Kevin McKenzie (born April 29, 1954 in Burlington, Vermont) is an American ballet dancer, choreographer, and director. A former principal dancer with American Ballet Theatre, he has served as the company's artistic director since 1992.

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Education[edit]

The youngest of 11 children, McKenzie began taking dance lessons at the urging of his father, who was eager to see his son become the next Fred Astaire. Shortly after his first lesson at the O'Brien School of Dance, he found that he was drawn more to ballet than to tap dancing. After being informed of their great talent, his mother sent him and his sister to study at the Washington School of Ballet under the directorship of Mary Day. Mary Day created an environment where dancers were able to explore their own opinions. It is because of her training that he became interested in story telling and developing characters, which led him to be intrigued with ballet theater.^[1] Following a year long bout of ulcerative colitis, McKenzie spent his senior year on preparing for the Varna International Ballet Competition. At the 1972 edition of the competition, he was awarded the silver medal for his performance in the junior division.^[2][3] As a professional dancer, he trained with Maggie Black in addition to other professionals including Georgina Parkinson, Twyla Tharp, and Anthony Dowell. He also worked on acting with Mary Day throughout his career.^[1]

Career[edit]

After his win, McKenzie joined The Washington Ballet, making his professional debut at the Kennedy Center in Les Sylphides. He left the company in 1974 to join the Joffrey Ballet, where he performed as a principal dancer.^[4] He turned down Joffrey at first to see if he could get into Ballet Theater, but eventually accepted Joffrey's offer after getting advice from a colleague. In regards to his time as a professional dancer at Joffrey, he has said he 'learned how to learn there.' He believes his experience at Joffrey is what shaped him into an adult.^[1] In 1979, he departed to join American Ballet Theatre as a soloist. The following year after joining ABT, he was promoted to principal dancer.^[5] During his time at ABT, McKenzie danced all of the major roles in the repertoire, but he performed best in princely roles. As a principal dancer in ABT, some of the roles he performed include Solo in La Bayadere, Don Jose in Carmen, the Prince in Mikhail Baryshnikov’s production of the full-length Cinderella, Franz in Coppélia, the Gentleman With Her in Dim Lustre, Basil and Espada in Don Quixote (Kitri’s Wedding), Albrecht in Giselle, a leading role in The Garden of Villandry, Her Lover in Jardin aux Lilas, the leading role in The Leaves Are Fading, the Friend in Pillar of Fire, the leading role in Raymonda (Grand Pas Hongrois), a featured role in Requiem, the Champion Roper in Rodeo, Romeo and Mercutio in Romeo and Juliet, Prince Desire in The Sleeping Beauty, Prince Siegfried in Swan Lake, James in La Sylphide and the leading roles in Other Dances, Paquita, Les Sylphides, the Sylvia Pas de Deux and Theme and Variations. He created the role of Amnon in Martine van Hamel’s Amnon V’Tamar and a leading role in Clark Tippet’s S.P.E.B.S.Q.S.A.^[6] Retiring from ABT in 1991, he returned to Washington Ballet to assist Mary Day as her associate director. The following year he returned to ABT to take over as artistic director.^[7] McKenzie has a deep regard that ABT needs to 'have the best it can possibly have,' in terms of faculty members and administration.^[1]

During his professional dance career, McKenzie performed in cities across the world including Italy, Paris, London, Tokyo, etc. He had the opportunity to dance with the London Festival Ballet, the Bolshoi Ballet, the National Ballet of Cuba, and the Universal Ballet in Seoul. McKenzie was given the role of permanent guest artist with The Washington Ballet in 1989. In 1991, he became the Associate Artistic Director of the company. He was also Associate Artistic Director and a choreographer for Martine van Hamel's New Amsterdam Ballet. Before becoming Artistic Director of ABT in 1992, his choreographic credits include Groupo Zambaria (1984) and Liszt Études (1991), which were both choreographed for Martine van Hamel’s New Amsterdam Ballet. He had also choreographed Lucy and the Count (1992) for The Washington Ballet. For American Ballet Theater, he choreographed The Nutcracker (1993), Don Quixote (1995, in collaboration with Susan Jones) a new production of Swan Lake (2000), a new production of Raymond (2004) with choreography by Anna-Marie Holmes, and a new production of The Sleeping Beauty in 2004 with Gelsey Kirkland and Michael Chernov. In 2014, he staged a new production of Raymond Divertissements with Irina Kolpakova.^[6]

At the time that he took over, ABT was $5.7 million dollars in debt and on the brink of collapse.^[8] Revitalizing the repertoire with new versions of The Nutcracker and Don Quixote, the company's fortunes were further strengthened by the arrival of Paloma Herrera^[9] and Angel Corella^[10] whose performances proved box-office gold. Adopting a new guest-star strategy, McKenzie gathered the strongest roster of male ballet stars in the world to continue the company's box-office success. By the end of the 90's, performances from Julio Bocca, Jose Manuel Careno, Vladimir Malakhov, Corella, Ethan Stiefel, Alessandra Ferri, Julie Kent, Herrera, and Irina Dvorovenko ensured that the company's fortunes remained high.^[11] Though a few dancers, such as Gillian Murphy, David Hallberg, Marcelo Gomes, and Herman Cornejo were promoted naturally through the ranks, this star-casting scheme had the unfortunate side effect of suppressing opportunities for the upcoming generation of dancers^[12]

With the retirement of this wave of leading dancers over the course of the late aughts, McKenzie changed course on the company's policy of importing established stars by opening the Jacqueline Kennedy Onassis School to nurture the company's homegrown talent and appointing Alexei Ratmansky as Artist in Residence to shape ABT's future choreographically.^{[13][14][15][16]} In recent years, while the company continues to perform McKenzie's versions of Don Quixote and Swan Lake, his Nutcracker and The Sleeping Beauty have been replaced by Ratmansky's restorations. Even as he has continued to support Ratmansky's choreographic endeavours, McKenzie has also invested in commissioning new work from female choreographers, particularly Jessica Lang.^[17][18][19] McKenzie stresses the importance of versatility in dancers, and being open to new ideas and training. He has stated it is crucial to 'produce a dancer who is thoughtful, well-developed, but in the absence of style.' He also believes that individual teachers create great dancers, not necessarily schools or training programs as a whole. McKenzie stresses the importance of dancers bringing their own unique style to pieces. He calls on music a lot as a dancer and a choreographer. McKenzie usually works with dancers on the classical ballets, but believes dancers have to find what is universally truthful about their interpretations.^[1]

Awards[edit]

• Silver Medal from the Sixth International Ballet Competition in Varna, Bulgaria (1972)
• Honorary degree of Doctor of Arts from Saint Michael's College (1993)
• Dance MagazineAward (1999)^[20]
• Honorary degree of Doctor of Arts from Adelphi University (2019)^[21]
• Appeared in two Emmy Award winning broadcasts, The Unicorn, the Gorgon and the Manticore (1970), and American Ballet Theater in Le Corsaire (1998)^[6]
• Founding board member of Kaatsbaan International Dance Center in Tivoli, New York^[6]

Media[edit]

McKenzie helmed ABT's presentation of Anna-Marie Holmes' Le Corsaire in 1995^[22] and a decade later in his production of Swan Lake in 2005.^[23][24] Both performances were aired on PBS.

Personal life[edit]

McKenzie spent his childhood growing up in a big family, and says that dynamic sustained him throughout his dance career.^[1] McKenzie is married to the former ballet star, Martine van Hamel. The two co-founded Kaatsbaan International Dance Center.^[25]

References[edit]

1. ^ ^abcdef'Interview with Kevin McKenzie'. NYPL Digital Collections. Retrieved September 29, 2020.
2. ^'VI International Ballet Competition – Varna 1972'. XXVIII Varna IBC 2018. April 18, 2018. Retrieved July 24, 2019.
3. ^'Facing the Daunting Task of Turning Around ABT : Dance: Kevin McKenzie, the new ABT artistic director and former dancer, takes over a financially crippled troupe. He is confident, though, that the company 'is going to make it.''. Los Angeles Times. November 30, 1992. Retrieved July 24, 2019.
4. ^'The Joffrey's Flexible Classicist'. Washington Post. August 1, 1978. ISSN0190-8286. Retrieved July 24, 2019.
5. ^'Kevin McKenzie Named Ballet Theatre Principal'. The New York Times. February 11, 1980.
6. ^ ^abcd'Kevin McKenzie'. American Ballet Theatre. Retrieved September 29, 2020.
7. ^'McKenzie named director of American Ballet Theatre'. UPI. Retrieved July 24, 2019.
8. ^Kisselgoff, Anna (May 2, 1993). 'DANCE; For Kevin McKenzie, an Uphill Battle'. The New York Times. ISSN0362-4331. Retrieved July 24, 2019.
9. ^Kisselgoff, Anna (December 22, 1994). 'DANCE REVIEW; Guest Artists: 'Nutcracker' Tradition'. The New York Times. ISSN0362-4331. Retrieved July 24, 2019.
10. ^Kaye, Elizabeth (May 21, 1995). 'DANCE: UP AND COMING: Angel Corella; A Young Rocket Who's Lifting Off Toward the Stars'. The New York Times. ISSN0362-4331. Retrieved July 24, 2019.
11. ^Kisselgoff, Anna (May 14, 1999). 'CRITIC'S NOTEBOOK; They Make People Gasp'. The New York Times. ISSN0362-4331. Retrieved July 24, 2019.
12. ^Acocella, Joan (June 18, 2012). 'Bring in the Ballerinas'. ISSN0028-792X. Retrieved July 24, 2019.
13. ^Macaulay, Alastair (September 12, 2008). 'Alexei Ratmansky Will Bring Hope With Him When He Joins American Ballet Theater'. The New York Times. ISSN0362-4331. Retrieved July 24, 2019.
14. ^John Rockwell (May 21, 2006). 'Kevin McKenzie Keeps American Ballet Theater in a State of Permanent Renewal'. The New York Times. Retrieved September 15, 2016.
15. ^Paula Routly (November 7, 2012). 'Kevin McKenzie, Burlington's Billy Elliot, Comes Home to Take a Bow'. Seven Days. Retrieved September 16, 2016.
16. ^Harss, Marina (May 17, 2019). ''More Than Pretty Dances': Alexei Ratmansky's Alliance With Ballet Theater'. The New York Times. ISSN0362-4331. Retrieved July 24, 2019.
17. ^'Jessica Lang'. American Ballet Theatre. Retrieved July 24, 2019.
18. ^Kourlas, Gia (May 9, 2018). 'Ballet Theater Announces Female Choreographer Initiative'. The New York Times. ISSN0362-4331. Retrieved July 24, 2019.
19. ^Cooper, Michael (June 27, 2019). 'Female Choreographers Take Center Stage in Ballet Theater's Fall Season'. The New York Times. ISSN0362-4331. Retrieved July 24, 2019.
20. ^'Dance Magazine Award Recipients'. Dance Magazine. June 1, 2018. Retrieved July 24, 2019.
21. ^'Adelphi Commencement 2019 on Sunday, May 19: Honorary Degrees Planned for Accomplished Dancer, Autism Advocate'. news.adelphi.edu. Retrieved July 24, 2019.
22. ^Sun-Sentinel, GUILLERMO PEREZ Special to the. 'PBS PRESENTATION OF BALLET LE CORSAIRE A SENSUAL TREAT'. Sun-Sentinel.com. Retrieved July 24, 2019.
23. ^Mattison, Ben (June 20, 2005). 'PBS Broadcasts American Ballet Theatre Swan Lake'. Playbill. Retrieved July 24, 2019.
24. ^'This 'Swan Lake' makes lofty viewing - The Boston Globe'. archive.boston.com. Retrieved July 24, 2019.
25. ^'Martine van Hamel: How I Teach Ballet'. Dance Teacher. February 27, 2017. Retrieved July 24, 2019.

External links[edit]

• Biography at American Ballet Theatre at the Wayback Machine (archived 2016-03-03)

Swan Lake is a romantic ballet in four acts. Pyotr Ilyich Tchaikovsky wrote the music. In 1871 he wrote a little ballet about swans for his nieces and nephews. He used some of the music from this ballet for Swan Lake. The story of the ballet is based on a Germanfairy tale. This tale was probably tweaked by Tchaikovsky and his friends during the ballet's early discussion stages.

Swan Lake is about a prince named Siegfried. He falls in love with the Swan princess, Odette. She is a swan by day, but a young woman at night. She is under a magicspell that can only be broken by a man who will make a promise to love her for all time. Siegfried makes the promise. He is tricked though by the magician who cast the spell. The ballet ends with the deaths of Siegfried and Odette.

The ballet was first performed on 4 March 1877 at the Bolshoi Theatre in Moscow, Russia. Critics looked upon it as a failure for many reasons. In 1895 some changes were made to the ballet. It was then performed at the Mariinsky Theatre in St. Petersburg, Russia. This time the critics thought Swan Lake a great success. Most performances today are based on this 1895 version.^[3]

• 12Structure
  • 12.4Act III

Story of the ballet

Act 1:1. Scène—The curtain rises on Prince Siegfried's birthday party. He is 21. On the next evening a grand ball will be held. He is to select a bride from six visiting princesses. Wolfgang, his tutor, introduces a band of peasants to the merrymakers. 2. Valse. 3. Scène. The Queen Mother enters. She thinks Siegfried is frivolous. The Queen Mother leaves. Benno encourages the Prince to continue the fun. 4. Pas de trois.—Dances for the peasants. 5. Pas de deux.—Dances for the merrymakers. 6. Pas d'action.—Wolfgang is drunk and collapses. 7. Sujet.—The sun sets. Siegfried suggests a final dance. 8. Danse des coupes.—The merrymakers dance a polonaise holding their goblets. 9. Finale.—A flock of swans flies overhead. Benno suggests a hunt. The Prince agrees. They set off.

Act 2:10. Scène.—A lake shimmering in the moonlight is seen. Siegfried and his friends watch a flock of swans glide across the lake's surface. 11. Scène.—The hunters take aim. The birds are transformed into maidens. Their leader asks Siegfried why he troubles them. She says that she is the Princess Odette. She and her companions have all been changed into swans by her wicked stepmother. They are watched by her stepmother's companion Von Rothbart in the guise of an owl. Only a marriage vow can break the spell that keeps her a swan by day and a maiden by night. 12. Scène.—Siegfried says he loves Odette. She promises to attend tomorrow's ball. She warns him that her stepmother is very dangerous. 13. Danse des cygnes.14 Scène.— Dawn breaks. Odette and her friends return to the lake as swans.

Act 3: Guests arrive in Siegfried's castle for the selection of the Prince's bride. 16. Danse du corps de ballet and des nains.—All dance, including a group of dwarves. 17. Scène.—La sortie des invités et la Valse. The six princesses arrive. 18. Scène. Siegfried does not choose a bride from among the six princesses. Von Rothbart enters with his daughter Odile. She is disguised as Odette. 19. Pas de six. The princesses dance. 20. Danse hongroise.21. Danse espagnole.22. Danse napolitaine.23. Danse Mazurka.24. Scène.—Siegfried chooses Odile as his bride, believing she is Odette. Von Rothbart flees the hall as an owl. Siegfried rushes into the night to find Odette.

• Tchaikovsky later put a pas de deux into Act 3 that is known as the 'Black Swan pas de deux'.

Act 4:25. Entr'acte. 26. Scène.—Odette's friends await her return to the lake. 27. Danse des petits cygnes. 28. Scène. Odette collapses into her companions' arms. She tells them what has happened. A storm rises. Siegfried reaches Odette. 29. Scène finale.—He begs her to forgive him. She dies of grief in his arms. He throws her crown upon the waters. The waves overwhelm him. The swans are seen gliding away across the lake.

Libretto and score

In 1871 Tchaikovsky was passing the summer in the Ukraine with his sister Alexandra Davydova. It was in her home at Kamenka that he wrote a short ballet about swans for her children to perform. The story of the ballet was based on 'The Lake of Swans', a Germanfairy tale.^[4] Tchaikovsky used a musical theme from this children's ballet in the mature Swan Lake. Little else is known of this ballet for children.^[5]

In 1875 Vladimir Begitchev asked Tchaikovsky to write a ballet about swans. Begitchev was the official in charge of the repertory of the Imperial Theatres. Tchaikovsky accepted his invitation to write the ballet. He told Rimsky-Korsakov, 'I accepted the work, partly because I want the money, but also because I have long had the wish to try my hand at this kind of music.' In August he had completed sketches for two acts. He finished the ballet on 10 April 1876.^[6]

It is uncertain who wrote the libretto of the ballet. Both Begitchev and the dancer Vasily Geltzer were credited in the programme.^[7] They likely based it upon discussions with the artists who met at Begitchev's salon. They also used tales from Johann Musäus's Volksmärchen der Deutschen (1782–86), a collection of German fairy and folk tales.^[8]

Composition

Tchaikovsky had no experience writing ballet music for the professional theatre when he accepted Begitchev's invitation. In 1875 he began work on Swan Lake. It was his first ballet. He studied the ballet music of other writers. He liked the music and ballets of Leo Delibes. Tchaikovsky thought Delibes's music was pretty and tuneful. Tchaikovsky however would base Swan Lake on a symphonic scale. Writing the music for Swan Lake was a way for Tchaikovsky to avoid the reality of being a homosexual in czarist Russia. Russia was a repressive state. Homosexuals were sent to prison, exiled, or banished. Symphonies did not ease the stress in the way ballet music did; he had to put too much of his inner life into symphonies. He was hired to write Swan Lake in May 1875. He completed the music in April 1876.^[9] The official responsible for the music at the Bolshoi Theatre thought Tchaikovsky's music impossible to understand.^[2] A leitmotif in Tchaikovsky's little ballet music for his nieces and nephews came to be called the 'Song of the Swans'. Tchaikovsky used this leitmotif in Swan Lake.^[9][10]

Characters in the ballet

• Odette, the Swan Princess. Odette is a swan by day (like her sister swans) and a maiden by night. She appears in Acts 2 and 4, and very briefly in Act 3.
• Prince Siegfried, Odette's lover. Prince Siegfried falls in love with Odette and promises to be true to her forever. He betrays Odette by accident. He appears in all four acts.
• Von Rothbart, is a magician who keeps Odette and her sister swans trapped in a magic spell. He takes the shape of an owl. He is defeated at the end of the ballet. He appears in Acts 2, 3, and 4. He is sometimes referred to as Rotbart. His name means 'Red Beard'.
• Odile, Von Rothbart's daughter. She is disguised as Odette. She tricks the prince into promising his love to her at a ball, and, in doing so, the Prince betrays Odette. She appears only in Act 3. Sometimes the ballerina playing Odette also performs the role of Odile.
• Wolfgang, the Prince's tutor. Wolfgang usually appears in Act 1. He becomes drunk on the wine. He appears in Acts 1 and 3.
• Benno, the Prince's friend. Benno suggests to the Prince and his friends that they hunt the swans in Act 1. Benno appears in Acts 1 and 3.
• Queen Mother, Siegfried's mother. The Queen Mother wants her son to choose a bride. She usually gives him a crossbow as a birthdaygift in Act 1. She appears in Acts 1 and 3. The Queen Mother is a pantomime role.

Structure of the ballet

• Overture

Swan Lake For Mac Pro

Act 1

• No.1: Scène
• No.2: Valse (Waltz)
• No.3: Scène
• No.4: Pas de trois
• No.5: Pas de deux
• No.6: Pas d'action
• No.7: Sujet
• No.8: Danses des couppes {Goblet Dance}
• No.9: Finale

Act 2

• No.10: Scène
• No.11: Scène
• No.12: Scène
• No.13: Danses des cygnes
• No.14: Scène

Act 3

• No.16: Danse du corps de ballet and des nains (Dance for the corps de ballet and the dwarves)
• No.17: Scène —La sortie des invités et la Valse (Arrival of the guests and Waltz)
• No.18: Scène
• No.19: Pas de six (Dance for the six princesses)
• No.20: Danse hongroise (Hungarian dance)
• No.21: Danse espangnole (Spanish dance)
• No.22: Danse napolitaine (Neapolitan dance)
• No.23: Danse Mazurka (Mazurka)
• No.24: Scène
• At a date sometime after the first performance, Tchaikovsky inserted a spectacular pas de deux (now called the Black Swan pas de deux) after the Mazurka

Act 4

• No.25: Entr'acte
• No.26: Scène
• No.27: Danse des petits cygnes (Dance of the baby swans)
• No.28: Scène
• No.29: Scène finale

Music

John Warrack points out that Tchaikovsky put the drama in the story into music: 'By making B the key of the tragedy, he initiates a musical 'plot' with the dark forces of Rothbart tending to drag the tonality down into flatter keys. The main action, on the other hand, lies on the key area of A.' Tchaikovsky balanced all the musical components of the work. 'The divertissements are in his lightest, most appealing musical manner', Warrack writes, 'The dances that further the plot have rather greater musical substance, while the scenes of narrative and action are in what was found his 'symphonic' manner.'^[11] Critics said Tchaikovsky's music was 'too noisy, too 'Wagnerian' and too symphonic'.^[12]

First performance

Rehearsals for Swan Lake began before Tchaikovsky finished the score, and took place over 11 months. Everyone involved in the production had never heard such a complex score for a ballet. They described the music as 'undanceable'. Even the conductor threw his hands up in despair over the music.^[13]

The choreographer Julius Reisinger was incompetent, and the sets lacked a cohesiveness because they were designed by three different men.^[13] In addition, the Bolshoi Theatre was suffering at the time from problems including the lack of a ballet master who could develop a production based on the score.^[14] The role of Odette was not given to a first rate dancer but instead to a second rate talent. The reason may have been political.^[15]

Swan Lake was first performed on 4 March 1877 at the Bolshoi Theatre in Moscow.^[16] Julius Reisinger designed the dances. Pauline Karpakova danced Odette.^[17] She put some numbers she liked from other ballets into Swan Lake.^[18] The ballet was a failure.^[2] In 1883 the Bolshoi dropped the ballet from its repertory. At that time, the sets were falling apart. It was not until 1901 that Alexander Gorsky staged a new production of Swan Lake for the Bolshoi.^[19]

What people thought about the ballet

The first performance of Swan Lake was a disaster. Herman Laroche wrote, 'I must say that I had never seen a poorer presentation on the Bolshoi stage. The costumes, decor, and machines did not hide in the least the emptiness of the dances. Not a single balletomane got out of it even five minutes of pleasure.' He praised the music. He wrote that Tchaikovsky was 'in excellent humour .. he was fully at the height of his genius.' Tchaikovsky's brother Modest wrote, 'The poverty of the production, meaning the décor and costumes, the absence of outstanding performers, the Ballet Master's weakness of imagination, and, finally, the orchestra .. all of this together permitted [Tchaikovsky] with good reason to cast the blame for the failure on others.' The ballet was a moderate success with theatre-goers however. It was presented 33 times between its première at the Bolshoi in 1877 and its final performance in 1883.^[20]

St. Peterburg revision, 1895

Tchaikovsky died on 6 November 1893. People started to take more interest in his music after his death. Lev Ivanov was the assistant Ballet Master at the Mariinsky Theatre in St. Petersburg. He designed new dances for Act 2. This act was presented on 1 March 1894 in a concert at the Mariinsky in memory of Tchaikovsky. Pierina Legnani danced Odette. The revised act was a great success. It was presented again with even greater success. Marius Petipa was the Ballet Master at the Mariinsky. He was impressed with the success of these two presentations. He made the decision to stage the complete ballet at the Mariinsky.^[21] He designed the dances for Acts 1 and 3 while Ivanov designed the dances for Acts 2 and 4.^[22]

Riccardo Drigo was the conductor of the Mariinsky orchestra. He dropped some numbers from the ballet. He orchestrated three piano numbers from Tchaikovsky's Op. 72. He then put them in the ballet. These three numbers were 'L'Espiègle', 'Valse Bluette', and 'Un poco di Chopin'. He then put a number into Act 3 which he may have written himself.^[22]

Tchaikovsky's brother Modest changed the ballet's story a little for the revision. He gave the ballet a happy ending.^[23] The new Swan Lake Tiling window manager for macos. was presented on 27 January 1895 at the Mariinsky. Pierina Legnani danced both Odette and Odile. The ballet was a great success.^[22][24] This version of the ballet is the one generally seen today.^[22]

Thirty-two fouettés en tournant

Swan Lake is famous for the 32 fouettés en tournant in Act 3. These fouettés are danced at the end of the 'Black Swan' pas de deux by the ballerina playing Odile. The pas was an afterthought of Tchaikovsky's. It was not included in the original production. It consists of the opening adagio followed by a variation for the male dancer. This is followed by a variation for the ballerina. The whole concludes with a brisk movement for both dancers that includes the fouettés. Pierina Legnani first danced the fouettés in the Mariinsky production of 1895. Ballet-goers were uncertain about the 32 fouettés. Some thought they were just a stunt. Others found them exciting. Very short introduction oxford complete. These ballet-goers went to every performance to count the number of turns.^[24]

Other early productions

Swan Lake became known in Europe and the United States not long after the revised version was presented at the Mariinsky Theatre in 1895. It was first presented in Europe at Prague in June 1907. It was first presented in the United States at the Metropolitan Opera House in December 1911.^[25]Diaghilev's Ballets Russes presented a two-act Swan Lake in London in 1911. The Ballets Russes presented a one-act version in London in 1925. The complete Swan Lake was first presented in England by the Sadler's Wells Ballet in November 1934.^[25] Ballerinas portraying Odette include Mathilde Kchessinska, Anna Pavlova, and Margot Fonteyn. Pavel Gerdt was the Prince Siegfried of the 1895 St. Petersburg production. Nijinsky and Rudolph Nureyev have also performed Prince Siegfried.

Structure

The score used in this comparison is Tchaikovsky's score.^[26] It may be different from Riccardo Drigo's score which is usually performed today. The titles for each number are taken from the original published score. Some of the numbers are titled simply as musical indications, those that are not are translated from their original French titles.

Introduction

Moderato assai — Allegro non troppo — Tempo I Oculus app.

Act I

No. 1 Scène: Allegro giusto

No. 2 Waltz: Tempo di valse

No. 3 Scène: Allegro moderato

No. 4 Pas de trois

I. Intrada (or Entrée): Allegro

II. Andante sostenuto

III. Allegro semplice, Presto

IV. Moderato

V. Allegro

VI. Coda: Allegro vivace

No. 5 Pas de deux for Two Merry-makers (this number was later fashioned into the Black Swan Pas de Deux)

I. Tempo di valse ma non troppo vivo, quasi moderato

II. Andante - Allegro

III. Tempo di valse

IV. Coda: Allegro molto vivace

No. 6 Pas d'action: Andantino quasi moderato – Allegro

No. 7 Sujet (Introduction to the Dance with Goblets)

No. 8 Dance with Goblets: Tempo di polacca

No. 9 Finale: Sujet, Andante

Act II

Swan Lake For Christmas

No. 10 Scène: Moderato

No. 11 Scène: Allegro moderato, Moderato, Allegro vivo

No. 12 Scène: Allegro, Moderato assai quasi andante

No. 13 Dances of the Swans

I. Tempo di valse

II. Moderato assai

III. Tempo di valse

IV. Allegro moderato (this number later became the famous Dance of the Little Swans)

V. Pas d'action: Andante, Andante non troppo, Allegro (material borrowed from Undina)

VI. Tempo di valse

VII. Coda: Allegro vivo

No. 14 Scène: Moderato

Act III

No. 15 Scène: March – Allegro giusto

No. 16 Ballabile: Dance of the Corps de Ballet and the Dwarves: Moderato assai, Allegro vivo

No. 17 Entrance of the Guests and Waltz: Allegro, Tempo di valse

No. 18 Scène: Allegro, Allegro giusto

No. 19 Grand Pas de six.

I. Intrada (or Entrée): Moderato assai

II. Variation 1: Allegro

III. Variation 2: Andante con moto

IV. Variation 3: Moderato

V. Variation 4: Allegro

VI. Variation 5: Moderato, Allegro semplice

VII. Grand Coda: Allegro molto

Appendix I

Pas de deux for Mme. Anna Sobeshchanskaya fashioned from the original music by Léon Minkus (AKA the Tchaikovsky Pas de Deux)

No. 20 Hungarian Dance: Czardas – Moderato assai, Allegro moderato, Vivace

Appendix II

No. 20a Russian Dance for Mlle. Pelageya Karpakova: Moderato, Andante semplice, Allegro vivo, Presto

No. 21 Spanish Dance: Allegro non troppo (Tempo di bolero)

No. 22 Neapolitan/Venetian Dance: Allegro moderato, Andantino quasi moderato, Presto

No. 23 Mazurka: Tempo di mazurka

No. 24 Scène: Allegro, Tempo di valse, Allegro vivo

Act IV

No. 25 Entr'acte: Moderato

No. 26 Scène: Allegro non troppo

No. 27 Dance of the Little Swans: Moderato

No. 28 Scène: Allegro agitato, Molto meno mosso, Allegro vivace

No. 29 Scène finale: Andante, Allegro, Alla breve, Moderato e maestoso, Moderato

Notes

1. ↑ Warrack 1966, p. 5
2. ↑ ^2.02.12.2 Robert 1949, p. 305
3. ↑'Swan Lake Ballet 2018'. https://in.bookmyshow.com/events/swan-lake-ballet-2018/ET00068643.
4. ↑Warrack 1966, p. 4.
5. ↑Warrack 1979, p. 15.
6. ↑Warrack 1979, pp. 15–16.
7. ↑Beaumont 2012, p. 8.
8. ↑Nugent 1985, p. 13.
9. ↑ ^9.09.1 Warrack 1979, p. 15
10. ↑ Balanchine 1975, p. 449
11. ↑ Warrack 1973, pp. 96–99
12. ↑Rosen, Gary (1998). 'Swan Lake: An Historical Appreciation'. Swan Lake programme (Cape Town: Cape Town City Ballet).
13. ↑ ^13.013.1Nugent 1985, p. 16.
14. ↑Nugent & 1985 pp16-17.
15. ↑Nugent 1985, p. 17.
16. ↑ Warrack 1979, p. 16
17. ↑ Balanchine 1975, p. 432
18. ↑ Balanchine 1975, p. 450
19. ↑ Balanchine 1975, pp. 450–51
20. ↑ Wiley 1991, pp. 232–34
21. ↑ Balanchine 1975, p. 451
22. ↑ ^{22.022.122.222.3} Balanchine 1975, p. 452
23. ↑ Hurley 2007, p. 165
24. ↑ ^24.024.1 Robert 1949, p. 306
25. ↑ ^25.025.1 Balanchine 1975, p. 454
26. ↑'Royal Opera House - 'Swan Lake' : From Planning To Performance - The Story of 'Swan Lake'. Rohedswanlake.org.uk. http://www.rohedswanlake.org.uk/pgs/main/news_story.asp?id=2. Retrieved 2012-01-15.

References

• Beaumont, Cyril W. (2012), The Ballet Called 'Swan Lake', Alton: Dance Books, ISBN978-1-85273-153-3

• Balanchine, George (1975), 101 Stories of the Great Ballets, New York: Anchor Books, ISBN978-0-385-03398-5

• Hurley, T. (2007), 'Opening the door to a fairy tale world: Tchaikovsky's ballet music' in The Cambridge Companion to Ballet, Cambridge, England, UK: Cambridge University Press, ISBN978-0-521-53986-9

• Kirstein, Lincoln (1984), Four Centuries of Ballet: Fifty Masterworks, Dover, ISBN978-0-486-24631-4

• Robert, Grace (1949), The Borzoi Book of Ballets, New York: Knopf
• Warrack, John (1966), Tchaikovsky's 'Swan Lake': True Drama in Dance Form in Swan Lake with Margot Fonteyn and Rudolf Nureyev. Videocassette., Philips 070 201-3; liner notes
• Warrack, John (1973), Tchaikovsky, New York, New York, USA: Charles Scribner' Sons
• Wiley, Roland John (1991), Tchaikovsky’s Ballets: Swan Lake, Sleeping Beauty, Nutcracker, Oxford, England, UK: Oxford University Press, ISBN0-19-816249-9

Other websites

• Media related to Swan Lake at Wikimedia Commons