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Swan Lake

With instantly recognizable music and a timeless story of good against evil, Swan Lake is the greatest of Romantic ballets. Anthony Dowell's production draws upon the opulent style of 1890s Russia.

Photos

  • Natalia Osipova and Carlos Acosta in Swan Lake. © ROH/Alice Pennefather 2012
  • Tamara Rojo with Carlos Acosta in Swan Lake © Bill Cooper/ROH 2004
  • Liam Scarlett and Emma Maguire in the Neapolitan Dance in Swan Lake, Act III © ROH 2011
  • Marianela Nuñez as Odette in Swan Lake © Dee Conway/ROH 2008

Introduction

Prince Siegfried chances upon a flock of swans while out hunting. When one of the swans turns into a beautiful woman he is instantly captivated – will his love prove strong enough to break the evil spell that she is under?

Background

Swan Lake was Pyotr Il’yich Tchaikovsky's first score for ballet. Its 1877 premiere was poorly received, but it has since become one of the most loved of all ballets. The twinned role of the pure White Swan and the scheming, duplicitous Black Swan tests the full range of a ballerina's powers, particularly in the two great pas de deux of Acts II and III. Other highlights include the charming Dance of the Little Swans performed by a moonlit lake and sweeping ballroom waltzes in the splendour of the royal palace.

Anthony Dowell's romantic interpretation returns the ballet to its 1895 origins by using the choreography of Lev Ivanov and Marius Petipa. Dramatic costumes emphasize the contrast between human and spirit worlds, while glowing lanterns, shimmering fabrics and designs inspired by the work of Carl Fabergé create a magical setting.

Credits

ChoreographyMarius Petipa
ChoreographyLev Ivanov
Additional choreographyFrederick Ashton
Additional choreographyDavid Bintley
MusicPyotr Il'yich Tchaikovsky
ProductionAnthony Dowell
DesignsYolanda Sonnabend
Lighting designMark Henderson
Production researchRoland John Wiley
StagingChristopher Carr

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