In Brain Donors (1992), the three main characters try and succeed in sabotaging a fictional production of the ballet. Unlike the première of The Sleeping Beauty, Swan Lake did not dominate the repertory of the Mariinsky Theatre in its first season. It was given only sixteen performances between the première and the 1895–1896 season, and was not performed at all in 1897. Even more surprising, the ballet was performed only four times in 1898 and 1899. The ballet belonged solely to Legnani until she left St. Petersburg for her native Italy in 1901. After her departure, the ballet was taken over by Mathilde Kschessinskaya, who was as much celebrated in the rôle as was her Italian predecessor.

South Korean group Shinhwa re-imagines the main theme into a hip-hop k-pop song “T.O.P. (Twinkling of Paradise)” (1999) In a version danced by New York City Ballet in 2006 (with choreography by Peter Martins after Lev Ivanov, Marius Petipa, and George Balanchine), Siegfried's declaration he wishes to marry Odile constitutes a betrayal that condemns Odette to remain a swan forever. She is called away into swan form, and Siegfried is left alone in grief as the curtain falls. One theory is that the original choreographer, Julius Reisinger, who was a Bohemian (and therefore likely to be familiar with "The Stolen Veil"), created the story. [6] Another theory is that it was written by Vladimir Petrovich Begichev, director of the Moscow Imperial Theatres at the time, possibly with Vasily Geltser, danseur of the Moscow Imperial Bolshoi Theatre (a surviving copy of the libretto bears his name). Since the first published libretto does not correspond with Tchaikovsky's music in many places, one theory is that the first published version was written by a journalist after viewing initial rehearsals (new opera and ballet productions were always reported in the newspapers, along with their respective scenarios). Siegfried is transfixed by the appearance of a swan, which changes before his eyes into the Princess Odette. She and her maidens are prisoners of the sorcerer von Rothbart, and condemned to be swans for all but a few hours of each

Act 1 – A magnificent park before a palace

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] I am going to try and find other books by Lisbeth Zwerger because I cannot stress just how much I enjoyed her artwork. If you can find a copy of this please have a look because it is worth it just based on the illustrations alone. Rachel Beaumont (19 February 2015). "The Swan Lake mystery: An amalgam of different fairytales". Royal Opera House. Archived from the original on 29 March 2017. G. Abraham, ed. Tchaikovsky: a Symposium (London, 1945/R, R 1970 as The Music of Tchaikovsky. London: W. W. Norton, 1974) In the 2006 version by Michael Pink for Milwaukee Ballet, Rothbart stabs Odette before Siegfried’s eyes. Odette mortally wounded, is carried to the lake by Siegfried where they drown themselves. Their love defeats both Rothbart and Odile. As in the 1895 Mariinsky revival, the apotheosis reveals the lovers reunited in death.

From around the time of the turn of the 19th century until the beginning of the 1890s, scores for ballets were almost always written by composers known as "specialists" who were highly skilled at scoring the light, decorative, melodious, and rhythmically clear music that was at that time in vogue for ballet. Tchaikovsky studied the music of "specialists" such as the Italian Cesare Pugni and the Austrian Ludwig Minkus, before setting to work on Swan Lake. Pyotr Ilyich Tchaikovsky | Biography, Compositions, & Facts". Encyclopedia Britannica . Retrieved 19 June 2021. A close arrangement of the waltz from act 1 appears in episodes 16, 23 and 78 of My Little Pony: Friendship Is Magic, "Sonic Rainboom", "The Cutie Mark Chronicles" and "Simple Ways".Tchaikovsky's original score (including additions for the original 1877 production), [41] which differs from the score as revised by Riccardo Drigo for the revival of Petipa and Ivanov that is still used by most ballet companies, corresponds to this layout. The titles for each number are 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.