Swan Lake is an essential ballet in contemporary classical theatre, and its psychological depth remains relevant today. The ballet’s classical elements are evident in its meticulously crafted structure, adherence to traditional dance styles, and the distinction between classical and character dance. Its psychological impact lies in its enigmatic exploration of duplicity and the profound themes of fate and destiny.
Despite its eventual acclaim, Swan Lake did not receive instant recognition upon its premiere in 1877. The initial production, directed by Vaclav Reisinger at the Bolshoi Theatre, was conventional and lacked innovation. The renowned “Russian soul” and the iconic symbol of Russian spirituality embodied by the Swan were absent. Additionally, Tchaikovsky’s music, fluctuating between mournful longing, triumphant celebration, and ominous foreboding, was not initially regarded as a masterpiece. Some critics considered the ballet lacking melodies, with the music being its weakest aspect. The spiritual essence of the ballet was overshadowed by the corps de ballet, who rigidly waved their cardboard wings during the premiere – an image that seems comical by today’s standards. It is only through the recognition of Polina Karpakova, the first performer of the role of Odette, that we understand that ballet’s history did not begin in St. Petersburg.
However, in St. Petersburg, Swan Lake found its true home. After a memorial concert for the composer at the Mariinsky Theatre in 1894, Lev Ivanov presented a delicate and touching “swan scene.” This performance inspired Marius Petipa, the ballet company’s director, to finally stage Tchaikovsky’s dance debut at the Imperial Theatre. The premiere took place in 1895. Conductor and composer Riccardo Drigo tactfully revised the music, and most choreographers have since followed his version. The collaboration of Frenchman Petipa, Russian Ivanov, Italian Drigo, and Pierina Legnani as Odette-Odile gave birth to the legendary myth of Swan Lake.