Guide Swan Lake. Act III. Scene No. 17. Entry of Guests and Waltz

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Table of contents

• Swan Lake: Act III, No.17 - Entrance of the guests and waltz - Allegro, Tempo di valse
• Swan Lake - Il Lago Dei Cigni Op. 20
• Tchaikovsky: Swan Lake, The Sleeping Beauty, The Nutcracker (CD7) (2016)
• BMW Navigation Update – All Models

In the Grand Pas d'action of the ballet's second act she demonstrated her phenomenal technique - next to her flawless placement and perfection of port de bras she performed pique turns with quadruple and quintuple pirouettes en pointe , accented with double turns no less than four times in a row - a feat even modern-day ballerinas have difficulty achieving.

According to press accounts of the production the ballerina "did not move at all from the place she started. Soon after Legnani was named Prima Ballerina Assoluta of the Imperial Ballet, and it was because of her great talent that the prospected revival of Swan Lake was planned for her benefit performance in the season. However, the death of Tsar Alexander III on 1 November and the period of official mourning which followed it brought all ballet performances and rehearsals to a close for some time, and as a result all efforts were able to be concentrated on the pre-production of the revival of Swan Lake.

Ivanov and Petipa chose to collaborate on the production, with Ivanov retaining his dances for the second scene while choreographing the fourth, and with Petipa staging the first and third scenes. Ivanov was also entrusted with staging the Neapolitan Dance and the Hungarian Dance in the Grand Divertessment of the third scene. Tchaikovsky's brother Modest was called upon to make the required changes to the ballet's libretto, the most prominent being his revision of the ballet's finale: instead of the lovers simply drowning at the hand of the wicked Rothbart as in the original scenario, Odette commits suicide by drowning herself, with Prince Siegfried choosing to die as well, rather than live without her, and soon the lovers' spirits are reunited in an apotheosis.

All was ready by the beginning of and the ballet had its premiere on 15 January. This choreographic notation is today housed in the Harvard University Library Theatre Collection and is part of a whole cache of notation known as the Sergeyev Collection , which documents the works of Marius Petipa that comprised the repertory of the Imperial Ballet at the turn of the 20th century.

Here are descriptions of some of the scenes and dances of his and Ivanov's ion of Swan Lake. The first dancers to perform the pas de trois in the revival were Olga Preobrajenskaya , Georgy Kyaksht famous for creating the role of Harlequin in Petipa's original Harlequinade , and Varvara Rykhlyakova. According to a press account: " Perhaps the only company to dance this Waltz today in Petipa's original version is the Royal Ballet.

The notation documents Petipa's original choreography - one of his signature lavish dances for a massive corps de ballet. According to the notation the choreography called for forty dancers 20 men and 20 women , with sixteen of them using footstools painted both red and green to form geometric patterns and make various poses, with the corps de ballet at all times remaining inside the space made by the footstools. A Maypole was brought out toward the finale of the Waltz.

One critic who saw the first performance described it: "At the end of the Waltz a Maypole is introduced, the high point of which ribbons are dropped in sequential order: red ribbons, blue, and yellow. The dancers pick up the ends of the ribbons, forming thereby a kind of umbrella; it turned out to be quite an effective picture. Perhaps only the Royal Ballet 's revival of Swan Lake staged by Anthony Dowell and Roland John Wiley retains Ivanov's original scheme for the second scene, while most other productions present a version which has been handed down primarily by way of Soviet-era revisions.

In the production Prince Siegfried made his way to the enchanted lake with a group of hunters, not by himself as in many modern versions. When he first encountered Odette, there was as is preserved in the notation an extensive mime sequence between the two characters, a passage which is rarely performed in modern times American Ballet Theatre director Kevin McKenzie created a mime sequence in the same manner as the original for his recent production of Swan Lake , while the Royal Ballet still performs a rendition of Ivanov's original mime.

A most interesting feature of Ivanov's original choreography for the second scene was the use of children, a feature that was only recently restored in the Royal Ballet's production - there is perhaps no other production in the world which uses children in this scene. In Ivanov's original choreography, when Odette makes her second entrance to beg Benno and the hunting party not to hurt her fellow Swan Maidens, she is followed onstage by eight girl students as Swans.

These students also participate in the Waltz of the Swans , which was far more elaborate in Ivanov's original than the traditional version danced today by most companies. It was not until the Danseur Nikolai Legat replaced Gerdt in the role of Prince Siegfried in the late s that the pas became a pas de deux.

Following Legat's example, many of the danseurs of the Imperial Ballet who performed Prince Siegfried after him chose to partner Odette alone. In spite of this, the notation for Swan Lake , made between April and April , documents Ivanov's original scheme. One critic who viewed the premiere wrote of this pas : "Legnani was as if transformed, preening and admiring her snow white down, it was as if Legnani were actually experiencing these moments, filled with poetic melancholy.

Langour showed in each of her graceful movements. There Legnani was at the height of understanding her art. The famous Dance of the Little Swans is the only number of the original Swan Lake to be danced in modern times exactly as Ivanov choreographed it. The remainder of the second scene is notated but the finale is not. During the premiere of the revival the Spanish Dance and the Neapolitan Dance left a rather neutral impression, but the Hungarian Dance and Mazurka were both encored.

Perhaps the biggest sensation was the Mazurka , danced by a group of dancers with Felix Kschessinsky as soloist. Kschessinsky the father of the Ballerina Mathilde Kschessinskaya was hailed in his day at the Mariinsky Theatre as "King of the Mazurka. The character of Odile was not a "Black Swan" at all in either the original production of nor in the revival of , and she was not performed as such for many years - she was simply Rothbart's evil daughter until sometime in the late s or early s. As Odile, Pierina Legnani appeared in a glittering multi-colored costume with no feathers to be found - obviously to appear more as an enchantress than as a "Black Swan.

It is unknown when the tradition of having Odile performed as a "Black Swan" began, but most historians point to a staging of the third scene the "Ballroom Scene" performed by the Ballet Russe de Monte Carlo at the Metropolitan Opera in New York. Odile was danced by the great Ballerina Tamara Toumanova. At the time the only part of Swan Lake that was known in the west was the famous second scene or the "White Act" as it is sometimes called.

In an effort to have the audience distinguish Odile from the more well-known Odette, Fedorova-Fokine had Toumanova perform in a black costume, and almost by accident Odile began to be referred to as "The Black Swan. In order to share in the "labour" of partnering, it was tradition in the late 19th century Imperial Theatres to have an additional suitor, along with the lead cavalier, partner the Prima Ballerina in a ballet's Grand Adagio.

This was mostly because the aging Pavel Gerdt who was fifty years old in was performing nearly all of the lead male roles in the repertory. After the Grand Adagio Pavel Gerdt did not dance a variation, but the additional cavalier, danced by Alexander Gorsky, did - though a rather short one according to contemporary accounts. Just as it was tradition in the Imperial Ballet that an additional suitor partner the Ballerina, it was also tradition that this additional suitor dance the lead male character's variation, being that the aging Pavel Gerdt could not.

It is not known for certain what music was used for Gorsky's variation, though it is thought to have been either a version of what later became the traditional Variation of Prince Siegfried , or an interpolation from another work, though this is highly unlikely. Pierina Legnani's variation as Odile was crafted by Petipa for her virtuoso technique, and is for the most part still performed as originally choreographed by him, still challenging ballerinas to the present day.

At the beginning of the fourth scene, after a brief interlude, the second of the additions to the ballet was danced - another Waltz of the Swans to Drigo's orchestration of a piece from Tchaikovsky's Op. Ivanov choreographed this Waltz, based on Petipa's sketches, for both white and black Swans. After the Waltz is over Odette made her frantic entrance and, as preserved in the notation , a brief mime interlude followed between her and a few of her Swan maidens.

Tchaikovsky: Swan Lake, The Sleeping Beauty, The Nutcracker (CD7) (2016)

After Prince Siegfried made his entrance, the third of the additions to the ballet was a Pas d'action for his reconciliation with Odette. This number was also orchestrated by Drigo from Tchaikovsky's Op. After Rothbart makes his entrance a brief interlude ensues, but soon the choreographic notation comes to an end. Most of the reviews in the St. Petersburg newspapers were positive. The Tableau of Swan Lake in the second scene was planned with great talent and permeated with true poetry, gloomy and expressive. Among the craggy rocks in the far distance a mysterious and deathly quiet lake is seen.

The entire stage is filled with soft, quivering moonlight To melodious sounds, lightly and beautifully, like the music, a flock of swans, floats out The Adagio is the Ballerina's masterpiece, in the performance of which Miss Legnani revealed brilliant technique, lightness of movement, and plasticity of pose. It was given only sixteen performances in the season and was not performed at all in Even more surprising, the ballet was only given four times in and The ballet belonged solely to Legnani until she left St.

Petersburg for her native Italy in After her departure, the ballet was taken over by Mathilde Kschessinskaya, who was as much celebrated in the role as was her Italian predecessor. There are major differences in the score of Swan Lake when one compares a recording or manuscript of the original, un-altered composition of , with the score as performed in live performance. Although he is rarely cred for his work, it is Riccardo Drigo 's revision of Tchaikovsky's score as done for Petipa and Ivanov's revival that almost every ballet company utilizes to one degree or another when performing Swan Lake.

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Currently not in stock. Notify me about availablity To use wishlist, you have to login or register. LP2 CD She rejects him, for she is already in love with the Prince Derek, whom she has known since birth; Von Rothbart, not knowing of this, changes Odette into a Swan and carries her.