The Story

Background

Swan Lake was Tchaikovsky’s first score for ballet. Given its status today as arguably the best loved and most admired of all classical ballets, it is perhaps surprising that at its premiere in 1877 Swan Lake was poorly received. It is thanks to the 1895 production by Marius Petipa and Lev Ivanov that Swan Lake has become part of not only ballet consciousness but also wider popular culture. That success is secured not only by the sublime, symphonic sweep of Tchaikovsky’s score, but also by the striking choreographic contrasts between Petipa’s royal palace scenes and the lyric lakeside scenes created by Ivanov.

Swan Lake has had a special role in the repertory of The Royal Ballet since 1934. Since then there has been a succession of productions, the most recent of which was overseen by Anthony Dowell. This Season the Company creates a new production with additional choreography by Artist in Residence Liam Scarlett. Scarlett, while remaining faithful to the Petipa-Ivanov text, will bring fresh eyes to the staging of this classic ballet, in collaboration with his long-term designer John Macfarlane.

The Royal Ballet’s director, Kevin O’Hare comments

‘We want it to feel like a big, opulent Swan Lake that could only be by The Royal Ballet. The corps de ballet of swans will wear tutus, not the longskirted dresses they were previously assigned. I think everyone deserves a chance to take a fresh look at the great classics. Of course there’s an emotional wrench in saying goodbye to Anthony Dowell’s production, as so many of our dancers have grown up on it or performed in it as children. But it’s important to refresh things every so often. This production has been a long time in the making and we’re very excited about it.’

Choreographer, Liam Scarlett on the score

‘When it was first done in 1877, the choreographer Julius Reisinger said it was almost undanceable – even suggesting replacing part of Tchaikovsky’s score with a more “conventional” section of Minkus’s – but over a century later, here we are and it’s just perfection in terms of its danceability and its narrative storytelling. From that first note on the oboe you are immediately transported into this beautiful, tragic fairytale.’ Scarlett has created an entire new Act IV, based on the musical running order that was also used by Ashton. He is also choreographing the company dances and divertissements in Acts I and III, including most of the national numbers and the ‘Vals des Fiancées’. Former Director of The Royal Ballet Frederick Ashton’s beloved Neapolitan Dance, though, stays: ‘I danced it so often and love it so much, I don’t think I could or should touch it.’

Credits