tableau no fewer than thirty- two fouett. The dazzled public roared with demands for an encore, and the Ballerina repeated her variation, this time performing twenty- eight fouett. However, the death of Tsar Alexander III on 1 November 1. Swan Lake. Ivanov and Petipa chose to collaborate on the production, with Ivanov retaining his dances for the second Act while choreographing the fourth, and with Petipa staging the first and third Acts.
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