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Swan Lake (ballet)
Swan Lake (Russian: Лебединое Озеро, Lebedínoye Ózero) is a ballet, op. 20, by Pyotr Ilyich Tchaikovsky, composed 1875–1876. The scenario, initially in four acts, by Vladimir Begichev and Vasiliy Geltser was fashioned from Russian folk tales[1] as well as an ancient German legend. It tells the story of Odette, a princess turned into a swan by an evil sorcerer's curse. The choreographer of the original production was Julius Reisinger. The ballet received its premiere on February 20, 1877,[2][3] at the Bolshoi Theatre in Moscow as The Lake of the Swans. Although it is presented in many different versions, most ballet companies base their stagings both choreographically and musically on the 1895 revival of Marius Petipa and Lev Ivanov, first staged for the Imperial Ballet on January 15, 1895, at the Mariinsky Theatre in St. Petersburg, Russia. For this revival, Tchaikovsky's score was revised by the St. Petersburg Imperial Theatre's chief conductor and composer Riccardo Drigo.
History
Origins of the Swan Lake story
Many critics have disputed the original source of the Swan Lake story. The Russian ballet patriarch Fyodor Lopuokhov
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11. The Sleeping Beauty
Tchaikovsky’s Masterpiece
When he was 80 years old, Alexandre Benois (1870-1960, designer for Diaghilev’s Ballets Russes) wrote an ecstatic recollection of his youthful impressions upon seeing the Petipa/Tchaikovsky Sleeping Beauty ballet four times in seven days, starting with its second performance in 1890 in St. Petersburg. As soon as they could, he and his friends bought published piano arrangements to play at home. He was completely captivated:
It turned out that Tchaikovsky’s music was not only excellent and charming, but that this was the very thing that I had somehow always been waiting for. Already at the second performance I attended, it was not the spectacle or the dances or the performance or the artists which captivated me, but the music which won me over, something infinitely close, inborn, something I would call my music. In a word, I fell in love with Tchaikovsky’s music, and Pyotr Ilyich himself...became someone very close to me, though I never had occasion to meet him personally.
Benois was particularly struck with the masterful way in which the composer had evoked a former era with his music:
Pyotr Ilyich was unquestionably one of those people for whom the past had not completely and forever disappeared, but continued som